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55 Cards in this Set
- Front
- Back
a capella
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without instrumental accompaniment (lit. in the chapel)
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academy
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learned society founded in imitation of Plato's academy for furthering arts
took root in france and italy baroque period saw many established in italy |
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air de cour
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accompanied French strophic song for one or two voices- late renaissance and baroque
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anthem
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evolved from latin motet after the reformation- sung in English assuming the role of motet in English Anglican and Protestant services
simple and homophonic in style than motet designed to keep text clear Verse Anthem developed by Byrd - late renaissnace alternated solo sections with full choral sections |
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balletto
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dance like vocal piece in homophonic style. Many composed in late renaissance by Giovanni Gastoldi. In English and German called a ballett
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basse danse
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renaissance dance maybe used a gliding or walking step - mostly improvised music
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Burgundian cadence
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disguised V-I cadence- highest voice moves from seventh to octave- middle voice leaps up an octave from dominant and lowest voice descends one step to the tonic
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cambiata
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changing tone dissonance- one or two rhythmically weak nonharmonic pitches lie between consonant ones, usual with prominent reversal of direction in vocal line
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canzona
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instrumental composition derived from chanson retaining structure, varied textures and lively rhythms
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canzonetta/canzonet
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short composition of canzona type for voices- light character
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chorale
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protestant hymn cultivated during renaissance and baroque
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chromatic/chromaticism
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notes outside of diatonic framework
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consort
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17thC term for small instrumental ensemble. "whole consort" refers to group of the same instruments, "broken" refers to differing groups
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consort song
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song for one or two voices and consort- Byrd wrote notable examples
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contrafactum
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substitution of new text for an original one- sacred to secular etc
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cori spezzati
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divided choirs- originated in sixteenth century Venice. often referred to as polychoral
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cross-relation
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the appearance of a note in two versions- one chromatically altered within in the space of a measure or so in two different voices. can also describe presence of tritone
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cyclic principle
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use of same or closely-related thematic material in some or all movements of a large-scale composition... ie renaissance mass
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diminutions
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improvised embellishment of a melodic line by introducing faster motions, running passages et
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enharmonic
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notation of same pitch equivalents written on different notes
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familiar style
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passages in vocal music sung in chordal or homophonic style in contrast to learned or contrapuntal style
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fantasia
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encompasses a great variety of works- renaissance to romantic- generally pieces for keyboard instrument or lute of late 16th and 17thC
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fauxbourdon
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controversial term refers to three voices basically singing in first inversion chords employed frequently by Dufay
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figured music
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used before 1600 to denote polyphony (versus plainchant) esp. in style of Netherlanders
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frottola
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italian secular song usually set in treble dominated style lighter in texture than renaissance madrigal which it precedes historically
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galliard
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leaping dance in fairly fast triple meter often preceded by pavane in a paired set
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gorgia
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diminution used in vocal music
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imitation
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form of repetition in which a melody is restated in different voice parts
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improvisation
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spontaneously created music
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inversion
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melodically a mirrorlike exchange of ascending and descending intervals of a theme
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Lied
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German polyphonic song assisted by Isaac and Lassus- gained national character by works of Heinrick Finck and Paul Hofhaimer
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madrigalism/madrigalian
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highly-developed use of tone painting in a madrigal- characteristic that appeared in chanson and motet
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motto theme
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in renaissance usage refers to a motive that appears at the beginning of the movements of a mass
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paraphrase
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varied version of a melody- technique often used by Dunstable, Dufay and Josquin
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parody
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process of reworking polyphonic composition such as motet or chanson to form the basis for a mass
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passamezzo
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moderately fast dance in quadruple meter
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pavane
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dignified courtly dance in slow duple meter frequently paired with the galliard
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pedal point
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sustained note usually in bass over which harmonies change- often employed just before or during a cadence
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points of imitation
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sections beginning contrapuntally with the same motive in each voice
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polychoral
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employed two or more distinct choirs of voices or instruments- ie. works of Giovanni Gabrieli
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psalter
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book of musical settings for protestant congressional singing
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ricercare
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term for several types of instrumental pieces- most significant type is set for keyboard of ensemble- resembles motet's successive points of imitation
anticipates the later fugue |
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service
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musical portions of Anglican liturgy inc. portions from mass ordinary
in renaissance cultivated by Tye, Tallis and Byrd - short - concisely and syllabically and great (set in expansive counterpoint) |
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sortisatio
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improvisation of counterpoint on a given part
aka cantus supra librum and contrappunto alla mente |
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tablature
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symbols rather than notes on a staff- often used for lute music
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tactus
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continuing but unaccented pulse
renaissance concept different from later concept of beat by being of relatively fixed in duration |
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throughcomposed
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repetition of sections is eschewed in favour of new music
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tone painting
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depicting natural sounds or word meanings in musical tones
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variations
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varied repetition of a theme overall structures and phrases being more or less maintained
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villancico
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spanish song similar to ballata
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villanella
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popular chordal song
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cornetto
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wooden wind instrument with cup shaped mouthpiece
german: Zink |
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crumhorn
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curved double reed instrument
german; Krumhorn |
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regal
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small reed instrument
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vilhuela
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spanish 16thC guitar
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