Music 201 Final

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sivie13
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Music 201 Final
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2011-12-12 23:54:32
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vocab Dr. Howard assigned
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  1. Combination of classical and gothic. Crowding of figures typical of earlier
    styles. Distortion of figures.
    Nicola Pisano
  2. Figures more slender. Elegance and space not found in earlier
    styles. Intensity of feeling typical of
    Northern late-gothic styles. Relief
    tilted towards the viewer, for greater impact.
    Giovanni Pisano
  3. Derived from the italo-byzantine tradition. Attempts at 3-D in the shading on the body.
    Cimabue
  4. Use of architectural elements to give space. First signs of International gothic style.
    Duccio
  5. Student of Cimabue. Most influential artist of his era, moving towards a Renaissance aesthetic. Solidity of figures, attempts at realism.
    Giotto
  6. Rich colors, expressive style, typical of International Gothic.
    Martini
  7. attempts at believable perspective in buildings
    Ambrogio Lorenzetti
  8. Rise of Burgundy as an important cultural center. Focus on everyday subjects.
    Limbourg brothers
  9. complexity of music typical of the ars nova. Emphasis in top voice. Use of the formes fixes. Messe de Notre Dame the first unified mass setting of the complete Mass Ordinary.
    Guillaume de Machaut
  10. Emergence of a vernacular literary tradition in Italy. High-quality sonnets important for later madrigal composers.
    Petrarch
  11. Documents the plague and its effects on society. Decameron a series of stories that provide entertainment, moral content, glimpses of late medieval life.
    Boccaccio
  12. One of the most important writers in English. Canterbury Tales similar to Decameron in intent and organization. Focus on detail in the description of characters.
    Chaucer
  13. late example of International Gothic style
    da Fabriano
  14. Monumental, classical, symmetrical. Early manifestation of Renaissance ideals. Attempts a realism and perspective.
    Masaccio
  15. symbolic painting: prosperity of Italian bankers. Exquisite detail and visual tricks (the mirror)
    Jan van Eyck
  16. first free-standing nude sculpture since antiquity. Biblical scene rendered with classical influence. Classical reticence in face. Mary Magdalene statue very expressive.
    Donatello
  17. Debt to Masaccio. Observation of the natural world, but some illogical aspects (proportions, lighting) that are not classical.
    Fra Angelico
  18. Fascinated with perspective and foreshortening. Liked to include horses in his painting. Frozen quality to the compositions.
    Uccello
  19. Classical scenes, lightness, airness. In Adoration of the Magi, the work praises the Medici more than the baby Jesus
    Botticelli
  20. Wide-ranging genius. Studied anatomy to improve his figural painting. Classical/symmetrical arrangements.
    Leonardo
  21. Transitional figure. Art tends to show (or imply) motion, not strictly static. Extraordinary technique (Pieta) and monumental style (David)
    Michelangelo (early)
  22. claimed to have read every book in Italy. Synthesis of all learning. Places man as the loftiest creation.
    Mirandola
  23. a pragmatist. Reputation not entirely deserved. The Prince gives instructions on how to retain political power, if that is the goal.
    Machiavelli
  24. greatest Christian humanist of his era. Agreed with some aspects of the reformation but did not support the reformers. Cynical.
    Erasmus
  25. Burgundian composer. Missa l'homme arme combines secular cantus firmus with sacred genre
    Dufay
  26. Greatest Franco-Flemish composer. Allows music to influence text (text-painting). Wrote both sacred and secular music. Very influential on later composers.
    Josquin
  27. Ordered space, classical inspiration, symmetrical arrangements, brilliant color and clarity.
    Raphael
  28. "Terribilita" twisting figures, "Michelangelesque" (muscular forms, even for women). Considered himself a sculptor first, painter second.
    Michelangelo
  29. oil paintings more suited to Venice's damp climate. Detailed classically arranged, allegorical works.
    Giorgione
  30. student of Giorgione. Rich colors and lighting. Titian red (in Venus or Urbino) Dynamic painting.
    Titian
  31. Mannerist, Perspective lines converge on darkness. Conflation of time periods in clothing. Christ difficult to locate in the scene. Uses classical techniques for non-classical ends.
    Tintoretto
  32. Mannerist. Upturned pyramid shape. Ambiguous. Shocking colors. Void in the middle of the painting.
    Pontormo
  33. Mannerist. Elongation of proportions, ambiguous scale, disturbing posing and color of baby combined with sensuality of left-hand side of painting.
    Parmagianino
  34. unstable "inverted pyramid" organization, bright colors, twisting, and distortion of bodies.
    Fontana
  35. fluid interchange between vocal and instrumental genres in the renaissance. Instrumental works in consorts (grouping of similar instruments)
    Susato
  36. wrote music that conformed to characteristics suggested by the Vatican Council (clear text-setting, no secular influences). High-point of renaissance polyphony. Changes texture for emphasis (full chorus on most important words and phrases), homorhythmic text setting.
    Palestrina
  37. worked at St. Mark's in Venice. Church design allowed for splitting of performers into smaller groups in different parts of church. Beginning of baroque musical ideal (the contrst between groups)
    Gabrieli
  38. begins the Reform movement by publishing criticisms of the church. Never intended to form a different church, simply to reform the traditional church. Lutheran church still believed Mass was the most important part of the liturgy. Introduces congressional singing.
    Luther
  39. first artist to recognize the commercial potential for art. Specialized in reproducible genres (woodcut, engraving, prints). Combines passionate religion with classical learning and tecniques.
    Dürer
  40. reintroduced Medieval hierarchy of figures (more important figures are larger), combined with intense passion and drama. Rejects classical restraint in favor of dramatic, even violent images of contemplation.
    Grunewald
  41. one of the first landscape painters. Focus on nature as important trait in the renaissance
    Altdorfer
  42. religious artist, but paintings are often nightmarish. Surreal figures, garish colors.
    Bosch
  43. peasant scenes, everyday people. Diagonal lines and composition show Italian influence, but scenes are Northern.
    Brueghel
  44. One of the most important writers in any language,
    and the most important in English.
    Classical themes in his plays, but they introduce a baroque fascination
    with the supernatural. Shakespeare
    invented new words, plays are full of word-games. Role of iambic pentameter. Wrote so that all could understand.
    Shakespeare
  45. hiaroscuro used to highlight drama of religious
    scenes. Paintings tell a story,
    including back story and future events.
    Caravaggio
  46. violence of biblical (or apocryphal)
    stories. Mastery of foreshortening. Influence of Caravaggio.
    Gentileschi
  47. classical subject matter, but intensified
    through repetition until it’s over the top.
    But “Flight into Egypt” is restrained, understated – figures are not
    seen until after the landscape has already been seen.
    Carracci
  48. David is dynamic, in motion, and with a powerful facial
    expression (self-portrait of the artist).
    St. Teresa is a mixed-media work (the metal rods are part of the
    sculpture), powerfully expressive of intense emotion.
    Bernini
  49. Undulating façade makes the building front seem
    like its moving. Introduction of the
    curve (baroque) into a classical design (renaissance).
    Borromini
  50. French baroque is more restrained than
    Italian. Less violent, figures seem
    polished, unreal. But still using
    chiaroscuro.
    de la Tour
  51. classical subject matter, tylized posing. Bright colors, but artificial arrangement.
    Poussin
  52. gentle landscape artist, showing the effect of
    diffuse light on the landscape. More
    beautiful than nature itself.
    Claude Lorrain
  53. aristocratic portraits.
    Combines realism with symbols of power.
    Rigaud
  54. first great baroque composer. Wrote madrigals in both old and new
    styles. Wrote first great opera, Orfeo.
    First composer to specify instruments in the orchestral score for
    Orfeo. Word-painting in madrigals (madrigalisms).
    Monteverdi
  55. worked in the generation after Shakespeare. Intellectual poetry that draws on myriad
    resources, led to him being called “metaphysical poet.” Poetry about big themes: death, love.
    Donne
  56. early in career was a fringe pamphleteer, but always wanted
    to write epic poetry. Going blind help
    focus his determination. Paradise Lost a great epic poem in blank
    verse, though criticized for making Satan too heroic (he represents the loner
    fighting against the establishment).
    Milton
  57. works in Spain, but shows Italian (mannerist) influence in
    distortion and choice of colors. Lots of
    motion, dynamism in later paintings.
    El Greco
  58. shows /religious violent scene, but presented
    without judgment. Dispassionate and
    passionate at the same time. Strong
    J-line typical of baroque curvature.
    Ribera
  59. raises the artist to more than simply an
    employee. Ambiguity of
    representation. Who is the painting
    of? Who are we?
    Velazquez
  60. known mainly for painting large naked women. Twisting figures in allegorical or classical
    paintings. Importance of light and
    color.
    Rubens
  61. portrait artist, assistant to Rubens
    Van Dyck
  62. Dutch artists had to rely on civic institutions
    for patronage, since there was no church or court patronage. Scene combines individualized portraits with
    group dynamic.
    Hals
  63. paintings are intimate, static, domestic,
    anonymous. Light is diffuse. Careful geometric arrangements.
    Vermeer
  64. considered the biblical paintings his most
    important works. Use of suggestion,
    rough brush strokes, instead of detailed depiction (a baroque trait – invokes
    the imagination). Strong chiaroscuro for
    dramatic effect.
    Rembrandt
  65. First composer to make a career selling printed
    music. First composer to write only
    instrumental music. First composer whose
    works remain played and studied after his death. Importance of trio sonata genre. Great instruments helped improve
    string-playing techniques in Italy.
    Corelli
  66. one of the great composers of his era, and one
    of the best English composers of all time.
    Wrote for the court, but also stage works. Dido and Aeneas unusual because it is sung
    all the way through. One of the first
    important English operas. Ground bass
    aria, but with unusual bass-pattern (5 measures long).
    Purcell

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