Music Appreciation Test 2

Terms in this set (41)

English secular vocal music of the Renaissance, consiting of rhymed couplets of text alternating with passages of nonsense syllables: e.g. "Fa la la" (also known as Fa-La)

in the Renaissance, a borrowed melody used as the compositional foundation for a Mass; may be a secular or sacred source (from Latin, "fixed song")

Renaissance secular vocal music in France; a polyphonic setting of a secular poem

a Renaissance instrumental ensemble; may be whole (consisting of one type of instrument, such as recorders or violas da gamba) or mixed (consisting of instruments of different types)

in Renaissance polyphony, the repeating melody in another voice at a different pitch level

English Renaissance secular vocal music, set for a single singer accompanied by a lute

Renaissance secular vocal music, originating in Italy and frequently imported, especially to England; a polyphonic setting of a secular vernacular poem

during the Renaissance, a polyphonic setting of a sacred Latin text other than that of the Ordinary of the Mass

the use of musical devices to reflect the meaning of the text:e.g., settting the words "he ascended into heaven" with a rising scaled (also known as text painting)

the "ancient art," describing the music of late 12th and 13th century France

the "new art," describing the music of the 14th century France

the primary liturgy of the Roman Catholic Church, centering on the celebration of the Eucharist

secular itinerant poet-musician in the Medieval Germany

more properly, the Hours of Divine Office; a series of eight liturgical ceremonies held around the clock in monasteries, which included prayer, scripture reading, and singing of plainchant

the sections of the Mass text that were included every time the Mass was celebrated: Kyrie, Gloria, Credo, Sanctus, and jus chant, or Gregorian Chant

monophonic, modal, rhythmically free vocal music used in the liturgy of the Medieval Roman Catholic Church; also just chant, or Gregorian Chant

the sections of the Mass text that changed according to the season, as was proper or appropiate for the season

secular itinerant poet-musicians in Meieval southern France

secular itinerant poet-musicians in Medieval northern France

passage in an opera, oratorio, or cantata for solo singer, with more melodic and rhythmic interest than in recitations

the harmonic foundation of all Baroque ensembles, consisting of at least two instruments-a bass instrument such as bass viola da gamba or 'cello playing the bass line, and a chordal instrument such as a harpischord playing the harmonies implied by the figurations on that bass line (see figured bass)

a male soprano or alto, popular during the Baroque, created by surgically castrating a promising boy soprano so he grows to maturity with the range of a female voice, the purity of a boy soprano, and the power of a male chest cavity

a passage in opera, oratorio, or cantata for an ensemble of singers with more than one singer to a part

a passage in an opera, oratorio, or cantata for more than one singer interacting

Concertato principle

the use of contrasting elements as a basic compositional goal

Doctrine of affections

the belief of Baraque musicians that the primary duty of art is to express the emotions, as vividly and powerfully as possible

in Baroque compostions, a bass line with numbers indicating the harmony that is implied by the bass notes

a section of a piece, complete in itself, but functioning as a part of a larger work

a play set to music, entirely sung or almost so; the form is a synthesis of all kinds of art: vocal and instrumental music, theatre, dance, literature, visual arts, and even architecture

the instrumental introduction to an opera or oratorio

passages in an opera, oratorio, or cantata, which are declamatory and rhythmically free; an attempt to imitate and intensify the natural inflections of human speech

Terraced dynamics

in Baroque music, the tendency to change dynamics immediately, going from soft to loud, or loud to soft, rather than gradually increasing or decreasing dynamics

specifically the Lutheran liturgical cantata-similar to an oratorio but usually contemplative rather than narrative, and based on a Lutheran chorale; Bach's 200+ cantatas are the most important example

in Baroque concerto grosso, the small group of solo instruments

Concerto grosso

the most important instrumental form of the Baroque, consisting of two contrasting bodies of instruments: the concertino, a small group of soloists, and the ripieno, a larger body (usually a string orchestra with basso continuo; a third sound can be achieved by combining the two in passages marked tutti).

a polyphonic musical form, instrumental or vocal, based on a single melody (the subject) that enters alone; it is then followed by subsequent entries of the subject until the structure of the fugue is defined (as three-voice, four-voice, etc.)-that passage is called exposition; the rest of the fugue consists of various entries of the subject in each of the voices separated by linking passages called episodes

similar to an opera, but without staging or costumes; usually, though not exclusively, on a sacred text (grew from failed attempts at creating a sacred opera)

music based on an extra-musical source; very important during the Romantic period, but usually occasionally in the Baroque (Vivaldi's The Four Seasons is a famous example)

in the Baroque concerto grosso, the larger body of instruments, usually a string orchestra with basso continuo

in the Baraque, similar to the concerto gosso in structure, but with only a single soloist in the concertino; Vivaldi's nearly 300 such works are the most important ideas

in the Baroque; a type of chamber music; may be a solo sonata, played by three players (a soloist and two on the basso continuo) or a trio sonata, played by four players (two soloists and two on the basso continuo); not to be confused with the solo harpsichord sonata, or which Domenico Scarlatti's 555 works are the most important examples

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