Reading...
Play button
Play button
Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
157 Cards in this Set
- Front
- Back
|
In motets and chansons of the Burgundian school. the melody is found in the ____.
|
Top
|
|
|
Two most famous composers of the Burgundian school.
|
Dufay and Binchois
|
|
|
The founder of the Flemish school and his student
|
Ockeghem and Obrecht
|
|
|
Members of the Flemish school
|
Josquin and Isaac
|
|
|
Wrote Agnus Dei from the "L'homme arme" mass in which the tenor moves backwards in full note values and then forwards in halved note values
|
Dufay
|
|
|
Ockeghem's work is written for
|
Instrumental
|
|
|
Only 2 voices of the 4 are written out and the other two are used with differing time signatures, in this peice. (Misa ____)
|
Prolationem
|
|
|
One of the greatest Renisance composers who wrote masses, motets and secular music
|
Josquin des Pres
|
|
|
Josquin des Pres' style used
|
imitation, overlapping enterances, pairing of voices
|
|
|
Author of Choralis Constantinus and Innsburch ic muss dich lassen
|
Isaac
|
|
|
Martin Luther;s musical colaborator, writer-publisher of chorales
|
Walther
|
|
|
Published the first collection of Polyphonic music of movable type
|
O. Petrucci
|
|
|
Fifty collections of French Chansons were published between 152 and 1552 by
|
Attaignant
|
|
|
Secular strophic Italian songs from the late 15th-16th century were called
|
Frottolas
|
|
|
Secular strophic spanish songs were called
|
Villancicos
|
|
|
In England, secular strophic songs were called
|
Madrigals
|
|
|
Popular renaissance dances were
|
Pavanne and Galliard
Allemande and Courante |
|
|
Which dance was danced in a circle with held hands
|
Bransale
|
|
|
A capped double reed instrument with a curved end
|
Crumhorn
|
|
|
A pear shaped plucked stringed instrument
|
Lute
|
|
|
A renaissance trombone
|
Sackbut
|
|
|
A loud double reed instrument
|
shawm
|
|
|
A soft instrument with a brass mouthpeice and recorder fingering
|
Cornet
|
|
|
The battle hymn of the Reformation "Ein feste Burg ist unser Gott"
|
Martin Luther
|
|
|
Giovanni Pierluigi da Palestrina was born in the town of
|
Palestrina
|
|
|
Palestrina's highest postition was choirmaster in
|
The Vatican
|
|
|
Palestrina wrote ___ masses and ____ motets
|
100 and 400
|
|
|
The first major netherlands composer to obtain a permant position in Venice and be a key figure in the "Venitian School" was
|
Willaert
|
|
|
The most famous composers of the polychoral style were the members of the _____ family.
|
Gabrielli
|
|
|
A composer of church music and noted for is anthems including "This is the Record of John"
|
Orlando Gibbons
|
|
|
The last of the great Catholic composers in England
|
William Byrd
|
|
|
A short improvisatory keyboard composition
|
Intonazione
|
|
|
a longer, 3 part, improv. keyboard composition
|
Toccata
|
|
|
Where the reformation began
|
Wittenberg
|
|
|
"Broken" or divided choirs
|
Cori Spezzati
|
|
|
Where the divided choir concept was created
|
St. Marks, Venice
|
|
|
Orchesography
|
T. Arbeau
|
|
|
Syntagma Musicum
|
M. Praetorius
|
|
|
(Harmonice Musices) Odhecaton A 1502
|
O. Petrucci
|
|
|
Geistliches Gesangsbuch, 1542
|
J. Walther
|
|
|
Musica Transalpina
|
Nicholas Younge
|
|
|
Normal Number of voices in the early 15th Century
|
3
|
|
|
Normal number of voice in the late 15th Century (Flemish School)
|
4
|
|
|
Composer of Frottolas
|
M. Cara
|
|
|
Flemish Composer of Madrigals
|
C. de Rore
|
|
|
Italian mainstream composer of madrigals
|
L. Marenzio
|
|
|
Italian composer of highly chromatic madrigals
|
C. Gesualdo
|
|
|
Late 16th C. Italian madrigalist; also early Baroque style
|
C. Monteverdi
|
|
|
Five parts of the ordinary
|
Kyrie, Gloria, Credo, Sanctus, Agnus Dei
|
|
|
Six parts of the proper mass
|
Introit, Gloria, Alleluia, Tract, Offertory, Communion
|
|
|
Seasons of the Church
|
Advent, Christmas, Epiphany, Lent, Easter, Pentecost
|
|
|
The lyre and Kithara were associated with the cult
|
Apollo
|
|
|
The aulous was associated with the cult
|
Dionysius
|
|
|
Musical intervals:
1:2, 3:4, 243:256 2:3, 4:5 |
Octave, Fourth, Minor Second
Fifth, Major third (1:2, 3:4, 243:256 2:3, 4:5) |
|
|
A few notes per syllable
|
Neumatic
|
|
|
Several notes per syllable
|
Melismatic
|
|
|
Many notes per syllable
|
Psalmodic
|
|
|
One note per syllable
|
Syllabic
|
|
|
Range: D to D
Final D |
Mode I (Dorian)
|
|
|
Range: D to D
Final: G |
Mode VII (Hypo-Mixolydian)
|
|
|
Range: E to E
Final: E |
Mode III (Phrygian)
|
|
|
Range: C to C
Final F |
Mode VI (Hypo-Lydian)
|
|
|
The addition of words or music to an established Liturgical chant
|
Trope
|
|
|
A portion of measured organum in which the tenor moves in a rhythmic pattern
|
Clasula
|
|
|
The mediveal system of sight-singing
|
Solmisation
|
|
|
The six note scale used by Guido of Arezzo for sight singing
|
Hexachord
|
|
|
Mode which begins a fourth below the corresponding authentic mode
|
Plagal
|
|
|
The earliest forms of secular music were the sometimes coarse songs sung by
|
Golliards
|
|
|
Performers and not composers were called
|
Jongleurs
|
|
|
Composers of courtly love songs were called
|
Troubadors
|
|
|
Composers of courtly love songs were called in France
|
Trouveres
|
|
|
Composers of courtly love songs were called in Germany
|
Minnesingers
|
|
|
Singing more than one voice at a time in a 9th century treastie
|
Music enrichiada
|
|
|
Sequal to Music enrichiada
|
Scholia enrichiada
|
|
|
In the Music enrichiada books, there was a style described a style of singing together
|
Parallel Organum
|
|
|
A later style involving contrary motion is known as
|
Free Organum
|
|
|
Author of Ars Nova
|
Philip de Vitry
|
|
|
The greatest 14th century French composer
|
G. de Machaut
|
|
|
Wrote the complete polyphonic setting of the ordinary of the mas by a one composer
|
G. de Machaut
|
|
|
Was the greatest 14th century Italian composer
|
Landini
|
|
|
Landini was especially noted for his
|
Ballatas
|
|
|
Which notes of a tetrachord are movable?
|
middle 2 notes
|
|
|
The two methods of joining tetrachords are
|
conjunct and disjunct
|
|
|
Types of Tetrachords
|
Diatonic
Encharmonic Chormatic |
|
|
The greater perfect system is a __ octave scale with the middle note ___ and the bottom note called___
|
2, mese, proslambonomonus
|
|
|
Greek modes:
Dorian - starts and ends on __ Phrygian on __ Mixolydian on __ Lydian on __ |
Dorian - starts and ends on E.
Phrygian on D. Mixolydian on B. Lydian on C. |
|
|
Organ was invented by
|
Ktsebius
|
|
|
A gathering of writers and musicians who met regularly, in the late 16th century, to discuss and experiment with art
|
The Camarata
|
|
|
An Italian composer and singer of the transitional period between the Renaissance and Baroque
|
An Italian composer and singer of the transitional period between the Renaissance and Baroque
|
|
|
Wrote Euridica, Le Nuove Musiche
|
Caccini
|
|
|
Wrote madrigals & Operas. Wrote Lorfeo, L'Incoronazione de Poppea
|
Monteverdi
|
|
|
Wrote Il Pomo d'Orfo
|
M. A. Cesti
|
|
|
Italian musician and one of the most important composers of keyboard music in the late Renaissance and early Baroque periods.
|
G. Frescobaldi
|
|
|
A piece of classical music for keyboard, generally emphasizing the dexterity of the performer.
|
Toccatas
|
|
|
A collection of liturgical organ music by Girolamo Frescobaldi.
|
Flori Musicale
|
|
|
Netherlands composer of organ music
|
J.P Sweelinck
|
|
|
A German composer, organist and teacher of the early Baroque era.
|
Samuel Scheidt
|
|
|
A German organist and composer. He was the best-known composer for the organ in north Germany in the early to mid-17th century, and was an important forerunner of Dieterich Buxtehude and J.S. Bach.
|
Heinrich Scheidemann
|
|
|
Wrote Kleine Geistliche
|
Heinrich Shutz
|
|
|
Wrote Syntagma musicum and other vocal works
|
M. Praetorius
|
|
|
Wrote organ works and cantatas
|
D. Buxtehude
|
|
|
Sucessor of Vivaldi. Wrote Sonatas. Trio and Solo.
|
Corelli and Torelli
|
|
|
Best known concerto composer
|
Vivaldi
|
|
|
Developed Sonatas
|
Italy
|
|
|
Italian rules of sonatas
|
1. # of players
2. Where they are played (solo de chiesa) |
|
|
A Baroque composer, is generally considered to be one of England's greatest composers.
|
Purcell
|
|
|
His pupils included William Croft and Henry Purcell.
|
John Blow
|
|
|
Famous son of family who was prominent in music.
|
Couperin
|
|
|
French composer and theorist who wrote for Harpsicord and Opera.
|
Rameau
|
|
|
Treaty written by Rameau
|
Traite de l'Harmonia
|
|
|
Traite de l'Harmonia
|
Chords can be taken from harmonic series, nature and Basse Fondomontale
|
|
|
Wrote Les Indes and Castor et Pollux
|
Rameau
|
|
|
Everyone plays
|
Concerto Grosso
|
|
|
War between Russo and Rameau and what they wanted.
|
War of the Bafoons
Russo - Italian music Rameau- French music |
|
|
Repeated sections in peice
|
Ripieno or tutti
|
|
|
The word for a recurring passage for orchestra in the first or final movement of a solo concerto or aria
|
ritornello
|
|
|
/
V vs. V - I |
Solar vs. Polar
|
|
|
Best known concerto composer
|
Vivaldi
|
|
|
Developed Sonatas
|
Italy
|
|
|
Italian rules of sonatas
|
1. # of players
2. Where they are played (solo de chiesa) |
|
|
A Baroque composer, is generally considered to be one of England's greatest composers.
|
Purcell
|
|
|
His pupils included William Croft and Henry Purcell.
|
John Blow
|
|
|
Famous son of family who was prominent in music.
|
Couperin
|
|
|
French composer and theorist who wrote for Harpsicord and Opera.
|
Rameau
|
|
|
Treaty written by Rameau
|
Traite de l'Harmonia
|
|
|
Traite de l'Harmonia
|
Chords can be taken from harmonic series, nature and Basse Fondomontale
|
|
|
Wrote Les Indes and Castor et Pollux
|
Rameau
|
|
|
Everyone plays
|
Concerto Grosso
|
|
|
War between Russo and Rameau and what they wanted.
|
War of the Bafoons
Russo - Italian music Rameau- French music |
|
|
Repeated sections in peice
|
Ripieno or tutti
|
|
|
The word for a recurring passage for orchestra in the first or final movement of a solo concerto or aria
|
ritornello
|
|
|
/
V vs. V - I |
Solar vs. Polar
|
|
|
Chamber Sonata
|
de camera
|
|
|
Church Sonata
|
da chies
|
|
|
4 Players
|
trio sonata
|
|
|
2 Players
|
Continuo
|
|
|
A vocal composition with an instrumental accompaniment and generally containing more than one movement.
|
Cantata
|
|
|
Bach wrote ____ cantatas and ____ exist
|
300 and 205-215
|
|
|
BWV
|
Bach-Werke-Verzeichnis (Bach Works Catalogue) is the numbering system identifying compositions by Johann Sebastian Bach
|
|
|
BG
|
The first complete edition of JSB's works published in Leipzig 1851-1899. (Gesamtausgabe der Bach-Gesellschaft)
|
|
|
NBA
|
The most recent effort by Bärenreiter - Kassel 1954-?? to publish a critical edition of JSB's entire musical oeuvre. It replaces the BG that was published over a century ago. (Neue Bach-Ausgabe)
|
|
|
Mass in b minor
|
Kyrie and Gloria, job oppertunity. Written for 5 part choir.
|
|
|
Art of the Fuege
|
Dictated to son while dying
|
|
|
Musical Offering
|
1747 by Bach
|
|
|
The tune or melody of a fugue
|
Subject
|
|
|
First part of the three sections of a fugue
|
exposition
|
|
|
When all parts come in a half a step high or lower than the subject in a fugue.
|
answer
|
|
|
If none of the parts are playing the subject or answer in a fugue
|
episode
|
|
|
operated by foot on a piano or organ, a sustained tone in the lowest register
|
pedal
|
|
|
When entries in a fuege overlap
|
Stretto
|
|
|
A chord with a note other than the root in the bass
|
Inversion
|
|
|
Doubled note values
|
Augmentation
|
|
|
The shortening of note values; the opposite of augmentation.
|
Diminution
|
|
|
A small organ-chest, usually with its own manual, encased compactly above the keyboards and below the Hauptwerk, in the ‘breast’ of the organ.
|
Brustwerk
|
|
|
The upper chest and manual of an organ, often provided with Swell shutters
|
Oberwerk
|
|
|
denotes the main manual of an organ
|
Hauptwerk
|
|
|
The little organ placed at the organist's back; it is the second main manual of all major organs until about 1700
|
Ruckpositiv
|
