Music History (1).csv

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Music History (1).csv
2012-12-05 22:14:21
Music history

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  1. Ockeghem Mass: Missa Fors Seulement
    5 voices; takes miltiple voices from pre-existing masses and experiments with them
  2. Ockeghem Mass: Missa Prolationem
    "Hidden structure; different ""time signatures"" create a 4-voice composition"
  3. Ockeghem Mass: Missa Cuisuis Toni
    "Can be sung in any mode - is written in one tone
  4. Ockeghem Mass: Missa Deplus en plus
    Melody from Binchois
  5. Ockeghem Mass: Missa pro defunctis (requiem)
    Does not contain a Dies Irae section; first surviving polyphonic requiem
  6. Jacob Obrecht
    (1457(8)-1505) Franco-Flemish Composer; 30 masses and 28 motets
  7. Henricus Isaac
    (1450 - 1517) Franco-Flemish Composer; 35 masses and 50 motets
  8. Josquin Des Prez
    "(1450-1521) Franco-Flemish ""genius"" of the Renaissance; 18 masses
  9. Ars Perfecta
    "Attributed to Josquin; ""perfect art"" nothing added or taken away.
  10. > pervading imitation (new seamlessness)
  11. > point of imitation (section)
  12. > text depiction/text expression (text painting) esp. in motets
  13. > homophonic texture sections contrast the pervasive imitation"
  14. Soggetto Cavato
    "Solfege origins;
  15. Missa Hercules de Ferrariae

  16. (re ut re ut re fa mi re)"
  17. Musica Reservata
    "Secret chromaticism; Josquin ""Absalon
  18. Prima Pars
    First part of motet; made them longer
  19. Secunda Pars
    Second part of motet; made them longer
  20. Missa L'homme arme
    Cantus Firmus Mass by Josquin
  21. Missa Pange Lingua
    Paraphrase Mass by Josquin
  22. Miss Malheur me bat
    Parody/Imitation Mass by Josquin
  23. Missa Mille regretz
    Parody/Imitation Mass by Cristobal de Morales (1500-1553); based off a Josquin chanson
  24. Cantus Firmus Mass
    "A cyclic Mass in which preexistent music
  25. Paraphrase Mass
    A cyclic Mass in which preexistent music is used (but is freely altered) in all voices and in all of the Mass movements
  26. Parody/Imitation Mass
    "Mass that uses multiple voices of another pre-existing piece of music
  27. Chanson
    "French polyphonic musical setting of a secular poem in the 14th and 15th century; can be either Franco-Flemish or Parisian.
  28. F-F: imitative counter point
  29. P: more homophonic
    deemphasis on courtly love; very syllabic"
  30. Reformation
    "October 31
  31. Clement Marot
    (1496-1544) French Renaissance Poet
Theodore de Beza
 French Protestant Theologian
  33. Louis Bourgeois
 French composer and music theorist of the Renaissance; compiled many Calvinist tunes; most responsible for Genevan Psalter - Old 100 attributed to him.
  34. Claude Goudimel
    "(1520-1572) French composer
  35. Jean Calvin
    "(1509-1564) French theologian and pastor
  36. Strassbourg Psalter
    1539; French
  37. Genevan Psalter
    1562; French
  38. Sternhold and Hopkins Psalter
  39. Scottish Psalter
    1564; English
  40. Ainsworth Psalter
    1612; English
  41. Bay Psalm Book
    1640; English
  42. Book of Common Prayer
  43. Mattins
    (Morning Prayer)
  44. Holy Communion
    (replaces Mass)
  45. Evensong
    (Evening Prayer/Vespers)
  46. 1534
    break with Rome by Henry VIII
  47. 1549
    Act of Uniformity creating Anglican Church w/ crown as head
  48. Book of Common Praier Noted
    Merbecke (1550)
  49. Full Service
    Music for all major portions of main liturgies
  50. Short Service
    Simple homophonic musical settings
  51. Great Service
    Elaborate polyphonic musical settings
  52. Council of Trent
  53. Tridentine Reforms

    "no more secular masses; “Missa sine nomine”; “make it pretty
  54. Adrian Willaert
    (1490-1562) Post Josquin Generation of Franco-Flemish composer
  55. Nicolas Gombert
    "(1495-1560) Post Josquin Generation of Franco-Flemish composer; best represents the fully developed
  56. 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
  57. Orlande de Lassus
    "(1530/2–1594) Post Josquin Generation of Franco-Flemish composer; Later Master of Franco-Flemish School; 530 motets
  58. Jacobus de Kerle
    (1531-1591) Member of the Roman School
  59. Giovanni Pierluigi da Palestrina
    (1525/6-1592) Member of the Roman School
  60. Marc’ Antonio Ingegneri
    (1545-1607) Member of the Roman School
  61. Felice Anerio
    (1564-1614) Member of the Roman School
  62. Gergorio Allegri
    (1582-1652) Member of the Roman School
  63. Tomas Luis de Victoria
    (1548-1611) Member of the Roman School
  64. Cristobal de Morales
    (1500-1553) Member of the Spanish School
  65. Francisco Guerro
    (1528-1599) Member of the Spanish School
  66. Tomas Luis de Victoria
    (1548-1611) Member of the Spanish School
  67. Orlande de Lassus
    (1532-1594) Member of the German School
  68. Jacob Handl [Gallus]
    (1550-1591) Member of the German School
  69. Hans Leo Hassler
    (1564-1612) Member of the German School
  70. Heinrich Glareanus
 Swiss music theorist and poet; Dodekachordon (1547) - 12 string lyre
  71. Dodecachordon (Dodekachordon)
    "Led to the discovery of 4 new church modes: Ionian
  72. Frottola

    "Precursor to the Madrigal; 16th c. genre of Italian polyphinc song in mock-popular style
  73. Canti carnascialeschi
    Precursor to the Madrigal; was a late fifteenth- and early sixteenth-century song used to celebrate the carnival season in Florence
  74. Lauda
    "Precursor to the Madrigal; form of vernacular sacred song in Italy in the late medieval era and Renaissance; often associated with Christmas
  75. Italian Madrigal
    "(1530-1600) - 2000 + collections published; ""song in the mother tongue"" 16th. C Italian poem having any number of lines
  76. Maddalena Casulana
    "(1544-1590s) Italian composer
  77. Augenmusik
    eye music; graphical features of scores that when performed are unnoticeable by the listener.
  78. Note nere
    black notes; shorter note values than usual
  79. "villanella
  80. canzonetta
    """little song"" 16th c. Italian song genre in a simple
  81. villota
    "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
  82. balleto
    """little dance"" 16th c. Italian song genre in a simple
  83. Giovanni Gastoldi
    (1544-1609) Italian composer of the late Renaissance and early Baroque periods; known for his 1591 publication of balletti for five voices.
  84. Cancionero
    (song book)
  85. Villancico estribillo
  86. Copla
  87. Juan del Encina
    (1468/9-1529) Spanish playwright; considered the founder of Spanish drama
  88. Luis Milan
    (1500-1561) Spanish composer and vihuelist; possibly the first composer to publish music for the vihuela
  89. Vihuela
    "guitar-shaped string instrument from 15th and 16th century Spain
  90. Lute
    string instrument with a neck and a deep round back
  91. Villancico
    """pleasant"" type of polyphonic song in Spanish
  92. "Mateo Flecha ""el Joven"""
    "(1530-1604) Mateo ""The Younger"" nephew of Mateo Flecha ""el Viejo""; author of several ensaladas"
  93. Quodlibet
    """what pleases"" piece of music combining several different melodies
  94. Ensalada
    genre of polyphonic secular music mixing languages and dialects and nonsensical quodlibets.
  95. liederbucher
  96. tenor lied
    (melody in tenor)
  98. Intabulations
    "Refers to an arrangement of a vocal or ensemble piece for keyboard
  99. Tablature
    "form of musical notation indicating instrument fingering rather than musical pitches; lute tablature is written on six lines
  100. Diferencias
    Spanish variations
  101. Consort Song
    Renaissance English genre of song for voice accompanied by a consort of viols.
  102. Organ Mass (alternatim)
    "Low Mass (""Read Mass"") with organ music playing throughout"
  103. Virginal
    keyboard instrument of the harpsichord family; Byrd: “Wolsey’s Wilde”
  104. Canzona
    "Italian for ""chanson""; based on Paris Chanson (use a dactylic rhythm of long
  105. Toccata
    "a virtuoso piece of music typically for a keyboard or plucked string instrument featuring fast-moving
  106. Fantasia

    a musical composition with its roots in the art of improvisation.
  107. Intonazioni
    Precedes the piece and sets the pitch
  108. Pavane
  109. Tiento
    "Spanish improvisatory style instrumental piece that features mutation
  110. Tragedie lyrique
    "(tragedie en musique) French 17th and 18th c. form of opera
  111. French overture
    "overture used in tragedie en musique and other genres that opens with a slow
  112. Galliard
    "Non improvisatory dance; ""cinquepace"" regulated by 5"
  113. Baroque Era
  114. Missa sine nomine
    """Mass without a name"" uses no pre-existing musical source material"
  115. Stile concitato
    """excited style"" devised by Monteverdi to portray anger and warlike actions
  116. Successive composition
    voices written in an order with each new voice fitting into the whole so far constructed.
  117. Musica transalpina
    "collection of Italian madrigals
  118. Franco-Flemish
    "composers ""Low Countries"": France
  119. Continuo Lied
  120. Franco-Netherlandish
    Burgundian school
  121. Syntagma Musicum
    michael praetonius: (1618)
  122. Musica getutscht
    sebastion virdung: (1511)
  123. Consort
    English name for a group of instruments
  124. Ricercare
    "Italian ""to seek out"" - in the early 16th century
  125. Masque
    "17th century English entertainment involving poetry
  126. Motet
    "Polyphonic vocal composition
  127. Castrato
    "Male singers who where castrated before puberty to preserve their high vocal range
  128. A Capella
    "Italian ""in chapel style"" - manner of choral singing without instrumental accompaniment."
  129. Arioso
    Style of goal writing that approaches the lyricism of an aria but is freer in form.
  130. Aria
    Lyrical monologue in an opera or other vocal work such as cantata and oratorio.
  131. Musica ficta
    "In polyphony of the 14th through the 16th centuries
  132. Musica mesuree
    "French ""measured music"" - late 16th century French style of text-setting
  133. Choral
    "Strophic hymn in the Lutheran tradition
  134. Chorale motet
    Chorale setting in the style of a 16th century motet.
  135. Basse dance
    "French ""low dance"" - type of stately couple dance of the 15th and early 16th centuries."
  136. Sonata
    "Italian ""sounded"" baroque instrumental piece with contrasting sections or movements
  137. Intermedio
    "Musical interlude on a pastoral
  138. Countrafactum
    "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."
  139. Renaissance
    "(date) period of art
  140. Fugue
    "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."
  141. Carol
    "English song
  142. stile Antico
    Primo prothica - renaissance
  143. stile ecclesiasticus
    church style - utilizing concertato monodia
  144. stile theatialis
    theatrical style - utilizing concertato monodia
  145. stile cubicularis
    chamber style - utilizing concertato monodia
  146. Martin Luther
    (1483-1546) 1517 Reformation?
  147. Madrigal Comedy
    16th c. precursor (invention of the opera)
  148. stile monderno
    17th c. monodia and concertato techniques used to set dialogues and OT biblical stories; i.e. operatic techniques
  149. stile rappresentativo
    dramatic monodia
  150. stile recitative
    narrative/recitational monodia
  151. monodia
    solo voice + B.C.
  152. stile concertato
    instruments and voices in Equal opposition
  153. Deploration
    "usually written for their teachers
  154. Le Nuove Musiche
    (1602) written by Guilio Caccini - madrgals and arias for solo voice + B.C.
  155. Soggetto Cavato
    theme from solfege derived from tittle
  156. prima prattica
    music dominates text
  157. seconda prattica
    text dominates/dictates music
  158. affecktenlehve
    doctrine of the affections - passion emotions depicted in music
  159. cantata da camera
    chamber cantata
  160. Basilica San Marco
    venectian school
  161. concerted madrigal
    stile concertato
  162. grand motet
  163. petit motet
    choral (a cappella or B.C. accomp.
  164. zarzuela
    "spanish opera form from c. mid-17th c.
  165. juan hidalgo - father of zarzuela"
  166. "I've gone through all my notes - the rest ""should"" be in the book"
    or internet