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Ockeghem Mass: Missa Fors Seulement
5 voices; takes miltiple voices from pre-existing masses and experiments with them
Ockeghem Mass: Missa Prolationem
"Hidden structure; different ""time signatures"" create a 4-voice composition"
Ockeghem Mass: Missa Cuisuis Toni
"Can be sung in any mode - is written in one tone
Ockeghem Mass: Missa Deplus en plus
Melody from Binchois
Ockeghem Mass: Missa pro defunctis (requiem)
Does not contain a Dies Irae section; first surviving polyphonic requiem
(1457(8)-1505) Franco-Flemish Composer; 30 masses and 28 motets
(1450 - 1517) Franco-Flemish Composer; 35 masses and 50 motets
Josquin Des Prez
"(1450-1521) Franco-Flemish ""genius"" of the Renaissance; 18 masses
"Attributed to Josquin; ""perfect art"" nothing added or taken away.
> pervading imitation (new seamlessness)
> point of imitation (section)
> text depiction/text expression (text painting) esp. in motets
> homophonic texture sections contrast the pervasive imitation"
Missa Hercules de Ferrariae
(re ut re ut re fa mi re)"
"Secret chromaticism; Josquin ""Absalon
First part of motet; made them longer
Second part of motet; made them longer
Missa L'homme arme
Cantus Firmus Mass by Josquin
Missa Pange Lingua
Paraphrase Mass by Josquin
Miss Malheur me bat
Parody/Imitation Mass by Josquin
Missa Mille regretz
Parody/Imitation Mass by Cristobal de Morales (1500-1553); based off a Josquin chanson
Cantus Firmus Mass
"A cyclic Mass in which preexistent music
A cyclic Mass in which preexistent music is used (but is freely altered) in all voices and in all of the Mass movements
"Mass that uses multiple voices of another pre-existing piece of music
"French polyphonic musical setting of a secular poem in the 14th and 15th century; can be either Franco-Flemish or Parisian.
F-F: imitative counter point
P: more homophonic
deemphasis on courtly love; very syllabic"
(1496-1544) French Renaissance Poet
Theodore de Beza
"(1519-1605) French Protestant Theologian
(1510-1561) French composer and music theorist of the Renaissance; compiled many Calvinist tunes; most responsible for Genevan Psalter - Old 100 attributed to him.
"(1520-1572) French composer
"(1509-1564) French theologian and pastor
Sternhold and Hopkins Psalter
Bay Psalm Book
Book of Common Prayer
break with Rome by Henry VIII
Act of Uniformity creating Anglican Church w/ crown as head
Book of Common Praier Noted
Music for all major portions of main liturgies
Simple homophonic musical settings
Elaborate polyphonic musical settings
Council of Trent
"no more secular masses; “Missa sine nomine”; “make it pretty
(1490-1562) Post Josquin Generation of Franco-Flemish composer
"(1495-1560) Post Josquin Generation of Franco-Flemish composer; best represents the fully developed
Jacobus Clemens non papa
(1510 to 1515 – 1555 or 1556) Post Josquin Generation of Franco-Flemish composer; especially famous for his polyphonic settings of the psalms in Dutch known as the Souterliedekens
Orlande de Lassus
"(1530/2–1594) Post Josquin Generation of Franco-Flemish composer; Later Master of Franco-Flemish School; 530 motets
Jacobus de Kerle
(1531-1591) Member of the Roman School
Giovanni Pierluigi da Palestrina
(1525/6-1592) Member of the Roman School
Marc’ Antonio Ingegneri
(1545-1607) Member of the Roman School
(1564-1614) Member of the Roman School
(1582-1652) Member of the Roman School
Tomas Luis de Victoria
(1548-1611) Member of the Roman School
Cristobal de Morales
(1500-1553) Member of the Spanish School
(1528-1599) Member of the Spanish School
Tomas Luis de Victoria
(1548-1611) Member of the Spanish School
Orlande de Lassus
(1532-1594) Member of the German School
Jacob Handl [Gallus]
(1550-1591) Member of the German School
Hans Leo Hassler
(1564-1612) Member of the German School
(1488-1563) Swiss music theorist and poet; Dodekachordon (1547) - 12 string lyre
"Led to the discovery of 4 new church modes: Ionian
"Precursor to the Madrigal; 16th c. genre of Italian polyphinc song in mock-popular style
Precursor to the Madrigal; was a late fifteenth- and early sixteenth-century song used to celebrate the carnival season in Florence
"Precursor to the Madrigal; form of vernacular sacred song in Italy in the late medieval era and Renaissance; often associated with Christmas
"(1530-1600) - 2000 + collections published; ""song in the mother tongue"" 16th. C Italian poem having any number of lines
"(1544-1590s) Italian composer
eye music; graphical features of scores that when performed are unnoticeable by the listener.
black notes; shorter note values than usual
"""little song"" 16th c. Italian song genre in a simple
"type of 16th-century Italian secular song similar to the villanella but having its origins in folk music; no structural uniformity and usually weaves a popular or street song into its textual and musical fabric; 3 characteristics: presence of nonsense syllables
"""little dance"" 16th c. Italian song genre in a simple
(1544-1609) Italian composer of the late Renaissance and early Baroque periods; known for his 1591 publication of balletti for five voices.
Juan del Encina
(1468/9-1529) Spanish playwright; considered the founder of Spanish drama
(1500-1561) Spanish composer and vihuelist; possibly the first composer to publish music for the vihuela
"guitar-shaped string instrument from 15th and 16th century Spain
string instrument with a neck and a deep round back
"""pleasant"" type of polyphonic song in Spanish
"Mateo Flecha ""el Joven"""
"(1530-1604) Mateo ""The Younger"" nephew of Mateo Flecha ""el Viejo""; author of several ensaladas"
"""what pleases"" piece of music combining several different melodies
genre of polyphonic secular music mixing languages and dialects and nonsensical quodlibets.
(melody in tenor)
Missed class. DANIELLE FILL IN FROM HERE TO NEXT CARD
"Refers to an arrangement of a vocal or ensemble piece for keyboard
"form of musical notation indicating instrument fingering rather than musical pitches; lute tablature is written on six lines
Renaissance English genre of song for voice accompanied by a consort of viols.
Organ Mass (alternatim)
"Low Mass (""Read Mass"") with organ music playing throughout"
keyboard instrument of the harpsichord family; Byrd: “Wolsey’s Wilde”
"Italian for ""chanson""; based on Paris Chanson (use a dactylic rhythm of long
"a virtuoso piece of music typically for a keyboard or plucked string instrument featuring fast-moving
a musical composition with its roots in the art of improvisation.
Precedes the piece and sets the pitch
"Spanish improvisatory style instrumental piece that features mutation
"(tragedie en musique) French 17th and 18th c. form of opera
"overture used in tragedie en musique and other genres that opens with a slow
"Non improvisatory dance; ""cinquepace"" regulated by 5"
Missa sine nomine
"""Mass without a name"" uses no pre-existing musical source material"
"""excited style"" devised by Monteverdi to portray anger and warlike actions
voices written in an order with each new voice fitting into the whole so far constructed.
"collection of Italian madrigals
"composers ""Low Countries"": France
michael praetonius: (1618)
sebastion virdung: (1511)
English name for a group of instruments
"Italian ""to seek out"" - in the early 16th century
"17th century English entertainment involving poetry
"Polyphonic vocal composition
"Male singers who where castrated before puberty to preserve their high vocal range
"Italian ""in chapel style"" - manner of choral singing without instrumental accompaniment."
Style of goal writing that approaches the lyricism of an aria but is freer in form.
Lyrical monologue in an opera or other vocal work such as cantata and oratorio.
"In polyphony of the 14th through the 16th centuries
"French ""measured music"" - late 16th century French style of text-setting
"Strophic hymn in the Lutheran tradition
Chorale setting in the style of a 16th century motet.
"French ""low dance"" - type of stately couple dance of the 15th and early 16th centuries."
"Italian ""sounded"" baroque instrumental piece with contrasting sections or movements
"Musical interlude on a pastoral
"Latin ""counterfeit"" the practice of replacing the text of a vocal work with a new text while music remains essentially the same; or the resulting piece."
"(date) period of art
"Italian ""flight"" composition or section of a composition in imitative texture that is based on a single subject and begins with successive statements of the subject in voices."
Primo prothica - renaissance
church style - utilizing concertato monodia
theatrical style - utilizing concertato monodia
chamber style - utilizing concertato monodia
(1483-1546) 1517 Reformation?
16th c. precursor (invention of the opera)
17th c. monodia and concertato techniques used to set dialogues and OT biblical stories; i.e. operatic techniques
solo voice + B.C.
instruments and voices in Equal opposition
"usually written for their teachers
Le Nuove Musiche
(1602) written by Guilio Caccini - madrgals and arias for solo voice + B.C.
theme from solfege derived from tittle
music dominates text
text dominates/dictates music
doctrine of the affections - passion emotions depicted in music
cantata da camera
Basilica San Marco
choral (a cappella or B.C. accomp.
"spanish opera form from c. mid-17th c.
juan hidalgo - father of zarzuela"
"I've gone through all my notes - the rest ""should"" be in the book"