Studying Music History- Renaissance Music- 02

Front 1

a capella

Back 1

without instrumental accompaniment (lit. in the chapel)

Front 2

academy

Back 2

learned society founded in imitation of Plato's academy for furthering arts

took root in france and italy

baroque period saw many established in italy

Front 3

air de cour

Back 3

accompanied French strophic song for one or two voices- late renaissance and baroque

Front 4

anthem

Back 4

evolved from latin motet after the reformation- sung in English assuming the role of motet in English Anglican and Protestant services

simple and homophonic in style than motet designed to keep text clear

Verse Anthem developed by Byrd - late renaissnace alternated solo sections with full choral sections

Front 5

balletto

Back 5

dance like vocal piece in homophonic style. Many composed in late renaissance by Giovanni Gastoldi. In English and German called a ballett

Front 6

basse danse

Back 6

renaissance dance maybe used a gliding or walking step - mostly improvised music

Front 7

Burgundian cadence

Back 7

disguised V-I cadence- highest voice moves from seventh to octave- middle voice leaps up an octave from dominant and lowest voice descends one step to the tonic

Front 8

cambiata

Back 8

changing tone dissonance- one or two rhythmically weak nonharmonic pitches lie between consonant ones, usual with prominent reversal of direction in vocal line

Front 9

canzona

Back 9

instrumental composition derived from chanson retaining structure, varied textures and lively rhythms

Front 10

canzonetta/canzonet

Back 10

short composition of canzona type for voices- light character

Front 11

chorale

Back 11

protestant hymn cultivated during renaissance and baroque

Front 12

chromatic/chromaticism

Back 12

notes outside of diatonic framework

Front 13

consort

Back 13

17thC term for small instrumental ensemble. "whole consort" refers to group of the same instruments, "broken" refers to differing groups

Front 14

consort song

Back 14

song for one or two voices and consort- Byrd wrote notable examples

Front 15

contrafactum

Back 15

substitution of new text for an original one- sacred to secular etc

Front 16

cori spezzati

Back 16

divided choirs- originated in sixteenth century Venice. often referred to as polychoral

Front 17

cross-relation

Back 17

the appearance of a note in two versions- one chromatically altered within in the space of a measure or so in two different voices. can also describe presence of tritone

Front 18

cyclic principle

Back 18

use of same or closely-related thematic material in some or all movements of a large-scale composition... ie renaissance mass

Front 19

diminutions

Back 19

improvised embellishment of a melodic line by introducing faster motions, running passages et

Front 20

enharmonic

Back 20

notation of same pitch equivalents written on different notes

Front 21

familiar style

Back 21

passages in vocal music sung in chordal or homophonic style in contrast to learned or contrapuntal style

Front 22

fantasia

Back 22

encompasses a great variety of works- renaissance to romantic- generally pieces for keyboard instrument or lute of late 16th and 17thC

Front 23

fauxbourdon

Back 23

controversial term refers to three voices basically singing in first inversion chords employed frequently by Dufay

Front 24

figured music

Back 24

used before 1600 to denote polyphony (versus plainchant) esp. in style of Netherlanders

Front 25

frottola

Back 25

italian secular song usually set in treble dominated style lighter in texture than renaissance madrigal which it precedes historically

Front 26

galliard

Back 26

leaping dance in fairly fast triple meter often preceded by pavane in a paired set

Front 27

gorgia

Back 27

diminution used in vocal music

Front 28

imitation

Back 28

form of repetition in which a melody is restated in different voice parts

Front 29

improvisation

Back 29

spontaneously created music

Front 30

inversion

Back 30

melodically a mirrorlike exchange of ascending and descending intervals of a theme

Front 31

Lied

Back 31

German polyphonic song assisted by Isaac and Lassus- gained national character by works of Heinrick Finck and Paul Hofhaimer

Front 32

madrigalism/madrigalian

Back 32

highly-developed use of tone painting in a madrigal- characteristic that appeared in chanson and motet

Front 33

motto theme

Back 33

in renaissance usage refers to a motive that appears at the beginning of the movements of a mass

Front 34

paraphrase

Back 34

varied version of a melody- technique often used by Dunstable, Dufay and Josquin

Front 35

parody

Back 35

process of reworking polyphonic composition such as motet or chanson to form the basis for a mass

Front 36

passamezzo

Back 36

moderately fast dance in quadruple meter

Front 37

pavane

Back 37

dignified courtly dance in slow duple meter frequently paired with the galliard

Front 38

pedal point

Back 38

sustained note usually in bass over which harmonies change- often employed just before or during a cadence

Front 39

points of imitation

Back 39

sections beginning contrapuntally with the same motive in each voice

Front 40

polychoral

Back 40

employed two or more distinct choirs of voices or instruments- ie. works of Giovanni Gabrieli

Front 41

psalter

Back 41

book of musical settings for protestant congressional singing

Front 42

ricercare

Back 42

term for several types of instrumental pieces- most significant type is set for keyboard of ensemble- resembles motet's successive points of imitation

anticipates the later fugue

Front 43

service

Back 43

musical portions of Anglican liturgy inc. portions from mass ordinary

in renaissance cultivated by Tye, Tallis and Byrd - short - concisely and syllabically and great (set in expansive counterpoint)

Front 44

sortisatio

Back 44

improvisation of counterpoint on a given part

aka cantus supra librum and contrappunto alla mente

Front 45

tablature

Back 45

symbols rather than notes on a staff- often used for lute music

Front 46

tactus

Back 46

continuing but unaccented pulse

renaissance concept different from later concept of beat by being of relatively fixed in duration

Front 47

throughcomposed

Back 47

repetition of sections is eschewed in favour of new music

Front 48

tone painting

Back 48

depicting natural sounds or word meanings in musical tones

Front 49

variations

Back 49

varied repetition of a theme overall structures and phrases being more or less maintained

Front 50

villancico

Back 50

spanish song similar to ballata

Front 51

villanella

Back 51

popular chordal song

Front 52

cornetto

Back 52

wooden wind instrument with cup shaped mouthpiece

german: Zink

Front 53

crumhorn

Back 53

curved double reed instrument

german; Krumhorn

Front 54

regal

Back 54

small reed instrument

Front 55

vilhuela

Back 55

spanish 16thC guitar