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| common vocabulary of musical “gestures” that sound out their own meaning: minor for sad; major for happy; musical “sigh,” etc. |
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| a volume that contains the music of one voice part and only one voice part (not a full score) |
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| the seven psalms of the Psalter that are especially remorseful in tone and sung in the rites of the Catholic Church surrounding death and burial |
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| the seven psalms of the Psalter that are especially remorseful in tone and sung in the rites of the Catholic Church surrounding death and burial |
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| a constantly repeating pitch followed by a mediation or a termination; the recitation tone is the heart of the psalm tone |
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| cantus firmus melody or motif extracted from the letters of a given name |
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| late 15th/early 16th c. Lowlands composer; recruited and employed by Duke of Ferrara; widespread fame; many false works attributed to him after death |
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| a fast leaping dance in triple meter especially popular during the Renaissance |
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| music notated in performance symbols for solo instruments(lute, keyboard); implies a preexisting polyphonic vocal piece arranged for a single instrument |
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| written (printed) symbols that direct a performer’s fingers to a specific spot on an instrument |
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| (16th c.) French song; rhythm of text begins to determine rhythm of music; generally syllabic; “earthy” subject matters: lovers, drinking scenes, etc. |
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| the rapid delivery of text on repeated notes; often found in 16th c. Parisian chansons |
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| slow gliding dance in duple meter performed by couples holding hands; replaced the 15th c. basse danse as the primary slow dance of the court |
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| a 16th c. harpsichord constructed by Nicola Vicentino; two keyboards, each with three rows of keys; octave divided into 36 microtonal pitches |
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| a mixed ensemble of different types of instruments |
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| freely composed instrumental piece, usually for organ or instrumental ensemble; imitated lively rhythms and light imitative style of the Parisian chanson |
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| an ensemble of instruments all of one family |
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| a capped double-reed wooden instrument with a curving shape; has the range of a tenth and makes a sound like a kazoo |
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| instrumental composition; (Renaissance) usually contrapuntal motet-like; (Later) improvisatory in free form; sometimes incorporating preexisting themes |
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| what is today called the flute (the transverse flute) |
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| another name for the shawm; term was in use in England and France in the 16th c.; in England eventually transformed into “oboe” |
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| system in which, in addition to ratios required by Pythagorean tuning, the major and minor thirds were also tuned according to strict ratios (5:4 and 6:5) |
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| a combination of note symbols (for the fast-moving upper part) and pitch-letter names (for the lower parts) |
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| pear-shaped instrument; six sets of strings; frets created with thin strips of leather wrapped around the fingerboard; most popular instrument in 16th c. |
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| a preliminary piece, one that comes immediately before and introduces the main musical event |
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| instrumental piece, usually for lute or keyboard, similar in style to the imitative motet |
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| the tuning of intervals in something slightly more or less than strict mathematical ratios |
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| a plucked string instrument with a waisted body, and a long pole-neck that serves as a fingerboard; the direct ancestor of the modern classical guitar |
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| six-string instrument fretted and tuned like lute or vihuela; bowed, not plucked; three sizes: treble, tenor, bass; played resting on lap or legs |
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| Italian name for the bass viol, so called because it was held between each leg |
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| (little viol) original name for the violin |
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| a diminutive harpsichord possessing a single keyboard with the strings placed at right angles to the keys |
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| a technique in which the verses of a chant are assigned to alternating performing forces, such as an organ and a choir |
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| a monophonic spiritual melody or religious folksong of the Lutheran church, what today is called by many Christian denominations a “hymn” |
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| group of singers responsible for the religious music at the Hapsburg court of Emperor Maximilian; center of religious and musical life at the court |
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| (song) a German art song or popular song |
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| text-sensitive music reserved for a small circle of connoisseurs |
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| the book of one hundred fifty psalms found in the Old Testament |
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| the religious revolution that began as a movement to reform Catholicism and ended with the establishment of Protestantism |
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| German name for chamber music, both vocal and instrumental, for the dinner table |
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| a polyphonic German song in which a preexisting tune is placed in the tenor and two or three other voices enhance it with lightly imitative polyphony |
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| associate of Martin Luther who set many chorale melodies polyphonically to create a repertory for the trained Lutheran church choirs |
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| late 15th/early 16th c. Lowlands composer; twenty years with Austrian imperial court of Maximillian I; polyphonic settings of 300+Mass Proper chants |
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| 16th c. Lowlands composer; employed at Court of Munich; most famous composer of his day; vivid, expressive, text-oriented musical style |
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| an adult male singer who had been castrated as a boy to keep his voice from changing so that it would remain in the soprano or alto register |
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| 16th c. Congress of bishops and cardinals; decisions regarding music insisted that music must never interfere with comprehension of the sacred word |
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| the movement that fostered reform in the Roman Church in response to the challenge of the Protestant Reformation |
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| when one composer quotes or emulates another by borrowing entire polyphonic sections of an earlier work |
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| a distinctive motive that is sung or played in turn by each voice or instrumental line |
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| musical embodiment of Counter-Reformation; traditional style for church music in contrast to the freer writing found in some madrigals of the late 16th c. |
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| process in which each voice in turn sings the same rhythmic motive, but to melodic motives that differ slightly in pitch |
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| 16th c. Italian composer; his compositions are the model of the carefully controlled, sacred polyphonic style of the Counter Reformation |
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