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71 Cards in this Set
- Front
- Back
- 3rd side (hint)
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Humanism |
Human reasoning as the most important means to answering questions Philosophy focused on independent thinking; reason combined w/ observation |
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Printing Press |
Johannes Gutenberg Movable type |
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Martin Luther |
sought reform in the church. Protestant Reformation. Ninety-five theses |
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Protestant Reformation |
Initiated by Martin Luther in 1517 when he nailed his ninety-five theses to the church. (indulgences) An expression of protest against corrupt church practices and a desire to reform them. Schism (Catholic and Protestant) |
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Counter Reformation |
Mid 16th-Century. A more systematic and positive attempt to retain or win back believers to the Roman Catholic Church, in part through a modification of doctrine and practices, in part through music. |
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Renaissance painting, sculpture |
Lifelike paintings in 3 dimensions Less emphasis on sacred subjects Admiration of the human body(no longer ashamed) Strong interest in anatomy Individuality was very important in representation Leonardo da Vinci- anatomical sketches |
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Music in society |
1. Courts grow in size and prosperity, as a result, more music and arts were required. 2. Rulers were respected by the amount of culture in their court 3. Abundance of Work for musicians in religious and social functions 4. Each court would have hired musicians 5. Travel increases; composers traveled a lot 6. Printing press crucial 7. More music notated, but there is still a large body of orally transmitted music 8. With wealth, musical training a necessity 9. Women gain prominence
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Medicci family |
Most famous family(bankers) |
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Characteristics of Renaissance music (MTHR) |
Melody: wordpainting, music serves text, imitation Texture: mostly polyphonic; some homophonic Harmony: Use of triads Rhythm: Greater sense of beat; move away from triple A cappella vocal style prominent, instruments used more |
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consonance and dissonance |
Composing music that "sounds" good Tinctorus believed that it is important to trust our ears as composers rather that rely on theory instead of ratios, etc. |
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Johannes Tinctoris |
Tinctorus believed that it is important to trust our ears as composers rather that rely on theory instead of ratios, etc. |
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John Dunstable |
According to Tinctoris, was the leading master of this new musical style Quam Pulchra Es - Motet |
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contenance anglois
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Leader: John Dunstable
Concept of "english guise" - a "new way of composing with lively consonances. Based on intervals of 3rds, 5ths, and 6ths. Panconsonance - emphasis on triads, limits the use of dissonance |
Movement
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panconsonance |
emphasis on triads, limits the use of dissonance |
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motet |
1. Sacred or Secular Use of musica ficta |
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fauxbourdon |
Use of an additional part that runs parallel to the uppermost of the two top lines. 4th above
Conditor alme siderum - Du Fay - containes Fauxbourdon |
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faburden |
Singers would add lines of harmony above and below the upper line. Upper line would be P4 above. Bottom line could vary |
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pervading imitation |
kind of imitation in which a series of musical ideas are stated and imitated through every voice at one point throughout the entire work |
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successive vs. simultaneous composition |
1. Successive - working on each voice separately; not worrying about harmony
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Guillaume Du Fay |
One of the last composers to use isorhythmic techniques. Made use of triads Wrote 6 settings of the mass Missa Se la face ay pale: first setting of a mass based on a cantus firmus from a secular source. (cyclical mass) |
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Johannes Ockeghem |
Fascinated in the cannon |
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Old Hall Manuscript |
Most complete and most significant source of English sacred music of the late 14th and 15th centuries |
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Josquin des Prez |
Believed to be the greatest composer of the Renaissance First composer to master high Renaissance style. Wrote in every vocal genre Not much about his life is known |
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Cantus firmus technique |
Taking a melody from an existing work and adding polyphony to it. Used as the basis for a new song Types: strict, ostinato, free |
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Strict(CF) |
CF remains consistently in the tenor |
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Ostinato(CF) |
CF is repeated consistently that it always appears in at least one voice at all times |
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Free(CF) |
CF migrates from voice to voice or may drop out altogether from time to time |
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Cyclical Mass (3 types) |
A cycle of all movements of the Mass Ordinary integrated by a common cantus firmus or other musical device Types : Cantus Firmus, Canonic, Imitation, Paraphrase |
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Head motive |
A thematic idea in multiple voices placed prominently at the beginning of a movement or section of a movement |
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wordpainting |
melodic contour or harmony matches whats in the text |
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musica ficta |
Used to avoid tritones Used to avoid cross relations (half step dissonances) To make music more appealing to the ear |
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Canonic (CM) |
At least one of the notated voices generates a second |
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Imitation (parody) (CM |
Incorporate all the voices of an existing work into the fabric of the new work |
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Paraphrase |
Borrows melody (tenor) from an existing melody and uses it freely |
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French chanson
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Secular song
Move away from layered texture to more homogenous one Parts are equalized rhythmically Pervasive imitation |
Homo
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Italian frottola |
Some is free in structure, some have a fixed scheme strophic Light-hearted subjects More chordal structures Could be vocal, instrumental, or a mix of the two Most famous composer of: Marchetto Cara |
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Renaissance instruments |
Keyboard: positive and portative organ, harpsichord, clavichord, virginal Strings: lute, viol, violin Winds: recorder, shawm and crumhorn, trumpet Percussion: drums cymbals, tambourine, triangle, xylophone |
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keyboard music |
Only a few surviving manuscripts Most important: 3 German sources |
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basse danse |
Slow stately couples' dance in compound triple meter, executed with smooth, gliding steps |
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Johannes Gutenberg |
Printing press movable type |
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Ottaviano Pettrucci |
Made advances in printing by using 3 step process: Staff->Text->Notes |
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Pierre Attaingnant |
disliked the composers of the Parisian chanson Created a single step printing system |
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Liber de arte contrapuncti |
Johannes Tinctoris' main exposition of intervals, consonance and dissonance, and their usage. He devised strict rules for introducing dissonances, limiting them to unstressed beats and syncopations (suspensions) and at cadences. |
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Parisian chanson |
Often for solo voice and lute Light style Use of chord progression Homorhythmic Melody in highest part |
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homorhythm |
sameness of rhythm in all parts |
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Italian madrigal |
Through-composed Composition for 3 or more voices setting mostly secular texts The Singing Ladies of Ferrara |
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villanella |
Contained bawdy texts full of suggestive imagery and double entendres. meant "country girl" Work only for 3 voices strophic and syllabic |
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English madrigal |
musica transalpina Italian madrigals translated into English |
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Lute song |
Strophic songs notated for lute and any combination of one or more voices |
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Reformation music |
Texts were in the vernacular More in the hands of the congregation Chorales No instruments |
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chorale |
German hymns derived from existing melodies (sacred and secular) |
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Counter Reformation |
Focus on Council of Trent Worked to have original medieval chants preserved Text clear No secular tunes Only instrument: organ |
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Council of Trent |
Met to hear and clear up grievances against the Catholic Church |
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intabulations |
any arrangement of an existing vocal work for a plucked string instrument or keyboard |
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variations |
takes very specific song themes and varies them. Mainly written for keyboard or flute |
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freely composed forms |
adhere to no established scheme or vocal model |
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pavane |
slow, courtly dance in duple meter |
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passamezzo |
similar to pavane but with lighter step |
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bourree |
lively dance in duple meter with a prominent upbeat at the beginning of each section |
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salterello |
lively dance that often follows a slower one |
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golliard |
like a salterello but even more vigorous, with larger leaps by dancers |
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mannerism |
a term from art history that designates a style of painting and sculpture characterized by the use of distortion, exaggeration, and unsettling juxtaposition for dramatic effect Music: Extreme dissonance Unusual harmonic progressions Unusual wordpainting |
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Maddalena Casulana |
Published Morir non puo il mio cuore: Representative of the mid century madrigal that also happens to be among the earliest printed vocal works by a professional woman composer First professional woman composer to see her vocal music in print |
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Orlando de Lassus |
Manneristic(mannerism) style composer One of the most prolific composers in the history of music, writing more than 2,000 works in virtually every genre of his era, both sacred and secular |
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Thomas Morley |
Disliked the desire for Italian music in England despite the fact that many of his madrigals were based off of Italian texts. |
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John Dowland |
Chief proponent of the lute song. |
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Thomas Tallis |
One of the most outstanding composers of anthems in the 16th century |
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William Byrd |
One of the most outstanding composers of anthems in the 16th century Wrote several settings of the Latin Mass as well as many widely admired settings of English texts that were used in Anglican services |
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Giovanni Pierluigi da Palestrina |
Leader in Renaissance polyphonic style. Pope Marcellus mass convinced Council of Trent to not ban polyphony. |
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Carlo Gesualdo |
Mannerism composer |
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Differences in Medieval and Renaissance
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Medieval|Renaissance
Voices moved at different speeds|More homogenous textures all voices important Rhythm: Dominance of the rhythmic modes|Steady pulse; balanced and even Melody: angular without overall shape goal|Generally lyrical Harmony: P8, P5, P4|3rds and 6ths began to be used Form: Cantus firmus, isorhythm, fixed forms| Instrumentation: Extremely limited instrumental works| Vocal works were a cappella. Instruments were mainly used to double voices. |
Rhythm melody harmony form instrumentation
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