Composers

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jabeck
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93359
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Composers
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2011-07-13 19:50:15
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composers time period works
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for comps prep
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  1. Arcadelt
    • Il bianco e dolce cigno
    • early Italian madrigal
    • early 16th c.
    • text painting
    • chordal
  2. de Sirmisy
    • Tant que vivray
    • Parisian chanson
    • early 16th c
    • 4 voices
    • syllabic
    • strophic
  3. Luzzaschi
    • T'amo mia vita
    • Late Italian Madrigal
    • Musica Reservata
    • late 16th century
    • virtuosic
    • composed for 3 women of Ferrara
    • Instrumental accomp.
  4. Morley
    • Now is the Month of Maying
    • Early English Madrigal
    • late 16th c.
    • light character
    • strophic
    • 5 voices
    • double meanings
    • pastoral
    • fa la la refrain
  5. Janequin
    • Chant des Oyleaulx
    • mid 16th c.
    • Parisian chanson
    • About flight of birds
    • onomatopia
  6. Senfl
    • Zwischen Berg und tiefem Tal
    • early 16th c.
    • tenorlied
    • secular text/genre
    • bar form
    • cantus firmus in tenor
  7. Walter
    • Ein Feste berg ist unser Gott
    • mid 16th c.
    • Harmonized chorale
    • original monophonic chorale by Luther
    • 4 parts
    • form of tenorlied
    • cf in tenor
    • simple, for congregational singing (2 melismas)
  8. Dowland
    • Come, Heavy Sleep
    • late 16th c
    • lute song
    • txt painting
    • similar to strophic madrigal
    • fatigue shown in long languid melodic line, measured rhythms, repeated descending passages
  9. Palestrina
    • Pope Marcellus Mass
    • late 16th c.
    • Polyphonic, prima prattica
    • Great late Renn. Mass
    • 6 voices
    • non-imitative
    • pan-consonant
    • High Rennaissance sound
    • follows mandates of Council of Trent
  10. Lassus
    • Preophetiae Sibyllarun
    • Carmina Chromatico (prologue)
    • mid-16th
    • musica reservata
    • mannerism
    • chromatic
    • extreme word painting
    • strange harmonic progressions
  11. von Bingen
    • Ordo Virtutum
    • mid-12th c.
    • morality play
    • non-Biblical text
    • good vs. evil
    • characters
  12. anonymous: Laus Deo Patri
    Antiphon
  13. anonymous: Mass for Easter Sunday
    Proper Mass, added Introit, Collect, Epistle, Gradual, Alleluia, Sequence, Gospel, Prefus, Pater Noster, Communion
  14. anonymous: laudate pueri
    psalm 112
  15. anonymous: Pange Lingua
    • Hymn
    • late 13th c.
  16. de Dia
    • A Chantar
    • early 13th
    • Troubaritz
    • lament, woman's perspective
  17. von der Vogelweide
    • Palastinlied
    • early 13th c.
    • minnesinger
  18. Hans Sachs
    • Silberweise
    • early 16th
    • Meistersinger
  19. Leonin
    • Haec Dies
    • mid-late-12th c.
    • Organum
  20. Anon., In saeculum
    • Clausula
    • late 12th c.
  21. Anon. motet
    • lonc tens ai mon cuer/In seculum
    • early 13th c.
  22. Anon. motet
    • huic main/Hec dies
    • early 13th c.
  23. anon. motet
    • a paris/On parole/Frese nouvele
    • late 13th c.
  24. de Vitry
    • Garrit gallus/ In nova fert/Neuma
    • from Roman de Fauvel
    • early 14th c.
    • Isorhythmic motet: A: Color 1: Talea
  25. Machaut
    • Messe de Notre Dame
    • mid-14th c.
    • Je puis trop bien ma dame comparer (formes fixes - ballade)
    • mid-14th c.
    • Douce dame jolie
    • mid-14th Virelai
    • Ma fin est ma commencement
    • mid-14th rondeau
  26. Landini
    • Ecco la primavera
    • late 14th c.
    • Italian ballata (similar to French virelai)
    • syllabic, which is unusual for ballate
  27. da Bologna
    • Non al suo amante
    • late 14th c.
    • Italian madrigal (late)
    • strophic 3 line verses (duple) with 2-line ritornello (triple)
    • melismatic at the end
  28. de Firenze
    • A poste messe
    • late 14th c.
    • caccia - chase
  29. anonymous estampie
    • La quinte estampie real
    • late 13th c.
    • type of medieval dance
    • short repeated sections
  30. Dunstable
    • "Quam Pulchra Es"
    • early 15th c.
    • Renaissance motet, no c.f.
  31. Dufay
    • "Flos Florum"
    • early 15th
    • Renaissance motet
    • mix of old and new style
    • "Conditor alme siderum"
    • hymn in alternatum
    • "Se la face ay pale"
    • ballade, tenor of which is used as c.f. of later mass
    • "Missa se la face ay pale" - MID - 15th c
    • Isorythmic motet, tenor is tripled, doubled, then original
    • Adeui ces bons vins de Lannoysearly/mid 15th c.Rondeau
  32. des Prez
    • "Ave Maria...virgo serena"
    • late 15th c.
    • motet
    • points of imitation
    • paired imitation
    • canons
    • 4 pt harmony
    • "Missa Pange Lingua"paraphrase mass based on early hymn
    • early 16th c.
    • "Missa fortuna desperata"
    • Parody mass based on Busnois Italian Chanson
    • "El Grillo"
    • frottola
  33. Busnois
    • Fortuna desperata
    • late 15th c.
    • Italian chanson
  34. Ockeghem
    • Missa Prolationem
    • late 15th c.
    • kyrie is mensuration canon
  35. Cara
    • Hor venduto ho la speranza
    • early 16th c.
    • frottola
  36. Peri
    • late 16th-early 17th
    • Dunque fra torbid 'onde
    • Euridice (first opera)
  37. Caccini
    • Sfogava con le stelle
    • late 16th
  38. Monteverdi
    • late 16th
    • Cruda Amarilla
    • Orfeo
    • L'incoronazione di Poppea
  39. Schutz
    • early 17th c.
    • Singet dem Herren ein neues Lied
    • Saul, was verfolgst du mich?
  40. Lully
    • Armide
    • mid-17th
  41. Handel
    • Julius Caesar
    • early 18th c
    • Zadok the Priest
    • early 18th
  42. Purcell
    • Dido and Aeneas
    • late 17th c
  43. Gay
    • The Beggar's Opera
    • early 18th
  44. Carissimi
    • Jephte
    • late 17th
  45. Vivaldi
    • Concerto in A minor
    • early 18th
  46. de la Guerre
    • Pieces de clavecin
    • early 18th
  47. Frescobaldi
    • Toccata IX
    • from Il Secondo Libro di Toccate
    • early 17th
  48. Buxtehude
    • Praeludium in G Minor
    • late 17th
  49. Pachelbel
    • chorale prelude on Magnificat peregrini toni
    • late 17th c
  50. Classical concerto
    musical work (3 mvt) for alternating soloist and orchestra includes virtuosic material, including cadenza at the end of the recap. 1st mvt is sonata-concerto form (mix of sonata and Baroque ritornello)
  51. ritornello
    indicates material that acts as a refrain; it returns throughout a piece; also indicates a Baroque musical form; includes tutti and solo sections; mixes with sonata form for mvt 1 of classical concerto
  52. cadenza
    • a virtuosic solo section found at the end of the recapitulation in mvt one of classical concerto
    • written out, starting with Beethoven
    • used to be improvised
    • ex. beethoven piano concerto in G no. 4 Op 58 mvt 1
  53. Basset horn
    precurser to modern clarinet. Mozart's cl concerto in A originally for basset horn (not many keys on the instrument)

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