MUS 370 FINAL Quizlet

Ars Subtilior

Style of Polyphony from the late fourteenth or very early fifteenth centuries in southern France and northern Italy, distinguished by rapid notes in various divisions including triplets and extreme complexity in rhythm and notation.

virginal

(1) English name for HARPSICHORD, used for all types until the seventeenth century. (2) Type of HARPSICHORD that is small enough to place on a table, with a single keyboard and strings running at right angles to the keys rather than parallel with them as in larger harpsichords.

Dunstable

(1390-1453); Unlike most composers of the day, not a cleric; Astronomer, astrologer, and mathematician ; His epitaph in St. Stephen church in London: "he had secret knowledge of the stars"; Associated with St. Alban's Abbey (England); Assumed to have lived in France with his Patron John of Lancaster, Regent of France 1423-1429; Style: "La Countenance Anglois"; Full, triadic harmonies; Perhaps influence by French Fauxbourdon

Cipriano de Rore

(1515/16-1565) Franco-Flemish composer of the Renaissance, active in Italy. Not only was he central representative of the generation of Franco-Flemish composers after Josquin des Prez who went to live and work in Italy, but he was one of the most prominent composers of madrigals in the middle of the 16th century. His experimental, chromatic, and highly expressive style had a decisive influence on the subsequent development of that secular music form.

Orlando di Lasso

(1530-1594) (Italian) (Franco Flemish) Wrote madrigals and French chansons in both polyphonic and homophonic styles. A netherlander, but worked in Munich most of his life as an important composer of Lieder. One of the most prolific, versatile, and universal composers of the late Renaissance; wrote more than 2000 works in all Latin, French, Italian and German vocal genres known in his time the first composer who set all seven Penitential Psalms to music

Harmonice Musices Odhecaton

(Also known simply as the Odhecaton) An anthology of polyphonic secular songs published by Ottaviano Petrucci in 1501 in Venice. It was the first book of music ever to be printed using movable type, and was hugely influential both in publishing in general, and in dissemination of the Franco-Flemish musical style

canzona

(Italian, "song") In the late 16th and early 17th centuries, an instrumental work in several contrasting sections, of which the first and some of the others are in imitative counterpoint.

ricercare

(Italian, "to seek out" or "to attempt") (1) In the early to mid-sixteenth century, a PRELUDE in the style of an IMPROVISATION. (2) From the late sixteenth century on, an instrumental piece that treats one or more SUBJECTS in IMITATION.

Binchois

- The Most important composer at the court of Phillip the Good at the Burgundian court - Composed De plus en plus (Burgundian Chanson) Born in France near the town of Binche; A soldier for the English in Burgundy; Joined the court chapel of Burgundy as a singer; Considered the finest melodist of the 15th c.; Simple and clear in outline; Easily sung; In stark contrast to Ars Subtilior of the 14th C.

Sermisy

- was the master of the parisian chanson, and primarily a church musician, - Composer of "Tant Que Vivray"

Ottaviano Petrucci

1501 - first person to print music (Italy). Dedicated three volumes to Josquin. Printed the Odhecaton A. Implemented the triple impression method of 1) laying down staff lines, 2) laying down notes, and 3) adding text. The barlines were left up to the performer

Le Jeune

1528-1600: Franco-Flemish, Parisian chanson composer, Late Ren, Parisian Chanson, musique mesuree

humanism

A Renaissance intellectual movement in which thinkers studied classical texts and focused on human potential and achievements A theory that stresses the potential of all humans for good and the belief that all people have the same basic needs, regardless of culture, gender, or background

sonata

A composition of three or four independent movements, written for one or more solo instruments, one of which is usually a keyboard instrument

la contenance angloise

A distinctive style of polyphony developed in fifteenth-century England. It used full, rich harmonies based on the third and sixth. It was highly influential in the fashionable Burgundian court of Philip the Good and as a result on European music of the era in general. The leading figure was John Dunstable, followed by Walter Frye and John Hothby.

Franco-Flemish

A group of composers (Ockeghem, Josquin des Prez, Lassus) who flourished in the 15th and 16th centuries Renaissance. They came from present day Netherlands, Belguim and northern France. Their contributions were the establishment of a new vocal polyphonic style characterized by thte equality of all 4 parts, and the use of continuous imitation for a seamless structure. They influnced composers in Europe. E.g. Josquin: Ave Maria...virgo serena.

Parisian chanson

A polyphonic song in france that consisted of chordal, more homophonic in style, song-like, syllabic txt settings, rapid repeated notes, clear-cute phrases set off by rests, binary rhythms, characteristic dactylic opening rhythm, all parts sung, and much musical repetition

madrigal

A popular genre of secular vocal music that originated in Italy during the Renaissance, in which usually four to five voices sing love poems

toccata

Also called a prelude. Keyboard or lute pieces in improvisatory style. Instrumental style. Have a varied flow of scales and arpeggios. The instrumental counterpart to the recitative. Rhapsodic structure. The only piece indigenous to the keyboard.

Thomas Morley

English composer, theorist, editor and organist of the Renaissance, and the foremost member of the English Madrigal School. He was the most famous composer of secular music in Elizabethan England and an organist at St Paul's Cathedral. He and Robert Johnson are the composers of the only surviving contemporary settings of verse by Shakespeare.

Weelkes

English composer, wrote his own poetry "As Vesta was" is one of the most famous madrigals in The Triumphs of Oriana.

DuFay

Franco-Flemish composer from early Renaissance; blends national traits in writing his chansons: ballade form, long melismas, frequent syncopation, free dissonances, Ars Subtilior (rapid notes in various division of beat including triplets), Italian elements (smooth vocal melodies, melismas on last accented syllable of each line, meter change in B section); use of fauxbourdon; isorhythmic motets; first to use a secular tune for a cantus firmus in a mass with an isorhythmic motet on a larger scale; Ave Maria is his biggest known piece

Pierre Attaingnant

French music publisher/printer, active in Paris. Printed more than 50 collections of chansons during this time (1530-50); his printing is simple and lesss elegant than that of Petrucci, but his typesetting method is quicker and easier to distribute, as it is single impression rather than triple impression.

imitation

In music, imitation is the repetition of a melody in a polyphonic texture shortly after its first appearance in a different voice, usually at a different pitch. The melody may vary through transposition, inversion, or otherwise, but retain its original character.

Musica Transalpina

Nicholas Yonge's Musica Transalpina in 1588, a collection of 57 Italian madrigals fitted with English translations; this publication initiated an entire school of madrigal composition in England

cantus firmus mass

POLYPHONIC MASS in which the same CANTUS FIRMUS is used in each MOVEMENT, normally in the TENOR.

parody mass

Polyphonic mass in which each movement is based on the same polyphonic model, normally a chanson or motet, and all voices of the model are used in the mass, but none is used as a cantus firmus.

Gesualdo

Prince of Venosa and Count of Conza, was an Italian nobleman, lutenist, composer and murderer. As a composer of the late Renaissance, he is remembered for writing intensely expressive madrigals and sacred music that use a chromatic language not heard again until the late 19th century.

Burgundian School of Music

The Burgundian School was a group of composers active in the 15th century in what is now northern and eastern France, Belgium, and the Netherlands, centered on the court of the Dukes of Burgundy. The main names associated with this school are Guillaume Dufay, Gilles Binchois, Antoine Busnois and John Dunstable. The Burgundian School was the first phase of activity of the Franco-Flemish School, the central musical practice of the Renaissance in Europe.

galliard

a form of Renaissance dance and music popular all over Europe in the 16th century. It is mentioned in dance manuals from England, France, Spain, Germany and Italy among others

Partbooks

a format for printing or copying sheet music in which each book contains the part for a single voice or instrument, especially popular during the Renaissance and Baroque. This format contrasts with the large choirbook, which included all of the voice parts and could be shared by an entire choir

lute songs

a more personal genre than the madrigal; reflects the overall mood, less word painting; lute is always subordinate to the vocal melody.

pavane

a slow processional dance common in Europe during the 16th century (Renaissance). The pavane, the earliest-known example of which was published in Venice by Ottaviano Petrucci, in Joan Ambrosio Dalza's Intabolatura de lauto libro quarto in 1508, is a sedate and dignified couple dance, similar to the 15th-century basse danse. The music which accompanied it appears originally to have been fast or moderately fast but, like many other dances, became slower over time (Brown 2001)

Luca Marenzio

an Italian composer and singer of the late Renaissance. He was one of the most renowned composers of madrigals, and wrote some of the most famous examples of the form in its late stage of development, prior to its early Baroque transformation by Monteverdi. In all, Marenzio wrote around 500 madrigals, ranging from the lightest to the most serious styles, packed with word-painting, chromaticism, and other characteristics of the late madrigal style. Marenzio was influential as far away as England, where his earlier, lighter work appeared in 1588 in the Musica Transalpina, the collection that initiated the madrigal craze in that country. Marenzio worked in the service of several aristocratic Italian families, including the Gonzaga, Este, and Medici, and spent most of his career in Rome.

Claudio Monteverdi

an Italian composer, gambist (bowed, fretted, string instrument of the Renaissance), singer, and Roman Catholic priest. His work, often regarded as revolutionary, marked the transition from the Renaissance style of music to that of the Baroque period. He developed two individual styles of composition - the heritage of Renaissance polyphony and the new basso continuo technique of the Baroque. He wrote one of the earliest operas, L'Orfeo, an innovative work that is still regularly performed. He was recognized as an innovative composer and enjoyed considerable fame in his lifetime.

Luis Milan

b. 1500 died circa 1560; In 1536, Milan published the first Vihuela method titled Libro de la Music de Vihuela de Mano Intitulado "El Maestro."

Janequin

c. 1485-1558. French composer of narrative chansons. Enhanced the genre by using real world elements, such as the sounds of birds. His 286 chansons include the well known, La Guerre or "The War" and Le chant des oiseaux (Song of the Birds

Johannes Ockeghem

ca. 1425-1495) A French composer during the Renaissance who spent most of his creative life at the French court, used the Burgundian style while gaining influence from Dufay's work.

Ave Maria...Virgo Serena

composed by Josquin, later 15th century, ars perfecta, four voice, huge amount of imitation, voices come together at cadences

Jacques Arcadelt

composer of the Renaissance, active in both Italy and France, and principally known as a composer of secular vocal music. Although he also wrote sacred vocal music, he was one of the most famous of the early composers of madrigals; his first book of madrigals, published within a decade of the appearance of the earliest examples of the form, was the most widely printed collection of madrigals of the entire era. In addition to his work as a madrigalist, and distinguishing him from the other prominent early composers of madrigals - Philippe Verdelot and Costanzo Festa - he was equally prolific and adept at composing chansons, particularly late in his career when he lived in Paris.

concerto delle donne

ensemble of ladies, 16th century at the court of Ferrara in the last decades of the 16th century was the first all-female vocal ensemble established at a court.

frottola

predominant type of Italian popular, secular song of the late fifteenth and early sixteenth century

soggetto cavato

technique of Renaissance composer Josquin des Prez that was later named by the theorist Zarlino in 1558 in his "Le institutioni harmoniche as ________ _______ dalle vocali di queste parole", or literally, a subject 'carved out of the vowels from these words.' It is an early example of a musical cryptogram. This technique relies on the use of syllables from solmization. Guido of Arezzo, an eleventh-century monk, proposed a set of syllables for teaching singers how to sight sing. The syllables, ut, re, mi, fa, sol, la, were used to help the singers remember the pattern of whole tones and semitones. This technique, called solmization, is still used today with some minor changes, namely 'do' is used instead of 'ut,' and 'ti' is used above 'la.' For implementation, Josquin used these solmization vowels to carve out his musical notes. Using the vowel of each solmization syllable, Josquin coupled the musical pitch of the solmization syllable with the vowel of text he wanted to represent. In the case of the Missa Hercules dux Ferrariae, the text Josquin was trying to represent was Hercules Dux Ferrariae. Therefore, each vowel of those three words is coupled with the appropriate solmization syllable. The solmization syllables then determine the pitch to be used. Thus the subject is carved out of the vowels.

fauxbourdon

technique of musical harmonisation used in the late Middle Ages and early Renaissance, particularly by composers of the Burgundian School. Guillaume Dufay was a prominent practitioner of the form, and may have been its inventor. The homophony and mostly parallel harmony allows the text of the mostly liturgical lyrics to be understood clearly