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| little is known about perotin, but both were big names. two musicians known for creating polyphony at Notre Dame. Leonin became a priest, wrote 8 books and several shorter works. Leonin came first, although they did live in the same-ish time period. |
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| chanssonieres (songbook) for the troubadours who spoke occitan and lived in southern france. trouveres lived in northern france |
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| 3 stringed instrument with a crank. crank sounded 2 strings whilst you played the third. fool. |
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| double reed, oboe ancestor. no keys, only holes |
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| made of wood, and had a cupped mouthpiece like a trumpet |
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| refers to dynamics not pitch of instruments |
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| style of organum when both parts move at about the same rate. long melisma. |
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| initially all parallel motion, no independent movement. |
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| style of organum, upper voice moves much more, while the chant melody is in the bass |
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| Leonin was credited with compiling the “great book of polyphony”. contained two voice settings of solo portions of the responsorial chants for major feasts at the church or something like it. |
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| old art; refers to the music of Europe of the late Middle Ages between approximately 1170 and 1310 |
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| musical style which flourished in France and the Burgundian Low Countries in the Late Middle Ages: more particularly, in the period between the preparation of the Roman de Fauvel and the death of the composer Guillaume de Machaut (1310 – 1377ish) |
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| duplum, triplum and quadruplum |
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| long moving notes and a slow chant melody. leonin wrote mostly in duplum and perotin wrote in triplum and quadruplum. parts had relatively small range and thus crossed a lot. |
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| self-contained section of organum. substitute clausula could be moved around. |
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| notre dame composers, set for 2-4 voices, still perfect intervals ver occasional 3rds, tenor part had more movement. |
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| a solo introduction to a piece. |
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| new note shapes (for duration of note) |
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| invented the barline, it was a dot at the time |
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| a round where the voices trade |
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| round, a perpetual canon at the unison |
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| a musical technique that arranges a fixed pattern of pitches with a repeating rhythmic pattern. |
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| french term ”hiccup”. two voices alternating in rapid succession each resting while the other sings |
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| French, and a poet and of the ars nova period. Notre Dame. 1377 died. mass de notre dame (most famous work) each voice had it’s own part. |
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| Blind organist, composer and instrument maker. Most popular italian composer |
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| italian poetic and musical form |
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| popular style melody is set in strict canon to lively, and graphically descriptive words |
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| musicians were trained to use chromatic alterations during a performance. performer chose the optional alteration or not, mostly to avoid tritones in the melody |
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| early trombone ancestor. considered a high instrument |
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| musical drama associated with the church liturgy, performed by town guilds |
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| chant is alternated between the soloist and the group |
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| two singers, one sings as written other adds ornamentation |
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| animal skin used as paper |
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| hildegard, first major piece by woman not associated with liturgy |
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| big book of chants trying to standardize chant throughout all the churches |
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| vincentino, earliest purely instrumental forms. popular in italy |
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| french secular song feat. word painting, janequin |
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| john dowland, ancestor to guitar tablature, method of notation for lute and other strings |
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| gabrieli, first piece of music to specify dynamics, late 1500s |
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| juan del encino, spanish polyphonic secular song musical form spanish |
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| nicholas yonge collection of italian madrigals translated into english |
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| Thomas Moorely, collection of 25 madrigals by 23 different composers dedicated to queen elizabeth |
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| henry 8, refers to the sacred music of the protestant church post-reformation, because they didn’t use the catholic mass |
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| exposition is the main theme, and usually played on tonic. the answer usually will be a response (maybe even the exposition) on the dominant. |
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| German word for town pipers |
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| work in several movements that emphasized the first violin part and the bass, distinguishing the concerto from the more contrapuntal texture characteristic of the sonata |
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| set a small ensemble of solo instruments (concertino) against a large ensemble (concerto grosso) |
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| sonata de chiesa (church sonata) |
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| contained mostly abstract movements, often including one or more that used dance rhythms or binary form but were not usually titled as dances. |
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| chamber sonata (sonata da camera) |
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| series of stylized dances often beginning with a prelude |
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| directional notes in old notation. the showed contour and direction, but not the actual note |
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| (991-1033) invented solfege and the four line staff; Schola Cantorum |
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| Guido d’Arezzo’s hand system of solfege |
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| a series of services that occurred at specific times in the day. vespers was the most important one musically and occurred at sunset |
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| German; knightly poetic musicians |
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| a collection of songs, praising the virgin mary |
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| style of organum, upper voice moves much more while the chant melody is in the bass |
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| how music should be performed with strict authenticity |
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| ‘for the sake of beauty’. this goes with the musica ficta; the idea that the soloist had control over exactly what pitch they wanted if expressed by the composer, so as to avoid tritones |
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| (480-524 AD) theoretician; De Instituione Musica |
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| wrote “LIber de Arte Contrapuncti”, which outlined the new standards of harmony and said nothing written before 1430 was worth hearing |
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| an unwritten part that was parallel to the cantus firmus. improvised, probably a 6th away |
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| another improvised part, similar to the discant |
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| polyphonic; alternated a verse with a chorus (called a burden) |
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| composed in all polyphonic (mostly vocal) genres, both sacred and secular. |
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| still evolving, thought of as a church anthem. review. p 174 |
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| reformation and “all that shit” |
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| a short, directly repeated, usually descending and minor, bass melody. very popular during the baroque |
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| first big composer of the renaissance, highly respected. held many prestigious court positions and even worked for the pope. wrote masses, motetes, chansons |
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| new words to old music, borrowing was a compliment, not copyright infringement. |
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| hymn tunes in the lutheran church, and written for the congregation |
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| extended work based ona chorale, counterpointed all over the place. Came in cycles of 260 (5 years of sundays) |
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| all his wives and shit. know it. |
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| catholicism and england in the renaissance |
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mass=service (were all in English)
motet=anthem |
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fall anthem- a capella, usually polyphonic
verse anthem- accompanied |
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| composed through all the monarchy and church changes, wrote for both |
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| English composer. Was Catholic, but no one killed him cause he had mad skills writing music. He did write for both like Tallis |
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| 40 part motet by Tallis, written in Latin for Queen Elizabeth |
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| a catch-all generic term, secular, a million different forms |
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| applies to vocal music, and the words dictate what is done with the melody |
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| Italian, renaissance, experimented with dissonance, quarter tones and chromaticism |
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| renaissance, experimented with dissonance. murdered his wife |
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| madrigal composer of the renaissance |
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| french, invented a very pictoral form of the chanson |
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| composer, but mostly known for the Syntagma Musicum: an early music encyclopedia. also did collections and arrangements of dances. |
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| Michael Praetorius’ famous collection of 312 instrumental dances (1612) |
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| very famous baroque composer, wrote the first piece that we know of that had specified dynamic markings. The king of polychoral antiphonal church music. |
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| instrumental pieces for church |
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| new to the baroque. the chord part only gave bass notes and the rest was figured bass or improvised |
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| the term for the keyboard players improvisation from the given bass line |
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| actually a cello, got the same part as the chord player, only plays the line |
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| a group of noblemen in Florence, Italy that were poutting on Greek plays and decided to set the Greek chorus to music, then the whole thing. Both the Camerata and Monteverdi are credited with the birth of opera |
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| play with music and songs interpersed, and dealt with riral settings |
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| a cycle telling a story, usually silly |
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| higher dollar show, let more directly to opera |
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| a passage in which the words are sung in a way that resembles speech |
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| originally any expressive melody, usually, but not always, performed by a singer |
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| Italian word for symphony |
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| introduction to what’s coming next. often returns (ritorn) at the end |
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| only wrote vocal works. was both a Baroque and Renaissance composer, and quite successful. L’Euridice, L’orfeo yada yada |
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| For your studying pleasure, this gem is taken directly from someone’s notes: absolute rock stars….with no balls. |
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| excited style, a quick thing to convey anger or any other emotion in early opera |
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| Florence, Italy. first female opera composer, also sang and was a big name |
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| the guy in charge of the theater. a modern day producer |
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| the singers figured out they could make a lot of money and attention |
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| female composer of madrigals, cantatas and arias. wrote for small private gatherings rather than large, public audiences. |
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| repeating pattern in bass, upper voices work to hide the repetition |
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| like a catholic version of cantanta |
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| short sung piece, frequently aria |
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| old style (polyphony, counterpoint) |
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| new style, early 17th century |
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| works for chorus, orchestra and soloist |
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| leading composer of latin oratorios. Jepthah and stuff |
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| Luteran composer, known for church music. Studied with Gabrieli |
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| oratorio dealing specifically with holy week |
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| luteran genre based on biblical narrative |
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| Jewish composer, and quite important. dunno why. |
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| Elisabeth Jacquet de la Guerre |
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| child prodigy, french, was apart of the king’s mistress’s entourage, wrote some keyboard sonatas, opera and was big at her time….recently rediscovered |
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| Mid-baroque, brought up in music from childhood, died of pneumonia and is in Westminster abbey. was a major composer of the time. wrote dido and aenaus, the most performed baroque opera |
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| a round with raunchy text |
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| NOT DOMINICO! wrote a lot of vocal music. was born the same year as Bach (1685) and other things maybe? |
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| played violin, no vocal music, only chamber music |
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| Paris, wrote “treatise on harmony”, much of which still applies and was absolutely huge at the time. wrote operas and ballets |
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| Worked at Pieta, which was a hospital/boarding school/welfare institution that provided excellent musical instruction to young women with talent, paralleled the conservatories. Worked there for 40 years on and off. was an ordained priest, and was known as the ‘red priest’ cause he had red hair, eventually quit priesthood because of his asthma. played violin and wrote several hundred concertos, mostly instrumental. |
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| didn’t write one opera. church musician. wrote a lot, look it up. It’s Bach. |
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| went to italy and absorbed the style. pretty much became an italian composer. Went to Hanover, Germany and stuff happened. Went to London and was highly successful. Went back to Hanover and went back to London after that, without Hanover’s blessing (oooooo!). Water Music is the pieces that supposedly won King George’s heart over after Queen Elizabeth died. Messiah and stuff…apparently, King George started the tradition of standing during the hallelulia chorus |
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