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A characteristic of the new Venetian School |
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Evolved out of Gombert’s use of pervading points of imitation that also influenced instrumental music.
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Unification by compositional procedure |
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What Josquin took from Ockeghem along with extensive use of canon, embellishment of borrowed melodies, and drive to the final cadence.
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Little Psalter songs set by Susato and Clement |
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Using a rising scale to set the word “ascend” |
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The largest body of Italian sacred music written c. 1500 |
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Homorhythmic chordal style Italian partsongs made popular by pre-lenten and springtime celebrations |
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A leading composer of frottole in Mantua |
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Verdelot, Arcadelt, and Festa |
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The leading composers of early madrigals |
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An important middle Madrigalist |
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Featured in Gesualdo’s Moro Lasso |
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The Anglican version of the motet |
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Private concerts of the delle donne |
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Resembles the Parisian chanson in many respects |
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The English composer whp provided the stylistic model for the Elizabethan light madrigal |
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The leading composers of consort songs |
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The leading composers of the lute song or ayre |
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Masters of the polyphonic Lied |
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The principal types of Spanish 16th century secular vocal music |
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Sang chorales in the early Lutheran Church |
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The first musicians to compose Anglican services in accord with Archibishop Crammer’s recommendation for syllabic settings |
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The most important English composer during the first part of the 16th century |
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Correct declamation and textual clarity |
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Concerns of the Council of Trent addressed by Palestrina |
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Written by Palestina to feature intelligibility of the text |
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A concern of the Council of Trent |
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Had Luther’s 95 theses nailed to it |
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The greatest composers of the last half of the 16th century |
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Texts which use a mixture of languages |
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Notation that some lute and keyboard music was written in |
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Examples of wind instruments |
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Harpsichord and Clavichord |
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Two Renaissance keyboard instruments |
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An important dance treatise by Arbeau |
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The evolution of the canzona |
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Second organist at St. Mark’s who culminated the Venetian style |
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Credited with inventing monody |
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The academy which met in Count Bardi’s house |
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Music conceived by the Florentine Camerata |
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The two Baroque Practices |
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The 3 styles of the Baroque |
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Continued throughout the Baroque Period |
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The treatise of Glareanus that recognized 12 church modes |
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The prevailing international style of the early Renaissance |
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The first composition written as a cycle of canons by Ockeghem |
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An important feature of Josquin’s style |
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What most of Josquins secular works are |
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Used cabalistic numerology |
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The first Franco-Flemish composer to disseminate that style to German lands |
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The first major Spanish composer of early 16th century sacred music |
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Whom many consider to be the greatest composer |
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The flemish composer who began the Venetian School |
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Text painting for singers which is not heard |
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When the musical renaissance is generally considered to be |
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The Fall of Constantinople |
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Caused Byzantine scholars to seek refuge in Italy |
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Created in the year 1453 in concurrence with the 100 Years War and the Fall of Constantinople |
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Raising the third in the final cadence |
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Renaissance homorhythmic, syllabic writing |
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A hallmark of Ockeghem’s writing |
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The doctrine of affections |
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Expression of one strong emotion at a time |
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What the Baroque Period generally consists of |
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The first real opera according to Stolba |
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An early composer of opera along with Caccini |
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The first real opera according to Dr. H |
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Made Naples a center of opera
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Greatest composer of French opera in the latter half of the 17th century |
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Composed by Henry Purcell |
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Like an opera but with a narrator and no stage action |
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Prelude to an opera with an F-S-F structure |
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Prelude to an opera with a slow fast slow structure |
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The greatest German composer of the 17th century |
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The greatest Spanish composer of the Renaissance |
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The main string instruments of Ancient Greece |
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Songs sung at drinking parties |
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What Plato required as government regulated education of boys in the Utopia described in The Republic |
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Dealt with music’s ability to influence character and morals |
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A specific character or feeling |
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What Greeks believed each mode was associated with |
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Stated in his Harmonics;the theoretical principles of music and then related them to astronomical features of the cosmos |
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The basis of practical Greek music theory |
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The note at the center of the Greek scale called “a” |
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Provided in the Edict of Milan (313) religious toleration and the right to own property to the church |
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What the Nicene Creed was later used as after being adopted by the First Ecumenical Council (325) while they were trying to resolve a doctrinal controversy |
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The most important monastic system at Monte Cassino in the sixth century |
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Musica Mundana, Musica Humana, Musica Instrumentalis |
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The three categories that Boethius classified music into |
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Advocated for the standardization and codification of the Roman chants |
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Troparia, Kontakia, Kanones |
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The Three Byzantine hymn types |
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When a passage of scripture was recited or chanted by one person in a rendition from beginning to end |
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The first half of the psalm verse is chanted by one group of singer and the second half of the verse by another group of singers |
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The first half of a psalm verse is chanted by a cantor or percentor and the second half of the verse by the congregation |
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The most authorative source on music in the Middle Ages written by Boethius
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The only chromatic alteration used in Gregorian chant |
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A process of assembling melodic formulas that many chants indicate were made by |
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Singing of several neume per syllable of text |
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Chants in which sections or phrases are sung by alternating choirs |
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The most important of the liturgical books |
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Vespers, Matins, and Lauds |
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The most important Offices musically |
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The name of the commemoration of the Lord’s supper by the 2nd century |
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The opening section of the mass that is part of the proper |
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The surviving Greek text in the Mass |
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The melisma that ends the Alleluia |
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A trope sung immediately after the Alleluia |
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Singing introduced by St. Augustine while the bread and wine are brought up
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Chants of the Mass which change with each service |
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Kyrie, Gloria, Credo, Sanctus, Agnus Dei |
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The order of the 5 parts of the Ordinary of the Mass |
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A chant sung in alteration with a psalm or canticle |
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Where an authentic modal scale begins on its final, a plagal |
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Recognized the importance of staff notation to designate definite pitches |
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How identification of a mode was made |
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In Aquitanian polyphony the voice with the original chant melody, formery called the vox principalis |
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Polyphony used in liturgical music from the late 9th century to c. 1250 |
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The style of writing in which a text is set syllabically in note-against-note polyphony |
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When the final split between the Eastern and Western Church occurred |
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A treatise on early organum |
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The organal voice in St. Martial (Aquitanian) organum |
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Considered the best composer of discant |
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The best composer of organum |
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One of the most significant contributions of the Parisian (Notre Dame) school of composers |
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What the theorists called the threefold unit of measure for each rhythmic mode |
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The first medieval theorist to give a thorough explanation of rhythmic notation |
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The polyphonic sections of chant sung in discant style |
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Leonin’s collection of organa |
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What the composers wrote in the Notre Dame school where the original chant was syllabic and where the chant was melismatic repectively |
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Valuable because of their ability to alter the amount of a time consumed by a service |
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Another name for melismatic organum |
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Tenor, duplum, triplum, quadruplum |
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The order in polyphony of 4 voices from the bottom up |
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Long textless melismas occuring at the end if a conductus |
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A non-liturgical Latin poem set in discant style and often used for processionals |
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A composition with a pre-existing Latin tenor and one or more voices in the vernacular |
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When a tone is altered to avoid the tritone |
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Motets where the triplum, duplum, and tenor are distinctive rhythmically and melodically |
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Motets in which the triplum moves rapidly above a slower duplum and tenor |
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A preexistent melody used as a basis for another composition |
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The only six-voice composition prior to the 15th century and the only one to combine rondellus and rota technique |
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Wrote the earliest morality play called Ordo virtutum |
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Minstrels from northern France, often from aristocratic families |
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Sang dawn or morning songs called albas |
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What Germanic poet composers preferred to use also called abb (Stollen, Stollen, Abgesang) |
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German citizens who belonged to guilds that regulated and promoted composition and performance of songs |
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Motets with tenors that reiterated rhythmic schemes combined with repeated melodic patterns |
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The definitive composer of the French Ars Nova |
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The practice of moving the soloistic voice to the top supported by tenor and contatenor |
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The so-called Landini cadence |
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Frequently used by Machaut |
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The earliest unified polyphonic setting of the Ordinary by an identified composer |
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The Plague, the Hundred Years War, the Great Schism |
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The three most important events of the 14 century |
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The greatest Italian composer of the Ars nova |
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The two greatest English composers of the early 15th century |
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The English practice of improvising above and below a middle line (meane) to create a series of first inversion chords |
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A two-voice piece of English music featuring parallel intervals (mostly thirds and sixths) |
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A good example is Firenze’s Tosto che l’alba |
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A pioneer in the composition of the ballata |
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The rhythmic pattern in an isorhythmic tenor |
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The Fall of Constantinople |
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Occurred in 1453 along with the end of th Hundred Years War |
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The family which ruled Florence in the 15th century |
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One of the most important theorists of the 15th century |
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Ranked after DuFay and Dunstable as the master of 1400-1450 |
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First used by Dufay in a motet |
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Used by Dufay in Nuper rosarum flores–Terribilis est locus iste
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Treble-dominated, three-voice |
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A popular tune used first by Du Fay and then many others |
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The favorite court dance of the 15th century |
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The appropriation of a secular song for sacred use |
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An important Burgundian composer |
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