MUSC 1220
Western Music II: 1600-1800
Study Guide for First Exam
16th-century madrigal
– Normally written for four voices that are fully-texted
– Poetry is set line by line in a basically chordal style animated with points of imitation and
without rhetorical extremes
– 1540: became denser in texture, more eloquent, and more serious
– 1550: more chromaticism
– NAWM 52, 53, 54, 55, 60, 66, 67
– pp. 126, 127-134, 136, 139, 140, 159
1517
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Beginning of the Reformation
Martin Luther posted 95 Theses on door of Wittenberg Castle Church on October 31
Anthem
– A polyphonic sacred work in English for Anglican religious services
– Verse anthem: there are sections or “verses” for one or more soloists with instrumental
accompaniment alternate with sections for full chorus
– Full anthem: entirely choral
– NAWM 46
– pp. 166-167, 327-328
Bas
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In the 14th-16th centuries, a term for soft instruments such as vielles and harps
pp. 85, 99
Binary form
– A form comprised of two sections, each of which is repeated. First section usually ends on
dominant or relative major (could be tonic or other key) and second section ends on tonic.
– Standard form for dances in 17th and 18th centuries
– NAWM 62a, 85b, 91d, 94
– pp. 142, 207, 226-227, 235, 271, 330-331, 332, 346
The Book of the Courtier
– Written in 1528 by Baldassare Castiglione
– Was a manual on proper behavior at court in the pretense of conversations at the duke’s place
in Urbino
– pp. 93, 125-126
Broken consort
– Common later in the 16th century
– Consisted of an ensemble using instruments from different families
– pp. 142-143
Castiglione, Baldassare
– (1478-1529) diplomat and author of “The Book of the Courtier”
– Emphasized that people should be able to read notated music
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Was also a courtier and a poet
pp. 93, 125, 126
Chapel
– A group of salaried musicians and clerics employed by a ruler, nobleman, church official, or
other patron, who officiate at and furnish music for religious services.
Chorale
– Strophic hymn in the Lutheran tradition, intended to be sung by the congregation in German
– Many chorales were newly composed
– Chorales could also come from adaptations of secular and devotional songs or Latin chants
– NAWM 44b-d, 97, 98f
– pp. 152, 154-155, 157, 261-262
Chromaticism
– The use of many notes from the chromatic scale in a passage or piece
– Expressed intense emotion in vocal works
– Suggested harmony exploration in instrumental pieces
– Created distinctive subjects for treatment in imitative counterpoint
– NAWM 2, 55
– pp. 129, 132-133, 162, 187, 197, 220, 273, 353-354, 448, 461, 466-467, 470, 477, 481, 498, 502503, 509, 510, 514, 540, 543, 604, 613
Concerto delle donne
– “Ensemble of ladies”
– A trio of trained singers appointed as ladies-in-waiting to the music-loving Margherita Gonzaga
– Established in 1580 by Alfonso d’Este, duke of Ferrara
– pp. 128, 139, 196
Consort
– Consists of an ensemble using instruments from the same family
– pp. 142-143, 220
Contrafactum
– The practice of replacing the text of a vocal work with a new text while the music remains
essentially the same
– Could include clever reworkings of existing poems
– pp. 152, 154, 603, 604
Cori spezzati
– “broken/divided choirs”
– NAWM 65
– pp. 150, 208, 221
Council of Trent
– Council of the Church convened by Pope Paul III with meetings between 1545 and 1563
– Prohibited use of tropes and all but a few sequences
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Western Music II: 1600-1800
Aim of the reforms and of the music composed with them in view was the intelligibility of the
liturgical texts
pp. 40, 158, 159, 160, 163, 210
Counter-Reformation
– Goal was to win back those who had left the Catholic Church through its liturgy, religious art and
ceremonial music
– Main tool of change was the Council of Trent
– Palestrina was a big part of it
– NAWM 47
– pp. 93, 153, 158-167
Cultural capital
– Individuals invest their own money in businesses designed to return a profit
– Effects on music were the rise of public opera and public concerts and demand for published
music, instruments and lessons
– Acquisition of artistic wealth
– pp. 170
de Rore, Cipriano
– (1516-1565) Flemish but worked in Italy
– Music Director at Saint Mark’s in Venice
– Known for giving text distinct musical profiles
– Seconda pratica: practice of counterpoint and composition that allows the rules of 16th-century
counterpoint to be broken in order to express the text
– NAWM 53
– pp. 128-129, 130, 148, 159, 179
Dowland, John
– (1563-1626) a leading composer of lute songs
– Also known for his settings of Psalms or sacred songs and pieces for instrumental consort as well
as dances, arrangements, and compositions for solo lute
– NAWM 61
– pp. 136-137, 147
Ferrara
– The court of Ferrara under the Este family hosted Josquin and his colleague Jacob Obrecht
– The city was renowned as the home of the original concerto delle donne and several important
Italian madrigal composers
– Had many sophisticated Italian courts
– Great rivalry between the women’s vocal ensembles of Ferrara and Mantua
Freely-composed Mass
– Not based on a cantus firmus or parody, but written anew
Frottola
– 16th-century genre of Italian polyphonic song in mock-popular style, typically syllabic,
homophonic and diatonic, with the melody in the upper voice and marked rhythmic patterns
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Composed and sung for entertainment in sophisticated Italian courts
NAWM 51
pp. 126, 134, 139
Galliard
– 16th-century dance in fast triple meter, often paired with the pavane and in the same form
(AABBCC)
– NAWM 62c
– pp. 141, 143, 145
Haut
–
–
In the 14th-16th centuries, a term for loud instruments such as cornets and sackbuts
pp. 85, 99
Humanism
– Movement in the renaissance to revive ancient Greek and Roman culture and to study things
pertaining to human knowledge and experience
– Emphasis on logic and reliance on authority as the center of intellectual life
– Rebirth of interest in music theory’s Greek past
– Peak of interests in humanism was emphasized in the madrigal because of the realization of
images and emotions in the text
– pp. 21, 89, 91, 92, 94, 110, 112, 126, 129, 159, 189, 193
Imitation
– In polyphonic music, the device of repeating (imitating) a melody or motive announced in one
part in one or more other parts, often at a different pitch level and sometimes with minor
melodic or rhythmic alternations. Usually the voices enter with the element that is imitated,
although sometimes imitation happens within the middle of a segment of melody.
– The act of alternating a new work after an existing work or style; especially, to borrow much of
the existing work’s material
– pp. 19-20
Intabulation
– Arrangement of a vocal piece for lute or keyboard, typically written in tablature
– NAWM 63a
– pp. 143-144
Lute
–
–
–
Plucked string instrument popular from the late Middle Ages through the Baroque Period,
typically pear-shaped or almond-shaped with a rounded back, flat fingerboard, frets, and one
single and five double strings
NAWM 61
pp. 4, 79, 139-143, 185, 223
Luther, Martin
– (1483-1546) the German leader of the Protestant Reformation, was ordained a priest in 1507
then became a professor at the University of Wittenberg. Shocked by the spiritual laxity in
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ecclesiastical Rome, he began his protest in 1517 by posting his historic 95 Theses on the door of
the Castle Church in Wittenberg.
Believed God’s justice consists not in rewarding people for good deeds or punishing them for
sins, but in offering salvation through faith alone
Wanted the entire congregation to participate in the text and music of the services in order for
them to experience their faith through direct contact with Scripture
Used many well-known secular tunes for chorales, substituting religious words – called
contrafacta
NAWM 44b, 44c
pp. 93, 109, 152, 153-154, 285, 428
Madrigalism
– A particularly evocative – or if used in a disparaging sense, a thoroughly conventional – instance
of text depiction or word painting; so called because of the prominent role of word-painting in
madrigals
– pp. 131-132
Marenzio, Luca
– (1553-1599) had a career in Rome in the service of several cardinals
– Known for many madrigalisms
– Mostly wrote madrigals
– NAWM 54
– pp. 131-132, 179
Morley, Thomas
– (1557/8-1602) English madrigal composer
– Composer of canzonets and balletts
– Publisher of The Triumphs of Oriana
– NAWM 59
– pp. 136-137
Motet
– Polyphonic vocal composition; the specific meaning changes over time. The earliest motets add
a text to an existing discant clausula. Thirteenth-century motets feature one or more voices,
each with its own sacred or secular text in Latin or French, above a tenor draw from chant or
other melody. Most fourteenth- and some fifteenth-century motets feature isorhythm and may
include a contratenor. From the fifteenth century on, any polyphonic setting of a Latin text
(other than a Mass) could be called a motet; from the sixteenth century on, the term was also
applied to sacred compositions in other languages.
– NAWM 21, 22, 24, 33, 41, 48a, 49, 74, 75
– pp. 52, 61-64, 68-71, 95, 97, 99, 101, 102, 120, 121, 150, 155, 158, 163-165, 167, 200, 208, 210,
211, 214, 252, 254, 284, 479, 570
Palestrina, Giovanni Pierluigi da
– (1525/6-1594) captured the essence of the musical Counter-Reformation
– Concentrated almost exclusively on sacred music
– Served as a choirboy and received his education at the church of Santa Maria Maggiore in Rome
– Was an organist and choirmaster in Palestrina (1544-1551)
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Was the choirmaster of the Julian Chapel at Saint Peter’s (1551-1555)
Composed more Masses that any other composer
Main secular works were madrigals which he was embarrassed about later in life
Was commissioned to revise the official chant books to conform to the new liturgy and purge
the chants of “barbarians, obscurities, contrarieties, and superfluities”
Composed 104 Masses, over 300 motets, 35 Magnificats, about 70 hymns, many other liturgical
compositions, about 50 spiritual madrigals with Italian texts, and 94 secular madrigals
NAWM 47
pp. 153, 158-167, 179, 208, 472
Paraphrase Mass
– Polyphonic Mass in which each movement is based on the same monophonic melody, normally
a chant, which is paraphrased in most or all voices rather than being used as a cantus firmus in
one voice
– NAWM 42
– pp. 121-123, 161
Parody (imitation) Mass
– Polyphonic Mass in which each movement is based on the same polyphonic model, normally a
chanson or motet, and all the voices of the model are used in the Mass, but none is used as a
cantus firmus
– Replaced the cantus firmus Mass as the dominant type around 1520
– NAWM 48b
– pp. 121, 123, 158, 161
Pavane
– Sixteenth-century dance in slow duple meter with three repeated sections (AABBCC). Often
followed by a galliard.
– More reserved and less vigorous than the galliard
– NAWM 61, 62b, 64
– pp. 137, 141, 143, 145, 147, 226
Petrarch
– (1304-1374) was raised in Avignon and studied law in France and at the University of Bologna.
An avid collector of ancient manuscripts, he eventually replaced law with literary studies and
composed works that influenced learning and literature long after his death. He is best known
for his “Rime sparse”, a collection of sonnets and other lyric poems that set the standard for
Italian vernacular verse for centuries.
– Early in the sixteenth century, a renewed appreciation for Petrarch sparked a movement during
which his works were analyzed, edited and imitated
– Many early madrigalists turned to Petrarch for their texts
– NAWM 53
– pp. 12, 15, 127, 128-129
Petrucci, Ottaviano
– (1466-1539) produced the first collection of polyphonic music printed entirely from movable
type in 1501 called the “Harmonice musices odhecaton A”
– pp. 116, 118, 120, 126, 139, 142
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Western Music II: 1600-1800
Point of imitation
– In a polyphonic work, the musical idea or motive that is the subject of imitation by the other
voices
– A new point of imitation begins as the last voices to enter in the preceding point conclude
Psalter
– A published collection of metrical psalms which are rhymed, metric and strophic vernacular
translations of Psalms, sung to a relatively simple melody that repeats for each strophe
– NAWM 45
– pp. 152, 156
Reformation
– Began as a theological dispute set in motion by Martin Luther in 1517 and mushroomed into a
rebellion against the authority of the Catholic Church and the spiritual leadership of Rome, the
center of Western Christianity
– pp. 22, 152-158, 170, 444
Strophic
– With respect to a poem, made up of units (strophes), all with the same number of lines, rhyme
scheme, and meter
– With respect to a musical setting of a strophic text, characterized by the repetition of the same
music for all strophes
– NAWM 4b, 8, 9, 11, 36, 40, 44a, 50, 51, 56, 59, 68, 69, 71b, 72 (Aria)
– pp. 36, 46-47, 76, 97, 126, 134, 136, 138, 152, 190, 195, 196, 199, 205, 206, 243, 260, 415, 439,
587
Stylized dance
– Started in the late Renaissance
– Dances were made more elaborate so that musical elements were more important
– These elements included irregular cadences, subtle phrase lengths, unusual harmonies and even
counterpoint
– People were not actually expected to dance to this music
Tablature
– A system of notation used for lute or other plucked string instruments that tells the player which
strings to pluck and where to place the fingers on the strings, rather than indicating which notes
will result
– Tablature was also used for keyboard instruments until the seventeenth century
– NAWM 61
– pp. 137, 143-144, 146, 220
Through-composed
– Composed throughout, as when each stanza or other unit of a poem is set to new music rather
than in a strophic manner to a single melody
– Every line of poetry received a different musical setting reflecting the rhythm and sense of the
words
– pp. 46, 127, 190-191, 201, 270, 415
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Western Music II: 1600-1800
The Triumphs of Oriana
– A collection of 25 English madrigals by different composers modeled after a similar Italian
anthology called “Il trionfo di Dori”
– Published by Thomas Morley in 1601
– Each madrigal ends with the words “Long live fair Oriana”
– NAWM 60
– pp. 136
Variations
– Form that presents an uninterrupted series of variants on a theme; the theme may be a melody,
a bass line, a harmonic plan, or other musical subject
– NAWM 63b, 64
Victoria, Tomás Luis de
– (1548-1611) a Spanish priest and composer
– Composed sacred music exclusively
– Style resembles Palestrina’s, but infused with greater expressive intensity
– Utilized more notes outside the diatonic modes
– NAWM 48
– pp. 163, 165
Virginal
– English name for harpsichord, used for all types until the seventeenth century
– 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
– pp. 140, 147, 165, 230
Word painting
– Text depiction
– Using musical gestures to reinforce or suggest images in a text, such as rising on the word
“ascend”
The Council of Trent is synonymous with the movement known as the Counter-Reformation. The Council
met in the years 1545-1563.
A cyclic Mass that is based on a cantus firmus which is altered is called a parody Mass.
The name of the book that set down the expected code of behavior for gentlemen in the Renaissance
was The Book of the Courtier.
The English version of the Renaissance Latin motet was called an anthem.
The Protestant Reformation began in the year 1517.
A type of Renaissance musical notation for lute and keyboard that indicates position of the fingers is
called tablature.
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Western Music II: 1600-1800
A satirical poem, dating from the early fourteenth century and containing several pieces of music is
entitled Roman de Fauvel.
The influence of English music on the European continent in the early fifteenth century is called
Renaissance from a French poem.
A Renaissance composition which used strict imitation in different rhythmic proportions is called a
mensuration canon.
The name of the court in France that flourished from c.1400-1477 and was influential for its patronage
of the arts was the Burgundian court.
In 1501 in Venice, Petrucci produced the first collection of music printed using movable type.
The sixteenth-century madrigal grew out of the renewed interest in the poetry of Petrarch.
Italian secular songs were often accompanied on the plucked instrument known as a lute.
Although Mantua was important for Italian secular song in the sixteenth century, the town of Ferrara
might be considered the most important centre.
The overall texture of the frottola is homophonic.
The early madrigal typically had 4 voice parts.
The term for a musical technique or figure depicting a word or words in the text of a song is word
painting/madrigalism.
Musica transalpina was a collection of Italian madrigals translated into English.
Chromaticism in the late Italian madrigal is more pronounced than in those of the early stage or middle
stage.
Kings and dukes in Europe in the sixteenth century became important patrons of the arts. The term that
might be applied to the acquisition of artistic wealth is cultural capital.
a)
b)
c)
d)
e)
f)
g)
h)
i)
j)
k)
l)
Leoninus
Madalena Casulana
Boethius
Franco of Cologne
Philippe de Vitry
Guillaume de Machaut
John Dunstable
Guillaume du Fay
Josquin des Prez
Giovanni Pierluigi da Palestrina
Cipriano de Rore
Guido d’Arezzo
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f
b
a
j
k
l
i
c
leading Ars nova composer and poet
first published woman composer
Notre Dame master of polyphony
savior of Roman Catholic polyphony
one of the most significant madrigalists
the thin red line
“master of the motets” according to Luther
author of Medieval music textbook
MUSC 1220
Western Music II: 1600-1800
Three northern Italian cities that were important centres for the composition and performance of
madrigals were Ferrara, Mantua and Venice.
Five types or categories of sixteenth-century instrumental music are:
a) Dance music
b) Arrangements of vocal music
c) Settings of existing melodies
d) Variations
e) Abstract instrumental works
The English Church separated from Rome in the year 1534.
The Protestant Reformation is said to have begun in the year 1517.
A group of instruments playing of the same family is called a consort.
The rise of the sixteenth-century madrigal was largely a result of the analysis of high quality poetry by
the fourteenth-century poet, Petrarch.
Perhaps the single most important theorist of the sixteenth century is Boethius.
Three sources of evidence for the increased status of instrumental music in the sixteenth century are:
a) More instrumental music was written down once instrumentalists began composing polyphonic
works
b) Music printing was invented so a lot of dance music was written
c) People started to enjoy listening to composer’s instrumental music
An ensemble of mixed timbres is stylistically more characteristic of which period, the Middle Ages or
Renaissance? Renaissance
Overlapping phrases of regular, flowing, imitative lines are characteristics of much music of which
period, the Middle Ages or Renaissance? Middle Ages
The aspect of setting a text to music in a way that musical accent and textual accent coincide is called
syllabic text setting.
A Renaissance ensemble of instruments of the same timbre is called a consort.
The Church of England (Anglican Church) was not formed because of Henry VIII’s desire for a reformed,
Protestant service.
Dance music of the Renaissance was often written in a two-part form called binary form.
Giovanni Pierluigi da Palestrina
Pope Marcellus Mass: Credo
ca. 1560
NAWM 47
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Luca Marenzio
Solo e pensoso
1590’s
NAWM 54
Thomas Weelkes
As Vesta was
ca. 1601
NAWM 60
Tomás Luis de Victoria
O magnum mysterium
ca. 1570
NAWM 48a
Missa O magnum mysterium: Krie
ca. 1580’s
NAWM 48b
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