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| a large body of unaccompanied vocal music in Latin, written for the Roman Catholic Church over a 1500 year period. Named after Pope Gregory. It was mainly written by churchmen and churchwomen. |
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| Syllabic/melismatic singing |
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| One or two notes per syllable/Many notes per syllable |
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| Leon wrote “Magnus liber organi,” a great book of church music. Perot revised the book. Both were associated with the Notre Dame church of Paris. They essentially invented polyphony. |
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| Born in Germany, she was given to the church as a tithe and she wrote 77 chants including “O Greenest Branch” |
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| to take an existing chant and add another line |
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| the most important part of the Roman Catholic Church |
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| PROPER & ORDINARY: Introit, Gradual, Alleluia, Sequentia, Offertory, Communion, Kyrie, Gloria, Credo, Sanctus, Agnus Dei |
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| church of Notre Dame Reims, wrote “Mass of Our Lady” which was composed for the ordinary rather than the proper, meaning it could be sung any day. |
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| court music was usually public entertainment that would describe news and gossip. |
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| poet-musicians from southern France who sang songs of love and triumph |
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| French love song, usually 2, 3, or 4 voices |
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| trobairitz from Southern France who wrote the chanson “I Must Sing” |
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| ordained priest who excelled at writing chansons with the Court of Burgundy. Wrote “This Month of May.” |
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| composers during the renaissance started to think of themselves as… |
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| artists and would regularly place their names in or on their work. |
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| Where did the Renaissance start? Why? |
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| Originated in Italy, influenced by ancient Greece and Rome, aimed to be more secular and scientific. |
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| difference between medieval and renaissance composers |
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medieval: anonymously composed music for church, preserved in manuscript.
renaissance: considered artists, sought credit for their artistic works. |
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| from Northern France, excelled at writing motets. Known for “Hail, Mary.” |
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| where one or more voices duplicate the melody |
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| What happened on October 31, 1517? |
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| Martin Luther’s 95 theses, Protestant Reformation began. |
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| Protestant Reformation & Counter-Reformation |
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| reformation sought to get rid of all the corruption in the Catholic change. the Church of Rome countered by “cleansing” their administration and arts including music and literature. |
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| internal reformational meeting of the church. sought to get rid of polyphonic music. “mass for Pope Marcellus” changed their minds. |
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| composed “Mass for Pope Marcellus” which convinced the Council of Trent that polyphony could be used in church and still get the meaning across. |
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| composed by Palestrina, convinced Council of Trent that polyphony could still coherently be used in church. |
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motet: written for choir/church, in Latin.
madrigals: several voices, secular, not in latin. |
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| when the music describes the text |
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| English madirgalist, composed “As Vesta Was from Latmos Hill Descending” for “The Triumphs of Oriana” |
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| comes from the Portuguese word barroco meaning a pearl of irregular shape. |
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| held that different musical moods could and should be used to influence the emotions of the listeners. |
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| difference between Renaissance and Baroque |
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| Renaissance was dominated by polyphony and imitative counterpoint, where each line was equal. Baroque, however, the voices are no longer equal. Baroque was mainly soloist accompanied. |
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| a new kind of solo singing, lead to the emergence of theatre and opera. |
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| bass-driven, chordal support. |
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| Baroque vs Renaissance texture |
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| Baroque is grand, passionate and dramatic. Renaissance was melodic and simple. |
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| numerical shorthand placed beneath the bass line. |
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| sudden jumps in volume, NOT creschendo/decreshendo |
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