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45 Cards in this Set
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William Byrd |
c. 1623-composing at age 16, pro-Catholic *composed finest Latin church music in England during the late 16th century *invented the verse anthem(Psalms, Songs, and Sonnets (1611) *wrote 3 Masses-the finest of the time wrote 2 books of Gradulia- 100 motet sections Morley and Tomkins were students |
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Josquin Desprez |
c. 1521 GREATEST of all Renaissance composers *Master of the Mass and motet composition *his comp. were used as models by other composers 18 Masses, 95 motets, 68 secular songs Style: extensive use of canon, embellishment of borrowed melodies, drive to the final cadence, use of imitation, singable nature of the melody *influenced by DuFay, Ockeghem and Obrecht *master of pervading imitation, word painting *Mass- Missa l'homme- borrowed meldoy |
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John Dowland |
d. 1626 *leading English Renaissance composer of the lute ayre- solo song with lute accompaniment *wrote 3 books of ayre Style: characterized by melancholy |
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Guillame DuFay |
c. 1474 known as most famous composer in Europe during the Renaissance highly intelligent and well educated 7 masses, 3 magnificats, 27 hymns, 22 motets, 87 chansons *first to use FAUX Bourdon in a motet Style: symbolism in his motets, sustained block chords to emphasize text *wrote unaccompanied vocal music for Cambrai Cathedral- cathedral had no organ-34 bells *well represented in the Trent Codices |
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John Dunstable |
c. 1453 English Renaissance composer 51 compositions, mainly sacred Latin texts 4 secular works survive Style: short note values in conjunct motion, no rhythmic redundancy, melodic skips are usually in thirds, drive to the cadence, used various styles- free;y composed, isorhythmic |
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Giovanni Gabrieli |
d. 1612 most prolific composer of instrumental ensemble works during late 16th, early 17th c. Style: divided choirs over 100 motets 7 Magnificats 30 madrigals |
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Girolamo Frescobaldi |
d, 1643 leading Italian composer of KEYBOARD music during the first half of the 17th century organist known for instrumental works, alwo wrote sacred and secular vocal music Style: used tempo markings liberally Virtuostic display, chromaticism, imitative counterpoint and cross-rhythms FIORI MUSICALI- most famous publication contains 3 organ masses |
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Carlo Gesualdo |
c, 1613 *principal Italian Renaissance composer of madrigals harmonically ahead of his time murdered his wife and her lover melomania- mad published 4 books of madrigals Style: conveyed emotional expression, used chromaticism |
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Claude Jannequin |
d. 1558 principal composer of Parisian chansons during the Renaissance Style: descriptive contain bird calls, steet cries, fanfares, and text painting |
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Orlande de Lassus |
d. 1594 one of the great composer of sacred in the Renaissance more than 2000 compositions in all genres *finest chansons, best known for motets Petrocinium musices- 12 volume collection of music- contains 7 volumes by Lassus Style: expressive, conservative style, used imitation, harmonic clarity, moody and dramatic |
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Cristobal de Morales |
c. 1553 *the first major SPANISH composerof early 16th c, of sacred msuic Jubilate Deo omnis terra- for Holy Roman Emperor Charles V 20 Masses, 2 Magnificats, over 100 motets, only 5 secular works set texts expressively |
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Thomas Morley |
c. 1602 leading English composer of madrigals-1590's pupil of Byrd provided model for Elizabethan light madrigal Style: homophonic and dancelike fa-la syllables in refrain lacks chromaticism and word painting |
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Johannes Ockeghem |
c. 1497 leading Renaissance composer and musician known for contrapuntal mastery and ingenuity Chigi Codex- source of Ockeghem's masses(10) Style: diatonic long flowing polyphonic lines equal voice parts used the tritone |
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Giovanni Palestrina |
c. 1594 Italian Renaissance composer of sacred music organist and composer master of contrapuntal composition used parody technique first composer to be consciously imitated by later generations 104 Masses 375 motets associated with the Roman Catholic Church wife and 2 sons died of plague |
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Giovanni Petrucci |
c. 1539 *Italian printer during the Renaissance *had exclusive privilege of printing lute and organ tabluture and polyphonic music in Venice for 20 years movable type |
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Cipriano de Rore |
c. 1565 Netherlander leading madrigalist of his generation 120 surviving madrigals Style: polyphonic, serious in tone used chromatic alterations and text painting |
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Claudin de Sermisy |
1562 principal composer of the Parisian chanson Style: light in texture strongly rhythmic usually duple meter syllabic texts for 4 voices |
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Adrian Willaert |
1562 *Netherlands composer-major figure in the development of polyphonic music in Italy *maestro da capello at St. Marks, Venice *wrote earliest composition to MODULATE completely around the circle of fifths 173 motets, hymns, chansons, madrigals |
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Gioseffo Zarlino |
1590-Italian music theorist and composer of the Renaissance wrote a theoretical treatise- Le institutioni harmoniche prima prattica- music dominates text seconda prattice- text dominates music |
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anthem |
the Anglican version of the motet- a song sung on a sacred text in English William Byrd (1623) wrote the first verse anthem |
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ballade |
one of the three formes fixes *a principal form of music and poetry in 14th and 15th c. France *aabC- where C is the refrain Adam de la Halle Machaut |
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basse danse |
a favorite court dance in the 15th and early 16th c. monophonic 3-4 instrumentalists improvised on the cantus firmus |
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cantus firmus mass |
a Mass composed based on a cantus firmus i.e. Missa l'homme arme- Machaut, DuFay, i.e. Missa se la face ay pale- |
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carol |
an English polyphonic song in the late Middle Ages with Latin, English or mixed text had uniform stanzas and a burden(kind of refrain) served as a processional song |
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choirbook format |
triplum and duplum notation in parallel columns with the tenor ligature beneath the columns on a staff the width of the page changed.... |
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color |
term used in music treatises that refers to the melody of the isorhythmic voice part |
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contenance angloise |
the English style of music sweeter and fuller sound DuFay and Binchois chords that include the third passages in block chords polyphonic lines consonant with other lines |
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Council of Trent |
1545-63 gave recommendations for reform no secular music during mass- affected how composers could write Masses eliminated all but 4 Sequences from the mass deleted textual tropes from liturgical chants Palestrina- wrote polyphonic music so text was understandable |
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Dodecachordon |
1547 written by Loris recognizes 12 modes- the 8 medieval modes plus Aeolian, Ionian and their related plagal modes. |
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Elizabethan madrigal |
1580's and 1590's homophonic and dancelike Thomas Morley was the leading composer for the Elizabethan light madrigal- Sing We and Chant It |
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faux bourdon |
*2 notated voices that form a framework of parallel sixths with some octaves *main melody in top voice *an attempt to imitate contenance angloise DuFay-1st to use fb. in a motet |
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formes fixes |
the three 14th and 15th c. French poetic forms ballade, rondeau, virelai de Vitry Machaut |
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frotolla |
1470-1530 the predominant type of Italian popular, secular song , predecessor to the madrigal Josquin Tromboncino |
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l'homme arme |
*French secular song from Renaissance *set in Dorian mode *popular tune used for setting of the Ordinary of the Mass Josquin, DuFay, Palestrina, Morales |
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imitation |
repetition of a melody shortly after its first appearance in a different voice used heavily in the Renaissance and Baroque eras Josquin, Orlando de Lassus |
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isorhythm |
a musical technique that arranges a fixed pattern of pitches with a repeating rhythmic pattern 1st appeared in 13th c. motets characteristic of the Ars Nova motet |
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madrigal |
a secular vocal composition of the Renaissance and early Baroque eras traditionally unaccompanied, 2-8 voices, usually 3-6 voices Carlo Gesauldo- mad(1613) Cipriano de Rore Thomas Morley- English madrigal |
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Odhecaton |
*an anthology of polyphonic secular songs published by Petrucci in 1501 in Venice using movable type *influential in publishing and in the disemmination of the Franco Flemish musical style |
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Old Hall MS |
one of the few extant manuscripts containing English medieval music and confirms the character of English musical traits, *15th c. manuscript of solely English sacred polyphonic music no Kyre Leonel Power, Roy Henry and others John Dunstable added later |
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parody mass (derived mass) |
EXTENSIVE BORROWING from a prexistent composition (such as a chanson or motet) as the basis for a Mass Ockeghem Josquin des Prez |
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ricercar |
late Renaissance and early Baroque instrumental composition developed through imitation *the instrumental counterpart of the motet Willaert Cavazzoni |
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rondeau |
late 13th c. Fench literary form- formes fixes ABaAabAB monophonic C'est la jus (anon.) Machaut- 21 rondeaux |
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talea |
a word found in late medieval treatises that describes a rhythmic pattern which is repeated one or more times in the tenor (cantus firmus) used by de Vitry and Machaut |
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virelai |
late 13th c. (medieval)French literary form known as formes fixes. AbbaA i.e. C'est la fin (anon.) Machaut- 33 virelais |
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white notation |
In the mid 15th c., scribes began to use hollow note shapes, reserving black shapes for only the smallest note values. This was motivated by the change from parchment to paper. Paper was less suited to hold large dots of ink. |
