Mid Term I

Question 1

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

Answer 1

• Title: Ave Maria … virgo serena
• Genre: motet
• Composer: Josquin Desprez
• Time Period: Renaissance (early 16th century)

1. The motet opens with several overlapping points of imitation in which all four voices paraphrase each phrase of the cant sequence melody in turn.
2. When the hymn text begins, the music is no longer based on borrowed material, and becomes relatively homophonic.
3. This piece recalls elements of fauxbourdon.

Question 2

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

Answer 2

• Title: Vespers for Christmas Day: Antiphon Tecum principium and Psalm Dixit dominus
• Genre: Office Plainchant Psalm
• Composer: Anonymous
• Time Period: Medieval (before 900)

1. The cantor sings the opening words of the antiphon to set the pitch
2. It is imple and mostly syllabic
3. The chant often centers and cadences around important notes of the mode.

Question 3

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

Answer 3

• Title: Vespers for Christmas Day: Christe redemptor omnium
• Genra: Office Plainchant hymn
• Composer: Anonymouus
• Time Period: Medieval (6th century)

1. strophic
2. Melodies often repeat one or more phrases, producing a variety of patterns.
3. It has onoe note on most syllables with two or three notes on others.

Question 4

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

Answer 4

• Title: Christ, redemptor omnium
• Genra: Hymn
• Composer: Guillaume Du Fay
• Time Period: Renaissance (mid 15th century)

1. Fauxbourdon
2. Isorhythms
3. Only even-numbered stanzas were sung polyphonically.

Question 5

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

Answer 5

• Title: Cum statua / Hugo, Hugo / Magister invidie
• Genre: Motet
• Composer: Philippe de Vitry
• Time Period: Medieveal (early 14th century)

1. Isorhythmic
2. Hocket
3. Talea and Color

Question 6

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

Answer 6

• Title: Ein Feste Burg
• Genra: Four-voice Chorale motet
• Composer: Johann Walter
• Timer Period: Renassaince

1. Borrowed from existing genres
2. Polyphonic
3. Placing C.F. in the tenor and surrounding it with three or more free-flowing parts.

Question 7

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

Answer 7

• Title: Ein Feste Burg
• Genra: Chorale
• Composer: Martin Luther
• Timer Period: Renaissance

1. attention to expression and declamation of words.
2. rhythm fit the stresses in the text.
3. song strongly identified with the reforamtion.

Question 8

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

Answer 8

• Title: Conclusion of the Historia di Jephte: plorate colles - recitative
• Genra: Oratorio
• Composer: Giacomo Carissimi
• Timer Period: Baroque (c. 1648)

Question 9

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

Answer 9

• Title: If ye love me
• Genra: Anglican Anthem
• Composer: Thomas Tallis
• Time Period: Renaissance (c. 1546-1549)

Question 10

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

Answer 10

• Title: Mass for Christmas Day: Kyrie
• Genra: Mass Ordinary Plainchant
• Composer: Anonymous
• Time Period: Medieval (before 900)

Question 11

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

Answer 11

• Title: Missa Pange Lingua: Kyrie
• Genra: Cyclic or paraphrase mass
• Composer: Josquin Desprez
• Time Period: Renaissance (early 16th century)

Question 12

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

Answer 12

• Title: Nun Komm, der Heiden Heiland
• Genra: Contata
• Composer: Johann Sebastian Bach
• Time Period: Baroque (1724)

Question 13

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

Answer 13

• Title: Nun komm, der Heiden Heiland: Lob sei Gott
• Genra: Chroale
• Composer: Johann Sebastian Bach
• Time Period: Baroque (1724)

Question 14

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

Answer 14

• Title: Pope Marcellus Mas: Credo
• Genra: Mass, Credo
• Composer: Giovanni Pierluigi da Palestrina
• Time Period: Renaissance (c. 1560)

Question 15

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

Answer 15

• Title: Quam pulchra es
• Genra: motet or cantilena
• Composer: John Dunstable
• Time Period: Renaissance (early 15th century)

Question 16

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

Answer 16

• Title: Saul, was verfolgst du mich
• Genra: Sacred concerto
• Composer: Heinrich Schütz
• Time Period: Baroque (c. 1650)

Question 17

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

Answer 17

• Title: Aria of the St. Matthew Passion: Erbarme dich
• Genra: passion
• Composer: Johann Sebastian Bach
• Time Period: Baroque (1727, revised 1736)

Basso continuo & expressive dissonance.

Question 18

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

Answer 18

• Title: Viderunt omnes
• Genra: Notre-Dame organum qudruplum
• Composer: Perotinus
• Time Period: Medieval (early 14th century)

Question 19

When was the Medieval Era?

Answer 19

750 - 1400

Question 20

When was the Renaissance Era?

Answer 20

1400 - 1600

Question 21

When was the Baroque Era?

Answer 21

1600 - 1750

Question 22

Pope Gregory I

Answer 22

Pope Gregory I is the namesake of Gregorian chant. The chant repertory in frankish lands during his time period were attributed to him by the liturgical texts of the time. However, there is no evidence from his own time that pope Gregory played any role in composing or standardizing chant.

Relevant Piece: Mass for Christmas Day, anonymous

Question 23

Charlemagne

Answer 23

Charlemagne was the son of Pippin the Short, and the successor to the Frankish kingdom. During his rule, his conquests expanded his territory throughout modern-day France, Belgium, the Netherlands, western Germany, Switzerland, and northern Italy. He was crowned emperor in Rome by Pope Leo III, which initiated what later became known as the Holy Roman Empire. Charlemagne helped standardize liturgical chant.

Relevant Piece: Mass for Christmas Day: Gradual: Viderunt Omnes, Anonymous

Question 24

Philippe de Vitry

Answer 24

Philippe de Vitry was a French composer. He lived during the end of the 13th and beginning of the 14th century. Vitry inaugurated a new French musical style known as Ars Nova.

Relevant Piece: Cum Statua / Hugo, Hugo / Magister invidie, Philippe de Vitry

Question 25

Guillaume Du Fay

Answer 25

Guillaume Du Fay was born in Belgium. He was a composer who adopted many French, Italian, and English styles into his music. His music is representative of the international style of the mid-fifteenth century. Relevant piece: Christe, redemptor omnium, guillaume du fay.

Question 26

Martin Luther

Answer 26

Martin Luther is widely regarded as the instigator of the [protestant] Reformation. His approach to theology was influenced by his humanistic education, which taught him to rely on reason, on direct experience, and on his own reading of Scripture rather than on received authority. He was charged with heresy and excommunicated. He organized the new Evangelical church. In the Lutheran church, there was a new emphasis on congregational singing. Relavant piece: Ein Feste Burg, Martin Luther

Question 27

Giovanni Pierluigi da Palestrina

Question 28

Johann Sebastian Bach

Answer 28

Bach built on the heritage of the Lutheran church. He was renowned in protestant Germany as an organ virtuoso, keyboard composer, and writer of learned contrapuntal works. He embraced all major styles, forms, and genres of his time (except oper) and blended them in new ways, and developed them further. Relevant piece: Nun Komm, der heiden Heiland

Question 29

Plainchant or Gregorian Chant

Answer 29

Unison unaccompanied song, particularly that of the Latin Liturgy. Relevant Piece: Mass for Christmas Day, anonymous

Question 30

Syllabic

Answer 30

Having (or tending to have) one note sung to each syllable of text. Relevant Piece: Christe Redemptor Omnium, anonymous

Question 31

Neumatic

Answer 31

In chant, having about one to six notes or so sung to each syllable of text. Relevant Piece: Mass for Christmas Day, Introit, anonymous.

Question 32

Melismatic

Answer 32

Melisma is the signing of a single syllable of text while moving between several different notes in succession. Relevant piece: Mass for Christmas Day, Kyire, Anonymous.

Question 33

Mass (ordinary vs. proper)

Answer 33

Mass Ordinary: Kyrie, Gloria, Credo, Sanctus, Agnus Dei Mass Proper: Introit, Gradual, Alleluia, Sequence, Offertory, Communion.

Question 34

Office

Answer 34

From latin officium, "obligation" or "ceremony," a series of eight prayer services of the Roman church, celebrated daily at specified times, especially in monasteries and convents. Relevant piece: Antiphon Tecum principium and Psalm Dixit dominus

Question 35

Strophic

Answer 35

Of a poem, consisting of two or more stanzas that are equivalent in form and can be sung to the same Melody. Of a vocal work, consisting of a strophic poem set to the same music for each stanza. Relevant piece: Ein Feste Burg, Martin Luther

Question 36

Mode

Answer 36

A scale or melody type, identified by the particular intervallic relationships among the notes in the mode. Relevant Piece: Viderunt omnes, Perotinus

Question 37

Organum and Notre-dame Polyphony

Answer 37

One of several styles of early polyphony from the night through thirteenth centuries involves the addition of one or more voices to an existing chant. Relevant piece: Christe, redemptor omnium, Guillaume du Fay

Question 38

Motet

Answer 38

Polyphonic vocal composition; the specific meaning changes over time. The earliest motets add a text to an existing distant clausula. Thirteenth-century motets feature one or more voices, each with its own sacred or secular text in latin or french, above a tenor drawn from chant or another borrowed melody. Relevant piece: Cum Statua / Hugo, Hugo / Magister Invidie, Philippe de Vitry.

Question 39

Ars Nova Mensural Notation

Answer 39

Latin for "new art," it was a style of polyphony from fourteenth-century France, distinguished from earlier styles by a new system of rhythmic notation that allowed duple or triple division of note values, syncopation, and great rhythmic flexibility.

Question 40

Faburden vs. Fauxbourdon

Answer 40

Faburden is the English style of improvised polyphony from the late Middle Ages and Renaissance, in which a change in the middle voice is joined by an upper voice moving in parallel perfect fourth above it and a lower voice that follows below the chant mostly in parallel thirds. Fauxbourdon is continental style of polyphony in the early Renaissance, in which two voices are written, moving mostly in parallel sixths, and a third unwritten voice is sung in parallel perfect fourths below the upper voice. Relevant Piece: Christe, redemprtor omnium, Guillaume du Fay

Question 41

Cyclic Mass

Answer 41

In Renaissance music, the cyclic mass was a musical setting of the Ordinary of the Roman Catholic Mass, in which each of the movements – Kyrie, Gloria, Credo, Sanctus, and Agnus Dei – shared a common musical theme, commonly a cantus firmus, thus making it a unified whole. Relevant Piece: Missa Pange Lingua, Josquin Desprez

Question 42

Cantus Firmus

Answer 42

Fixed melody. An existing melody, often taken from a Gregorian chant, on which a new polyphonic work is based. Relevant Piece: Ave Maria ... Virgo Serena, Josquin Desprez.

Question 43

Imitation vs. Homorhythm

Answer 43

Imitation occurs in polyphonic music when a melody or motive announced in one part is repeated in one or more other parts. There may be minor melodic or rhythmic alterations. Homorhythm is when several voices move together with the same rhythm, not necessarily repeating a melodic idea or motive. Related Piece: Ave Maria... virgo serena, Josquin Desprez.

Question 44

Reformation

Answer 44

related piece: Ein Feste Burg, Martin Luther

Question 45

Counter-reformation

Answer 45

Relevant piece: Conclusion of the Historia di Jephte, "Plorate colles," Giacomo Carissimi

Question 46

Oratorio

Answer 46

Genre of dramatic music that originated in the seventeenth century, combining narrative, dialogue, and commentary through, Arias, Recitatives, Ensembles, Choruses, and instrumental music, like an unstaged opera. Relevant Piece: Conclusion of the Historia di Jephte: plorate colles, Giacomo Carissimi

Question 47

Chorale

Answer 47

Strophic Hymn in the Lutheran tradition, intended to be sung by the congregation. Relevant piece: Ein feste Burg, Martin Luther

Question 48

Cantata

Answer 48

A vocal chamber work with continuo, usually for solo voice, consisting of several sections or movements that include recitatives and arias and setting a lyrical or quasi-dramatic text. Relevant piece: Nun Komm, der Heiden Heiland, Johann Sebastian Bach

Question 49

Passion

Answer 49

A musical setting of one of the biblical accounts of Jesus's crucifixion. Relevant piece: St. Matthew Passion, "Erbarme dich," Johann Sebastian Bach.