Music 201 Final Exam
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66 terms
Terms | Definitions |
|---|---|
 Nicola Pisano | Combination of classical and gothic. Crowding of figures typical of earlier styles. Distortion of figures. |
| Giovanni Pisano | Figures more slender. Elegance and space not found in earlier styles. Intensity of feeling typical of Northern late-gothic styles. Relief tilted towards the viewer, for greater impact. |
| Cimabue | Derived from the italo-byzantine tradition. Attempts at 3-D in the shading on the body. |
| Duccio | Use of architectural elements to give space. First signs of International gothic style. |
| Giotto | student of Cimabue. Most influential artist of his era, moving towards a Renaissance aesthetic. Solidity of figures, attempts at realism. |
| Martini | rich colors, expressive style, typical of International Gothic. |
| Ambrogio Lorenzetti | attempts at believable perspective in buildings |
| Limbourg brothers | Rise of Burgundy as an important cultural center. Focus on everyday subjects. |
| Guillaume de Machaut | complexity of music typical of the ars nova. Emphasis in top voice. Use of the formes fixes. Messe de Notre Dame the first unified mass setting of the complete Mass Ordinary. |
| Petrarch | Emergence of a vernacular literary tradition in Italy. High-quality sonnets important for later madrigal composers. |
| Boccaccio | Documents the plague and its effects on society. Decameron a series of stories that provide entertainment, moral content, glimpses of late medieval life. |
| Chaucer | One of the most important writers in English. Canterbury Tales similar to Decameron in intent and organization. Focus on detail in the descriptions of characters. |
| da Fabriano | late example of International Gothic style |
| Masaccio | Monumental, classical, symmetrical. Early manifestation of Renaissance ideals. Attempts a realism and perspective |
| Jan van Eyck | symbolic painting: prosperity of Italian bankers. Exquisite detail and visual tricks (the mirror). |
| Donatello | first free-standing nude sculpture since antiquity. Biblical scene rendered with classical influence. Classical reticence in face. Mary Magdalene statue very expressive, though |
| Fra Angelico | Debt to Masaccio. Observation of the natural world, but some illogical aspects (proportions, lighting) that are not classical |
| Uccello | Fascinated with perspective and foreshortening. Liked to include horses in his paintings. Frozen quality to the compositions. |
| Botticelli | Classical scenes, lightness, airiness. In Adoration of the Magi, the work praises the Medici more than the baby Jesus |
| Leonardo | Wide-ranging genius. Studied anatomy to improve his figural painting. Classical/symmetrical arrangements |
| Michelangelo (early) | Transitional figure. Art tends to show (or imply) motion, not strictly static. Extraordinary technique (Pieta) and monumental style (David) |
| Mirandola | claimed to have read every book in Italy. Synthesis of all learning. Places man as the loftiest creation. |
| Machiavelli | a pragmatist. Reputation not entirely deserved. The Prince gives instructions on how to retain political power, if that is the goal. |
| Erasmus | greatest Christian humanist of his era. Agreed with some aspects of the reformation but did not support the reformers. Cynical. |
| Dufay | Burgundian composer. Missa l'homme arme combines secular cantus firmus with sacred genre (no problem with that). |
| Josquin | Greatest Franco-Flemish composer. Allows music to influence text (text-painting). Wrote both sacred and secular music. Very influential on later composers |
| Raphael | Ordered space, classical inspiration, symmetrical arrangements, brilliant color and clarity. |
| Michelangelo | "Terribilita," twisting figures, "Michelangelesque" (muscular forms, even for women). Considered himself a sculptor first, painter secondarily |
| Giorgione | oil paintings more suited to Venice's damp climate. Detailed, classically arranged, allegorical works. |
| Titian | student of Giorgione. Rich colors and lighting. Titian red (in Venus of Urbino). Dynamic paintings |
| Tintoretto | Mannerist, Perspective lines converge on darkness. Conflation of time periods in clothing. Christ difficult to locate in scene. Uses classical techniques for non-classical ends. |
| Pontormo | Mannerist. Upturned pyramid shape. Ambiguous. Shocking colors. Void in the middle of the painting |
| Parmagianino | Mannerist. Elongation of proportions, ambiguous scale, disturbing posing and color of baby combined with sensuality of left-hand side of painting |
| Fontana | unstable "inverted pyramid" organization, bright colors, twisting and distortion of bodies. |
| Susato | fluid interchange between vocal and instrumental genres in the renaissance. Instrumental works in consorts (groupings of similar instruments) |
| Palestrina | wrote music that conformed to characteristics suggested by the Vatican Council (clear text-setting, no secular influences). High-point of renaissance polyphony. Changes texture for emphasis (full chorus on most important words and phrases), homorhythmic text setting |
| Gabrieli | worked at St. Mark's in Venice. Church design allowed for splitting of performers into smaller groups in different parts of church. Beginning of baroque musical ideal (the contrast between groups). |
| Luther | begins the Reform movement by publishing criticisms of the church. Never intended to form a different church, simply to reform the traditional church. Lutheran church still believed Mass was the most important part of the liturgy. Introduces congregational singing. |
| Dürer | first artist to recognize the commercial potential for art. Specialized in reproducible genres (woodcut, engraving, prints). Combines passionate religion with classical learning and techniques. |
| Grunewald | reintroduces Medieval hierarchy of figures (more important figures are larger), combined with intense passion and drama. Rejects classical restraint in favor of dramatic, even violent images of contemplation |
| Altdorfer | one of the first landscape painters. Focus on nature an important trait in the renaissance. |
| Bosch | religious artist, but paintings are often nightmarish. Surreal figures, garish colors. |
| Brueghel | peasant scenes, everyday people. Diagonal lines and composition show Italian influence, but the scenes are Northern. |
| Shakespeare | One of the most important writers in any language, and the most important in English. Classical themes in his plays, but they introduce a baroque fascination with the supernatural. Shakespeare invented new words, plays are full of word-games. Role of iambic pentameter. Wrote so that all could understand. |
| Caravaggio | chiaroscuro used to highlight drama of religious scenes. Paintings tell a story, including back story and future events |
| Gentileschi | violence of biblical (or apocryphal) stories. Mastery of foreshortening. Influence of Caravaggio |
| Carracci | classical subject matter, but intensified through repetition until it's over the top. But "Flight into Egypt" is restrained, understated - figures are not seen until after the landscape has already been seen. |
| Bernini | David is dynamic, in motion, and with a powerful facial expression (self-portrait of the artist). St. Teresa is a mixed-media work (the metal rods are part of the sculpture), powerfully expressive of intense emotion. |
| Borromini | Undulating façade makes the building front seem like its moving. Introduction of the curve (baroque) into a classical design (renaissance). |
| de la Tour | French baroque is more restrained than Italian. Less violent, figures seem polished, unreal. But still using chiaroscuro. |
| Poussin | classical subject matter, stylized posing. Bright colors, but artificial arrangement |
| Claude Lorrain | gentle landscape artist, showing the effect of diffuse light on the landscape. More beautiful than nature itself. |
| Rigaud | aristocratic portraits. Combines realism with symbols of power |
| Monteverdi | first great baroque composer. Wrote madrigals in both old and new styles. Wrote first great opera, Orfeo. First composer to specify instruments in the orchestral score for Orfeo. Word-painting in madrigals (madrigalisms). |
| Donne | worked in the generation after Shakespeare. Intellectual poetry that draws on myriad resources, led to him being called "metaphysical poet." Poetry about big themes: death, love. |
| Milton | early in career was a fringe pamphleteer, but always wanted to write epic poetry. Going blind help focus his determination. Paradise Lost a great epic poem in blank verse, though criticized for making Satan too heroic (he represents the loner fighting against the establishment). |
| El Greco | works in Spain, but shows Italian (mannerist) influence in distortion and choice of colors. Lots of motion, dynamism in later paintings. |
| Ribera | shows /religious violent scene, but presented without judgment. Dispassionate and passionate at the same time. Strong J-line typical of baroque curvature. |
| Velazquez | raises the artist to more than simply an employee. Ambiguity of representation. Who is the painting of? Who are we? |
| Rubens | known mainly for painting large naked women. Twisting figures in allegorical or classical paintings. Importance of light and color. |
| Van Dyck | portrait artist, assistant to Rubens |
| Hals | Dutch artists had to rely on civic institutions for patronage, since there was no church or court patronage. Scene combines individualized portraits with group dynamic |
| Vermeer | paintings are intimate, static, domestic, anonymous. Light is diffuse. Careful geometric arrangements |
| Rembrandt | considered the biblical paintings his most important works. Use of suggestion, rough brush strokes, instead of detailed depiction (a baroque trait - invokes the imagination). Strong chiaroscuro for dramatic effect |
| Corelli | First composer to make a career selling printed music. First composer to write only instrumental music. First composer whose works remain played and studied after his death. Importance of trio sonata genre. Great instruments helped improve string-playing techniques in Italy. |
| Purcell | one of the great composers of his era, and one of the best English composers of all time. Wrote for the court, but also stage works. Dido and Aeneas unusual because it is sung all the way through. One of the first important English operas. Ground bass aria, but with unusual bass-pattern (5 measures long). |
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