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Music History 11-14
| Question | Answer |
|---|---|
| Choralis Constantinus | sets in polyphony chants from German diocese of Constance |
| Geistliche Gesangbuchlein | “Little Book of Spiritual Songs” published by Johann Walter – 38 Protestant hymns and 5 Latin motets |
| The Augsburg Confession | definitive doctrinal statement of the Lutheran faith Psalter |
| The Geneva Psalter | published by Calvin; translation of all 150 psalms into metrical and rhyming French |
| Counter-Reformation | movement that fostered reform within the established Roman Church |
| Council of Trent (1545-1563) | congress of bishops and cardinals held at the small town of Trento in the Italian Alps; started the Counter-Reformation |
| Sistine Chapel | pope’s private chapel within his apartments |
| A cappella | singing without instrumental accompaniment |
| Point of imitation | motive used where each phrase of text assigned its own motive which appears in each voice |
| Prima pratica | first practice; traditional style for church music in contrast to the freer writing found in some madrigals of the late 16th C |
| St. Peter’s Basilica | largest church in the world; a Renaissance replacement for Constantine’s Roman church designed in part by Michelangelo |
| Virginal | diminutive harpsichord possessing a single keyboard with the strings placed at right angles to the keys |
| Fitzwilliam Virginal Book (1615) | large collection of keyboard music |
| Variation technique | procedure in which successive statements of a theme are changed or presented in altered surroundings |
| Musica transalpina (music across the Alps) | 33 madrigals by Italian composers but texts were translated into English |
| Consort song | voice accompanied by a group of independent instruments, usually of viols |
| Lute ayre | soloist accompanied by a lute and possibly a bass instrument such as viola da gamba |
| Seconda pratica | Monteverdi’s term for the new text-driven approach to composition |
| Doctrine of Affections | different musical moods could and should be used to influence emotions of the listeners |
| Monody | means “to sing alone” – continuation of the attempts of poets, scholars, and musicians to emulate the music of ancient Greece by making words intelligible and enhancing their effect |
| Basso continuo | bass line that provided a never-ending foundation for the melody |
| Figured bass | numerical shorthand placed with the bass line that tells the player which unwritten notes to fill in above the written bass note |
| Libretto | the text that conveys the story of the opera; written in poetic verse |
| Le nuove musiche (1602) | The New Music; anthology of solo madrigals and strophic solo songs gathered over time |
| Simple recitative | musically heightened speech accompanied only by basso continuo |
| Arioso style | manner of singing halfway between a recitative and a full-blown aria |
| Aria | Italian for “song”; more florid, expansive, and melodious than a recitative or arioso |
| Strophic variation aria | same melodic and harmonic plan appears, with slight variation, in each successive strophe |
| Cori spezzati | “broken choirs” which was music for 2, 3, or 4 choirs placed in different parts of a building |
| Stile concertato | Baroque music marked by grand scale and strong contrast, either between voices and instruments, between separate instrumental ensembles, between separate choral groups, or between soloist and choir |
| Concerted motet | concerato style evident in motet |
| Concerted madrigal | instruments appear, contrasting textures and timbres |
| Basso ostinato | bass line that insistently repeats, note for note |
| Ciaconna (chaconne) | indicates repeating bass pattern of short duration |
| Passacaglia | indicates repeating bass pattern of short duration (used to be diff than ciaconna) |
| Kapellmeister | chief of music at court in Germany |
| Da chiesa | of the church |
| Da camera | of the chamber |
| Trio sonata | comprised line for 2 treble instruments and basso continuo |
| Binary form | 2 complementary parts – 1st moving to a closely related key and 2nd beginning in that key but soon returning to the tonic |
| Walking bass | bass moving in steady pace |
| Solo concerto | instrumental piece for solo and orchestra |
| Cadenza | technically demanding, rhapsodic, improve passage near the end of a movement |
| Concerto grosso | larger body of performers (orchestra) contrasts w/ smaller group of soloists |
| Ripieno | “full” – larger ensemble in concerto grosso |
| Concertino | smaller group of soloists in concerto grosso |
| Ritornello form | uses refrain |
Created by:
megshu
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