Renaissance

a learned society coming from the imitation of Plato's academy; purpose of furthering arts, literature, science...

(French) an accompanied French strophic song for 1 or 2 voices; Late Renaissance to Baroque

(England) evolved from and served the role of the Latin motet in Anglican/Protestant services; Latin titles but sung in English; usually simpler and more homophonic;

(Italian) dance-like homophonic vocal piece; late Renaissance by Giovanni Gastoldi; English and German form of this called ballett

(French) one of a family of Renaissance dances having a gliding or walking step; mostly improvised; not many extant

disguised V-I candence in Burgundian three-part music; highest voice from seventh to the octave (possibly by "Landino" way of sixth), middle voice leaps up an octave from dominant, lowest descends one step to tonic

(Latin) a pre-exisiting chant melody which is the basis for a nw polyphonic composition

(Italian) a type of instrumental piece based on the chanson genre and it's form structure and lively rhythms

(Italian) short piece of the canzona type for voices; light on character

a Protestant hymn typical of the Renaissance and Baroque; the hymn tune typically employed as a cantus firmus

(Italian) term derived from concerto meaning concerto-like in reference to contrasting instrumental and/or vocal groups in music of late 16th and 17th centuries; works by Gabrieli

(English) a term meaning small instrumental ensemble in 17th century; "whole" meaning all of one type "broken" meaning various instruments

late 16th early 17th century composition for one or two voices with consort accompaniment often viols; William Byrd...

(Latin) substitution of a new text for an old one; secular tunes with Protestsnt chorale texts

(Italian) divided choirs; polychoral; originates in 16th century Venice

the appearance of a note in two versions, one chromatically altered, within the space of a measure or so in two different voices; also could describe the effect of the presence of a tritone

the use of the same or closely related thematic material in some or all the movement of a large work like a Renaissance Mass

improvised embellishments using faster motion or shorter note values

refers to passages on vocal music with chordal or homophonic texture as opposed to a learned contrapuntal style

(Italian) term encompassing a large variety of improvisitory pieces from Renaissance thru Romantic; usually for lute or keyboard in 16th and 17th centuries

(French) controversial term referring to three voices singing basically in 1st inversion (or sixth chords); frequently employed by Dufay

term used pre 1600's to mean polyphony as opposed to plainchant; especially the style of the Netherlanders

(Italian) aristocratic secular song usually for solo performance in the middle Renaissance; popular dance-like character; treble dominated style of a lighter style and texture than the madrigal

(French) fast dance in triple meter usually preceded by a pavane as a paired set

(Italian) diminutions in vocal music

(Germany) German polyphonic song which flowered in the Renaissance (relatively late compared to other regions)

the highly developed use of tone-painting in the madrigal; this characteristic appeared in chanson and motet

based on the church modes before advent of tonal music; original modes were dorian, phrygian, lydian, and mixolydian; ionian and aeolian added in Renaissance leading to tonality

a motive that appears at the beginning of several or all of the movement of a Renaissance Mass

a varied version of a given melody in the Renaissance; often used by Dunstable, Dufay, and Josquin

reworking a polyphonic composition (like a chanson or motet) so that it forms the basis for a Mass

(Italian) moderately fast dance in quadruple meter often followed by a saltarello

(French) dignified courtly dance in a slow duple meter; frequently paired with a galliard

sections beginning contrapuntally with the same motive in each voice; imitation

emplying 2 or possibly more distinct choirs or groups of instruments; as in works of Gabrieli

book of musical settings for Protestant congregational singing

(Italian) term for a type of instrumental work often for keyboard in the 16th century with many point of imitation; anticipated the later fugue because they often started with single theme

musical portion of the Anglican liturgy including portions from the Mass Ordinary; "Short" of concise and syllabic or "Great" if expanded contrapuntally; in Renaissance cultivated by Tye, Tallis, and Byrd;

(Italian) improvisation of counterpoint over a given type; aka discantus supra librum and contrappunto alla mente

(Latin) a continuing but unaccented pulse; specific in Renaissance as relatively fixed in duration as opposed to the later extremely flexible

(Italian) an idiomatic keyboard genre in improvisatory style

the art of depicting word meanings or imitating natural sounds in musical tones

type of composition based on varied repetition of a theme or harmonic pattern with the overall structure of phrases or sections being maintained throughout; first in Spain and England with Cabezon and Byrd then synthesized by Duthcman Sweelinck

alternates solo sections with with sections of full choir; Byrd in late Renaissance

(Spanish) Spanish Renaissance song similar to Italian ballata: written for 3 and 4 voices and also for accompanied solo voice

(Italian) popular type of chordal song in Reniassance

(Italian) tubular wooden instrument with fingerholes and cup-shaped mouthpiece; used Middle Ages through Baroque

(German) tubular wooden instrument with fingerholes and cup-shaped mouthpiece; used Middle Ages through Baroque

curved double reed Renaissance instrument with a nearly cylindrical pipe and wind cap covering the reeds

(French) probably a straight-capped shawm with a mellower softer tone

plucked string instrument with fretted fingerboard, pear-shaped body, and bent back pegbox; usually 11 strings tuned to 6 pitches

small reed organ

(Spanish) 16th century Spanish guitar

bowed string instrument with frets; 16th and 17th centuries before violin