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Music History Mid/Ren.
|The most important type of music in the Lutheran church was the congregational hymn, also known as the _________
|What does the practice of contrafactum refer to
|secular songs given new words
|The Calvinist tradition was marked by metric, rhymed, strophic translations of the psalms into the vernacular, which were called ________________, and subsequently gathered and published in collections called _____________.
|1.metric psalms 2. psalters
|Which of the following is NOT a language used within the Calvinist tradition? (a) Dutch (b) English (c) Latin (d) French
|The Calvinist tradition rejected all of the following, except: (a) organs and other musical instruments (b) elaborate polyphony) (c) visual art (d) congregational singing
|began as theological dispute and went into full rebellion against Catholic church. Started with Martin Luther in Germany.
|His views contradicted Catholicism. Pinned the 95 Thesis. Instigator of reformation. German.
|Congregational hymn, worshiper's participation in service, 4 main sources: adaption of chant, Ger. devotional songs, secular songs given new words, new compositions.
|Secular songs given new words
|chorale setting in the style of 16th century motet
|Frenchman. Rejected Papal authority and embraced justification by faith alone. Stripped churches of decoration and complex (polyphonic) music.
|Metric, rhymed, strophic translations of psalms in the vernacular set to new melodies or tunes adapted from chant.
|Collections of metrical psalms.
|A polyphonic, sacred work in English for Anglican religious services.
|A setting of Anglican service music encompassing specific portions of Matins, Communion, and Evensong. Great service is melismatic, contrapuntal setting of these texts. Short service sets same text in syllabic, chordal style.
|Most important mid century English composer.
|Most important English composer between Dunstable and Purcell, master of almost all major genres at the time.
|The Catholic church's response to the reformation, with a series of initiatives. Council of Trent.
|What distinguished William Byrd's style from others such as Josquin, Palestrina, Victoria and Lassus?
|In Byrd, cadences more frequent, imitation freer and almost constant, rare homophony, voice lines more angular and energetic, not largely stepwise.
|Book of the Courtier
|Written by Castiglione. In it several speakers praise those who could sing and play from notation.
|Polyphonic song in Spanish with several stanzas framed by a refrain. Originally secular.
|Juan del Encina
|1st Spanish playwright. Leading composer of Villancios.
|Italian polyphonic song in mock-popular style typically syllabic, homophonic and diatonic with melody in upper voice and marked rhythmic patterns.
|One of the best known composers of frottola.
|16th century Italian poem having any number of lines, each of 7 or 11 syllables. The polyphonic setting of such a poem.
|Used mixed homophony with occasional imitation in his madrigals. Was Franco-Flemish.
|Carefully suited his music to the accentuation, rhetoric, and punctuation of the text. One of the 1st composers to insist that syllable be printed precisely under their notes and stressed of Latin pronunciation. Also important to Italian Madrigal.
|Willaert's student. Wrote the most respected treaty of mid 16th century. -- "Le institutusne armoniche"
|Rise of madrigal was linked to currents in Italian poetry lead by this poet and scholar.
|Poets, readers and musicians returned to sonnets and canzoni of Petrarch.
|Cirpriano de Rore
|Leading madrigal composer of mid 16th century. Another student of Willaert.
|Chief of leading madrigalists. Depicted contrasting feelings and visual details with utmost artistry.
|One of the most colorful figures in music history. Prince of Venosa. An aristocrat. Killed wife and the man he found with her. Modern poems with strong images. Sharp contrasts between diatonic and chromatic passages.
|Type of 16th century Italian song, generally for 3 voices in a rustic homophonic style.
|Song genre in a simple, mostly homophonic style.
|Song in simple, dance like, homophonic style with repeated sections and "fa-la-la" refrains.