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| a music historian who specializes in ethnic music; a good example is Bela Bartok |
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| What type of meter(s) did Native American music entail? |
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| Steady duple or single meter |
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| What kinds of percussion instruments did Native Americans use, and from what kinds of items were they made? |
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| Rattles – gourds, tree bark, carbed wood, deer hooves, turtle shells, spider nests
Drums – framed, barrel, water |
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| What does the word “Renaissance” mean in French? |
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| Where did the Renaissance primarily start? |
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| Commitment to independent reasoning and reliance on original sources; combined reasoning with empirical evidence |
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| accumulation of wisdom through “disputation;” dependence on traditional written theories |
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| What invention revolutionized the written word? |
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| What distinguished Protestant ideas from Catholic ideas? |
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Emphasis on an individual’s personal relationship with God
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Salvation based on faith rather than works
Worship is encouraged to be in the vernacular |
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| For what revolutionary religious measure is King Henry VIII remembered? |
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| Establishing the Church of England |
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| A collection of works from 1350 to 1420, containing the works of significant English composers John Dunstable and Leonel Power |
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| How were Renaissance theorists different from Medieval theorists? |
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| While Medieval theorists prioritized number and reason over sound, Renaissance theorists used judgment of the ear |
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| “Liber de arte contrapuncti” |
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| a book by Johannes Tinctoris in which he based his judgments on study of actual manuscripts; significantly, he identified a break in musical tradition that had occurred about 40 years before |
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| Renowned Renaissance composer and theorist who wrote “Liber de arte contrapuncti” |
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| English guise; term used to identify sonority |
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| the consonance of a piece; primarily dominated by thirds, fifths and sixths |
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| Name three major early Renaissance composers. |
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| John Dunstable
Guillaume Du Fay
Johannes Ockeghem |
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| a work in which there are three lines total, with one line unnotated and instead indicated as parallel to the top line, typically a 4th below |
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| a work in which there are interpolated lines above (parallel 4th above) AND below (3rd or 5th below) a preexisting melody. |
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| “fixed melody” used as the basis of compositions |
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| Name characteristics of the motet. |
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| Single text, direct connection between words and music
pervading imitation or imitative polyphony with all voices singing the same musical idea and equal in melody and rhythm
Self-contained sections
Paratactic form
Words nearly always religious |
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| Small units that are more/less independent from one another |
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| steady pulse; interpreted as the standard human heart rate |
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| Name the different categories of Renaissance Mass. |
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| Cantus firmus, Canon, Imitation (Parody), Paraphrase |
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| Define “cantus firmus” in terms of the category of Mass |
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| in which a pre-existing melody is placed in the tenor |
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| one of the notated voices generates a second voice |
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| Incorporates all the voices of an existing work into a new work |
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| Borrowing an existing melodic idea from a different work |
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| What countries constituted the Protestant north? |
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| Northern Germany, Scandinavia |
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| What countries constituted the Catholic south? |
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| Bavaria, Austria, Switzerland |
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| someone who after careful investigation assumes the office of the “cantor” (performer) |
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| Which composer was a transition composer between the Medieval and Renaissance periods, and why is he considered thus? |
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| Du Fay; he alternated between plainchant and 3-voice polyphony |
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| From what various sources were some of Mass’s cantus firmus created? |
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| Plainchant, secular songs, random solmization syllables and soggetto cavato |
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| in which a musical idea is derived from a word or name |
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| small-scale religious work similar to the motet but with religious text |
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| relationship between words and music |
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| Name the characteristics of the Italian madrigal. |
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| short composition
secular text
both homophony and imitative polyphony are used
words given more importance (word painting) |
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| music to illustrate a word |
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| In what types of settings were Italian madrigals performed? |
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| Intimate settings such as after dinner
Large banquets and private homes |
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| a collection of madrigals written for Queen Elizabeth I |
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| What were the most known types of German secular works during the 16th century? |
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| Monophonic work with no accompaniment |
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| Who were the Meistersingers? |
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| A German guild of well-schooled musical amateurs |
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| essentially strophic madrigals for voice and lute |
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| For what was John Dowland particularly remembered? |
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| What is an anthem and what are its types? |
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| English equivalent of the motet
Full anthem: chorus throughout
Verse anthem: alternates choral passages with passages for solo voices |
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| Who was the Council of Trent and what actions did they take during the Renaissance? |
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| a council that met to revise Catholic traditions
revised liturgy, purged the church of practices accrued of the centuries, eliminated a number of plainchants added in the Renaissance, discouraged use of secular music as a model for sacred music |
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| Who is remembered as the master of 16th century counterpoint? |
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| a harmonic idiom that makes ample use of triads and limits the use of dissonance considerably; Dunstable and his followers used this |
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| a motet featuring a florid, lyrical top voice over a pair of slower moving voices |
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| a melodic counterpart to the metrical patterns of isorhythm; varying on a melody |
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| early Renaissance French secular songs |
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| a technique used by composers in the late 1400s in which a series of musical ideas are stated imitatively in all voices throughout an entire work or section of a work; requires all voices to sing essentially the same musical ideas. |
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| distinct thematic unit in which all the voices of a polyphonic compositions take up more or less the same musical idea in succession |
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| stepwise progressions with only occasional leaps of more than a fifth; characterizes melody in Renaissance music |
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| a cycle of all movements of the Mass Ordinary integrated by a common cantus firmus or other musical devices |
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| Who were the two main composers who started the writing of Cyclic Mass? |
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| Leonel Power and John Dunstable |
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| a thematic idea in multiple voices placed prominently at the beginning or section of a movement |
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| Name the different techniques Josquin applied a cantus firmus to his works |
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| Strict – in which the cantus firmus remained consistently in the tenor
Ostinato – in which the cantus firmus is repeated so consistently that it appears in at least one voice at all times
Free – in which the cantus firmus migrates from voice to voice or may drop out altogether from time to time |
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| in which an existing melodic idea is borrowed but is elaborated on freely by all voices in a new work |
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| songs based on freely structured poems as well as poems in a variety of established Italian literary forms; avoids imitation and contrapuntal artifice |
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| type of performance featuring repeated alternation between two voices or groups of voices |
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| Name two major composers of the 15th and early 16th centuries who originated in England. |
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| John Dunstable and Leonel Power |
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| Name three major composers of the 15th and early 16th centuries from France. |
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– Gille Binchois
– Antoine Busnois
– *Johannes Ockeghem*
– *Johannes Tinctores*
– *Josquin des Prez*
– Jacob Obrecht
– Heinrich Isaac
*Starred names are the composers who relate more directly to our class* |
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| a large viol-like instrument held on the shoulder |
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| a kind of J-shaped double-reed instrument |
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| forerunner of the bassoon, also known as the Wurstfagott or “sausage bassoon” |
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| a separate set of pipes situated underneath or behind the organist; the most common additional register in the organ |
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| portable organ which rested on the floor or on the table while a second person worked the bellows, allowing the performer to play with both hands |
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| What was the most common plucked stringed instrument in the Renaissance? |
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| What were the two string families in the late 15th century? |
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| The viol and violin families |
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| any viol meant to be played while being held in the arm |
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| any viol meant to be played between the legs or held upright on the lap |
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| What differences are there between violins and viols? |
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| Viols have sloped shoulders, flat backs, fretted fingerboards and six strings tuned to fourths save for a major third between the two middle strings. Viols were softer and were bowed underhand, unlike violins. |
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| What types of recorders existed in the late 15th century? |
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| Soprano, alto, tenor, bass and sopranino |
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| What are the two principal double-reed instruments of the late 15th century? |
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| The shawm and the crumhorn |
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| What are two forerunners of the bassoon? |
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| Describe the common instrumental ensemble in late 15th century Renaissance. |
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| Small ensembles of matched instruments with different ranges |
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| a slow, stately dance for couples, executed with smooth, gliding steps |
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| replaced rondeau; generally homorhythmic and dominated by the vertical sonorities of tonic, subdominant and dominant chords. Although they were notated polyphonically, the melodies were generally confined to the uppermost line. |
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| a secular vocal composition for three or more voices; a new type of polyphonic song |
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| in which each line of text is set to essentially new music; madrigals generally held this characteristic |
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| principal genre of Renaissance Spanish song; poetic form equivalent to the French virelai (AbbaA) |
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| a term used to cover any arrangement of an existing vocal work for a plucked string instrument or keyboard |
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| instrumental compositions in which a given theme was restated with different shaping throughout a work |
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| a freely composed work that “seeks out” a particular mode or thematic idea; later became a means of contrapuntal exploration inherent in a theme or series of themes |
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| a sectional, freely constructed work unrelated to any preexistent material |
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| a work that allows for free flights of the composer’s imaginative fantasy, utilizing intense thematic manipulation |
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| Name some different types of 16th-century instrumental dance music. |
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– Pavane – slow, courtly dance in duple meter
– Passamezzo – similar to the pavane, but with a lighter step
– Bourree: lively dance in duple meter with a prominent upbeat at the beginning of each section
– Saltarello – lively dance that often follows a slower one
– Galliarde – like a saltarello but even more vigorous, with larger leaps by the dancers
– Volta – vigorous “turning” dance often in compound duple meter
– Branle – “line dance”
– Moresca – “Moorish dance”
– Rondo – “round dance” |
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| Upon what structure were most 16th century instrumental dance pieces built? |
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| Periodic phrase structure – all of these dances are built on this principle; that is, they consist of many modular units of equal length |
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| large section in dance music to be repeated |
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| in which a central idea is presented and varied over the course of an entire movement, in contrast to paratactic form |
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| Mannerism (book definition) |
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| term from art history that designates a style of painting and sculpture characterized by the use of distortion, exaggeration and unsettling juxtaposition; in music this applies to a small repertory of works which are characterized by a comparable process of distortion, including extreme dissonance, unusual harmonic progressions, and exaggerated word painting. |
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| music reserved for a select audience of elite noble-born or aristocratic listeners |
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