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| Center of power during the middle ages |
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| the fall of the roman empire |
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| this marked the beginning of the middle ages |
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| monophonic, nonmetric, and conjunct: single line melody lacking harmony and counterpoint |
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| syllabic, neumatic, melismatic |
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| 3 types of chant melodies |
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| texts that vary according to day |
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| texts that remain the same for everyday mass |
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| chants sung alternating a soloist and a chorus |
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| earliest type of polyphony; came from adding a voice to gregorian chant |
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| multiple texts; when 2 texts are added to the same piece |
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| type of chant, one note sung to each syllable |
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| type of chant, small groups (2-4 notes) sung with each syllable |
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| type of chant, long groups of notes with each syllable |
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| little ascending and descending symbols that were written above words to suggest contours of the melody |
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| scale patterns, siggest melodic contours |
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| Social classes of the middle ages |
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| Members of the roman catholic church were called |
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| serfs, the people who worked the land |
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| ____ Raises the status of women in the middle ages |
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| dates of the early middle ages |
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| medival music was ____ By the roman catholic church |
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| only literate class of the middle ages, the ones who preserved music and its history |
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| music with a textual setting |
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| Composer; a poet, prophet, and religios leader. Wrote Scivias abd symphony of celestial revelations |
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| the combination of two or more simultaneous melodic lines, helped bring about the use of regular meters-MOST IMPORTANT DEVELOPMENT IN WESTERN MUSIC |
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| rise of polyphony began around _____ AD |
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| came out with the addition of new texts to organum |
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| the breakup of the feudal social structure inspired new concepts of life, art, and beauty, which led to the musical style called ___________. |
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| foremost composer-poet of Ars Nova; wrote clergy and secular music |
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| instruments found their earliest prominence in ________ |
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| started by adding one melody on top of another melody |
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| music made for medival court life: dancing, banquets, military |
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| mostly improvised, more secular because it has no words |
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| plucked string instrument with a rounded back |
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| the art of combining 2 melodic lines is ______. |
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| an era of exploration, scientific inquiry, and secularization |
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| human or individial-centered thinking, started in the renaissance |
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| church, aristocrocy and govt |
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| during the renaissance, musicians were supported by |
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| renaissance music was marked by ___________ melodies. |
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| vocal work without instrumental accompaniement |
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| most ____ music was written for a capella performance |
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| reniassance music had a ____ texture via _____ |
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| making music reflect the meaning of words |
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| “Fixed song”; a preexisting melody used as the basis for a polyphonic composition; they put new stuff on top of a preexisting melody |
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| person we associate with the motet; most influential composer of the renaissance |
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| unlike the mideval motet, the renaissance motet used a _________ text |
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| wrote the motet Ave Maria |
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| renaissance motets were commonly used in ______ services |
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| the protestant revolt/reformation was led by _____ |
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| the reformation critisized the _________ |
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| movement by the church to recapture the loyalty of its people |
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| to regulate every aspect of church discipline, _____ was formed. They took up the matter of church music |
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| Council of trent reccommended what texture of music |
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| best text setting according to the council of trent? |
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| the composer who responded to the council of trent’s demands |
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| who wrote the poper marcellus mass |
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| pope marcellus mass, polyphonic |
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| the ______ mass retained intelligibility of sacred text and even had a _____ texture |
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| the ____ mass started out monophonic, then homophonic, then polyphonic |
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| pope marcellus mass was performed in ________ |
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| renaissance secular music used ____ form |
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| 2 important secular genres |
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| round dance usually performed outdoors |
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| music based on vocal works that does not specify instruments (anyone could pick up a part) |
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| instrumental dance music is of _____ form |
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| most important secular genre; aristocratic form of poetry that flourished at italian courts-lots of expression of feelings/love/desire; lots of word-painting |
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| madrigals are based on several _______ |
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| master of the late renaissance madrigal; figure who takes us to the boroque |
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| madrigals have abundant ______ |
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| madrigals started in _____, then spread to ______. |
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| english, simpler, more humorous |
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| in _____ madrigals, composers preferred_____, more_______ texts |
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| groups singing in alternation, then together |
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| ______ music led to boroque music |
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| first composer to specify dynamics and instruments |
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| ______ was an era of absolute monarchies and an age of enlightenment |
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| the ____ era was characterized by poverty and luxury, idealism and oppression. Was an age of discovery |
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| the baroque era marks the introduction of a new style, _____ |
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| solo song with instrumental accompaniment |
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| monody marks the shift to _____ texture |
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| monody was first cultivated by _____ |
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| aristocrats who wanted to ressurect musical dramas of ancient greece |
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| mos important achievement of baroque music |
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| when a baroque piece starts, it stays the _____ |
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| new tuning system that allowed instruments to play in any key |
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| _____ tonality was established during the baroque era. It replaced the church modes and was allowed by the equal tempermant technology |
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| baroque musicians used _____ chords more freely to express emotion intensity and color |
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| T/F: Baroque composers spared thir use of expression marks, leaving the interpretation to the performers |
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| 1) cello or basson plays bass line 2) harpsichord fills in chords |
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| what two instruments play in “basso Continio”? |
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| large-scale drama that is sung, combines the resources of vocal and instrumental music |
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| Opera was created by the ______ |
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| the two main components of opera are ______ and _______. |
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| “air”; lyrical songs of high emotion |
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| person who writes the text of opera |
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| the orchestral introduction at the beginning of an opera |
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| the first master of opera was ______ |
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| the first opera was___, written in the year ____ |
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| the first native english composer of the baroque was _______ |
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| girls at a boarding school |
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| Dido and Aeneas was written for ______ |
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| hymn tune used in lutheran church service. Adapted from melodies using gregorian chant. |
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| the chorale has a ____ texture |
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| chorale is written in the ___ language |
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| the chorale melody is in ____ voice part |
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| multi-movement work for the lutheran service that resembles baroque opera |
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| the master of cantata and chorale |
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| generally based on a biblical story and performed in a church with no acting, scenery, or costumes. Has vocalists and an orchestra |
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| instrument that has pipes with different timbres. Also has a pure, transparent tone |
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| instrument with strings that are plucked by a quill and is monodynamic |
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| two instruments plus continuo |
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| work based on contrast of dissimilar bodies of sound |
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| solo concerto, concerto grosso |
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| the two types of Baroque concerto |
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| small group and a large group |
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| wrote the four seasons concerto for solo violin |
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| a series of dance movements that can be for solo instruments or orchestra |
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| based on imitation and counterpoint. Has a subject (the focal point) and an answer |
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| the second enterance of the subject in fugue |
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| a musical phrase that is repeated over and over |
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| monophonic texture, collected by pope gregory the great, conjunt movement |
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| gregorian chant has ___ texture, was collected by ____, and has ___ movement |
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| neumatic has ___ syllables |
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| mellismatic has ____ syllables |
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| the cantata is unified by a ____ |
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| ___ characterizes recitative |
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| gregorian chants are based on ___ |
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