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Desprez: polyphony, sacred, and secular
Palestrina: Italy, polyphony, Vatican and counter reformation
Weelkes: polyphony, English, madrigals
Praetorious: polyphony, German |
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Hildegard von Bingen: monophony, sacred
Leonin: polyphony, sacred
Perotin: polyphony, sacred
Machaut: polyphony, sacred, secular |
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| Renaissance practice of music directly reflecting words. |
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| polyphonic choral work set to sacred Latin text |
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| Primarily vocal. Official music of the RCC for over 1,000 years. |
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| originated at the school of ND with Leonin and Perotin. Consists of gregorian chant and one or more melodic lines. |
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| composers of medieval polyphony |
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| Kyrie, Sanctus, Gloria, Agnus Dei, Credo. Originally composed by Machaut. |
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| organizes beats into regular groups |
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| refers to the way chords are constructed and progress. Consonance, dissonance, and arpeggios. |
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| The musical texture when two or more melodies of equal interest are performed simultaneously |
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| repetition, contrast, variation. Organization of musical elements in time. Binary and ternary. |
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| chord made up of three notes |
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| Renaissance vocal music set to poetry (secular) and uses extensive word painting. Written for amateur performers. |
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| Secular Renaissance music was primarily for: |
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| highness or lowness of sound |
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| degrees of loudness or softness. Italian terms |
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| Tone color. Quality of sound that distinguishes one instrument or voice from another. |
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| ordered flow of music through time. Meter organizes it into groups. |
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| regular recurrent pulsation that divides music into equal units of time |
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| emphasis of a note. accenting of a note at an unexpected time…between two beats or on a weak beat |
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| system of writing music so specific pitches and rhythm is communicated. Notes and rests. |
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| series of single tones that add up to a whole. begins, moves, and ends |
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| centering around one note/scale |
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| layers of sound and how they relate. Monophony, polyphony, and homophony |
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| string, woodwind, brass, keyboard, percussion, electronic |
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| different whole and half steps than contemporary scales |
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| written by nobles for court use |
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| troubadours and trouveres |
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| South France and North France. Medieval poet-musicians |
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| Parisians developed rhythmic notation. Leonin and Perotin |
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| profound changes in rhythmic notation |
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| characteristics of Renaissance music |
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| vocal more than instrumental. Word painting. Both church and courts. |
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| five-part polyphonic choral work. Palestrina at the Council of Trent |
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| Catholic response to Martin Luther’s reformation and protestantism |
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