RCM History 2 Cram :D (2552 words)

Monothematic exposition

Based on an earlier polyphonic chanson by Josquin des Prez

Responsorial style
Two-voice work with newly composed counterpoint against the original chant melody
Example of music from the Notre Dame School (in the style of Léonin)

Gradual from the mass for Easter Sunday
Homophonic, single melody line
Unmeasured rhythm

Concertino includes a violin, oboe, recorder and trumpet
Ripieno is a string orchestra with continuo
First movement uses a ritornello

Terzetto in sonata form, featuring musical characterization
Overture in D+ uses modified sonata-allegro form without a development
Characters include a teenage page boy and a gossipy music teacher
Makes fun of aristocrats
Da Ponte

Twenty-two movements in three suites
In the opening, trumpets play ascending triadic figures answered by descending scales
Was first performed on a barge in 1717 (intended for outdoor performance, no harpsichord)
Terraced dynamics
Allegro in loose ternary, features brass instruments
Hornpipe is in ternary form

Five voices (a cappella), highly chromatic
Meter shifts from duple to triple, then duple
Descending chromatic line represents death and grief
Exaggerated use of word painting is typical of the late Renaissance style

Strophic Latin poem
Contains continuous imitation, paired imitation and homorhythmic passages
Opens with imitative entries of an upward perfect 4th, from highest to lowest voice
Consonant harmony based on thirds and sixths
For SATB (a cappella)
15th century motet with a single text
Characteristics of the ars nova
Written by a Franco-Flemish composer

Five movements
Violin, viola, cello, bass and piano
Fourth movement based on a Lied by same composer, a theme and variations
Theme is played by the double bass in the third variation
Modified strophic form, piano accompaniment describes splashing water

Arranged by Tielman Susato
In the collection Danserye
Source is a chanson by Josquin des Prez
SATB
AABBCC
Duple meter
E Phrygian

First movement is in sonata-allegro form with a double exposition (first presented by orchestra, then by soloist)
Second theme is in the dominant
Cadenza after recapitulation

Three movements (sonata, ABACA coda, ABACABA coda)
Slow intro with dotted rhythms reminiscient of French overture

Slow introduction
Monothematic exposition in first movement, second theme is in the dominant

Used a chorale by Martin Luther (movements 1258)
Ritornello in the first movement
Word painting
Eight movements create a balanced, arch-like structure
Franck

Four voices
Imitation overlaps and obscures the meter
Extensive use of word painting

Three-voices
Rhythmic ostinato (long-long-short-long) in tenor
Uses a different text for each part (polytextuality)
Triplum in the top voice, duplum in the middle, cantus firmus in the bottom (the ‘tenor’)
Overlapping triplum and duplum that create the effect of a triple meter (they also share the same range)
Upper voices are syllabic/neumatic, tenor is melismatic
13th century motet

Demonstrates stile concitato/opera seria/ground bass
Busenello

L’Orfeo, L’Arianna

Plot from an epic poem written by Roman poet Virgil
Ground bass
First true English opera
Dynamic string writing of Italy and regal character of France
Tate

King Arthur, The Fairy Queen

Te Deum, Jubilate

Rose, liz, Douce dame jolie

Ave Maria, Absalon, fili mi
(over 100)

Missa l’homme armé, Missa La sol fa re mi
(18)

El grillo, Mille regretz
(over 60)

Rinaldo, Giulio Cesare, Serse, Orlando and Alcina

Water Music, Music for the Royal Fireworks

Messiah, Creation, Judas Maccabeus, Israel in Egypt

Te Deum, Ode for Saint Cecilia’s Day

Coffee, Peasant

Christmas, St. Matthew Passion, St. John Passion

Magnificat, Mass in B Minor

Surprise, Farewell, Clock, London

Seasons, Seven Last Words of Christ

Armida

Standard dances (All Cats Sing Gross)

Optional dances (May Green Bunnies Attack)

Two dances in the Renaissance paired for contrast

Idiomatic harpsichord writing, from the collection ‘Esercizi per graicembalo’
Homophonic texture
Rounded binary (no cadenza)
Ornamentation

Stabat mater, Salva regina

Tolomeo et Alessandro

Orfeo ed Euridice, Alceste

Don Giovanni (dramma giocosa/tragic comedy) Idomeneo (opera seria), The Magic Flute (Singspiel), the Absudcion from the Seraglio, Cosi fan tutte

Haffner, Linz, Prague, Romantic, Jupiter

Hunt, Dissonance

Moonlight, Appassionata, Fur Elise

Eroica, Pastoral, Choral

Fidelio

The Unfinished, The Great

Erlkonig, An die Music, Die Forelle, Standchen, Heidenroslein

Fierrabras

Performances of this monophonic dance may have included improvised accompaniment
Earliest examples of Medieval dance
Contained in Chansonnier du Roy
Sectional structure, open and closed endings
Dorian mode
Dance for couples from the Middle Ages
Stately, royal character

Completed in 1798, inspired from the Bible and Milton’s Paradise Lost
STB soloists
van Swieten
Oratorio

Strophic setting of five stanzas
Cheerful music does not reflect the text
Monophonic vocal line (likely with improv accompaniment)
Monophonic chanson

Three-voiced work in rondeau form, uses a text written by composer
Polyphonic chanson
Employed musica ficta (performance practice, raised/lowered pitches by semitones to avoid undesirable intervals)

Counterpoint/Contrapuntal clarity
Ideals of the Counter-Reformation
For SATTBB (rarely heard together)
Mass

Wrote Renaissance madrigals and Baroque operas

Wrote symphonies that often feature monothematic expositions in sonata-allegro movements

Wrote religious dramas drawing upon newly-composed melodies influenced by plainchant

Wrote madrigals featuring word painting, chromaticism and dissonance

Wrote instrumental compositions that embodied the Classical spirit, as well as vocal works who looked towards the Romantic

Wrote polyphonic chansons demonstrating new rhythmic complexity (new devices such as syncopation/hocket/isorhythm)

Wrote motets containing triadic modal harmonies and demonstrate mastery of counterpoint

Wrote single-movement sonatas for the keyboard featuring many technical challenges (hand crossing/arpeggiated figures/ornaments/repeated notes/rapid passagework)

Wrote vocal counterpoint that defined Renaissance polyphony (clear phrasing/stepwise melodies/lack of dissonance)

Wrote piano works demonstrating a wide range of uses of the sonata cycle, considered among the most important compositions in keyboard repertoire

Late 18th century movement in Germany toward a more emotional expression in the arts
German for ‘storm and stress’

Secular Renaissance work originating in Italy for voices, set to a short lyrical love poem

Monophonic melody, free-flowing unmeasured vocal line, the Liturgical chant of the RCC

Dramatic recitative of the Baroque period, in which melodies move freely over a foundation of simple chords

Baroque concerto type between a group of solo instruments (concertino) and orchestra (ripieno)
Third movement has a four-voice fugue

Medieval poet-musicians in Northern France, would perform their own poems set to music, often singing of courtly love

Musical pictorialization of words from the text as an expressive device

Earliest kind of polyphony, developed from adding voices above a plainchant in the early Middle Ages

Early form of musical notation in the Middle Ages

Repetition of the same tone in string playing, done rapidly at the tip

A male singer who has been castrated so as to preserve their soprano/alto vocal register

Music written for small ensemble, generally one player to a part

The full orchestra in a concerto grosso

The group of soloists in a concerto grosso

The Italian word for harpsichord

Predecessor to the trombone

A virtuosic passage played by the soloist in an improvisatory style

Basis for harmonic function, usually the root note of a chord played in the bass

A male opera role sung by a woman

A texture where all instruments/parts move in the same rhythm

The exposition is presented first in the orchestra, then by the soloist

A large-scale programmatic work originating in the Baroque, similar to an opera but about sacred material and without sets, costumes and action
Uses vocal soloists, chorus and orchestra

A repeating melody usually in the bass throughout an instrumental or vocal composition

A Renaissance secular work originating in Italy for vocals set to a lyrical love poem (later the English did it as well)

Italian comic opera, sung throughout

‘Agitated style’, term used by Monteverdi to express the soul/passion
Uses tremolo/pizzicato/ornamentation/rapidly repeating notes

12th to 13th century
The first composers who used gregorian chants as the basis for freely-composed works
Explored and developed early polyphony
Léonin produced two-part organum, using organal and discant style
Pérotin expanded by using three and four-part polyphony

A group of aristocratic intellectuals, poets and musicians who aimed to resurrect the musical dramatic art of Greece
Credited with the creation of the first operas
Introduced the monidic style of singing (single vocal line delivers text with clarity)
Florence, Italy at the end of the 16th century
L’Euridice is the oldest surviving opera
Giulio Caccini, singer and composer, was a member with Vicenzo Galilei, composer, theorist, and Galileo Galilei’s father

The most important service in the liturgy of the RCC
(Includes prayers, readings from the Bible, and the Holy Communion)

Mass Ordinary = Unchanging prayers of the Mass
(Kale Grows Crusty SADness)

Mass Proper = Variable prayers of the Mass (linked to Church calendar
(In Great Anarchy, Offer Commies)

In 1517, a German priest posted a list of ‘protests’ on the door of an RCC, now called the set of ‘Ninety-Five Theses’ that outlined objections to questionable practices
(Bible and church service should be in German, not Latin, melodies should be easy to hear and sing)
Led to the Protestant Reformation and his founding of the Lutheran Church

16th century Christian reform movement in Europe led by Martin Luther, resulted in many new Protestant denominations

The RCC’s reaction in the mid 16th century to the Protestant Reformation
Attempted to win back support, regain political power

Series of meetings of the highest members of the RCC in Trento, Italy, in the mid 16th century
(Condemned ‘heresies’, reaffirmed Catholicism, etc.)
For liturgical music (main points):
Text should be audible, no displays of virtuosity
Counterpoint shouldn’t be too dense, avoid chromaticism
No instruments other than organ

Earliest written examples of polyphony, 9th century Medieval document
‘Music Handbook’

‘Songbook for the King’
Anonymous 13th century French manuscript, earliest examples of notated dance music
Troubadou and trouvère songs and 8 monophonic dances, including Royal Estampie no. 4

‘Fixed song’, borrowed material usually from a Gregorian chant
Serves as the structural skeleton for a new polyphonic composition

Beginning of the 14th century, ‘new art’
Turning from religious to secular

In the late Baroque, operas favored empty musical display over dramatic integrity – Gluck wanted to restore it, believing like Monteverdi, that the music should serve the poetry
-Restored the chorus
-Minimized contrast of recitative and aria by using ‘arioso’
-Overtures used themes heard later (were relevant)
-Rejected empty virtuosity (e.g. they would use an aria from another opera sometimes if they felt it would display their abilities better, pls no)

Refers to Vienna, Austria emerging as a musical center in the 18th century
Principal composers including Haydn, Mozart and Beethoven, leaders in the forging of the Classical style

Group of composers at the court of Mannheim, Germany in the latter half of the 18th century that strongly influenced the Viennese School
Created rocket theme, orchestral crescendo and the menuet & trio in the symphony (establishing the 4-movement sonata cycle)

Multi-movement structure of the Classical era
In symphony sonata and concerto
First (I, lively tempo, sonata form, may have slow intro)
Second (IV, slow tempo, ternary/theme and variations/rondo, lyrical and expressive)
Third (I, medium/fast tempo, ternary/menuet & trio/scherzo and trio by Beethoven)
Fourth (I, fast/lively tempo, sonata/rondo/sonata-rondo/theme and variations, a lively finale)

A large-scale programmatic work originating in the Baroque, similar to an opera but about sacred material and without sets, costumes and action

Formal structure often used in the first movement of the sonata cycle
Exposition (2 or more contrasting themes, bridge in between, optional coda)
Development (themes are expanded upon)
Recapitulation (themes restated)

Baroque philosophy referring to emotional states of the soul
In Baroque music, a single emotion is usually projected through an entire movement/work (union of text and music)
Reaction to the complex polyphony of Renaissance music

Texture consisting of a single line of melody without harmony or accompaniment

Term for performing choral music without instrumental accompaniment

ABACA or ABACABA form, often used in sonata cycle for the 2nd or 4th movement

Lively English dance in triple meter originally associated with sailors

Lutheran hymn used as the basis for many Baroque compositions

Italian term for a musical number sung by three characters in an opera

Incorporated new orchestral instruments: piccolo, trombone, contrabassoon
Developed and expanded classical forms:
-replacing Minuet and Trio with Scherzo
-cyclical structure
-programmatic elements
-inclusion of chorus in symphony

Early – absorbed Haydn/Mozart, Sturm und Drang preference for minor and abrupt contrast
Middle – Romantic, chromatic harmony and abrupt modulations, lengthened development/coda, scherzo and trio, cyclical form, new instruments
Late – more abstract and meditative, more counterpoint, more experimentation with form/content (adding chorus)

‘Mass of Our Lady’, composed by Guillaume de Machaut
For four voices
Musical unity through recurring motives
Among earliest complete polyphonic settings of the Mass Ordinary by a single composer

Lute (guitar, plucked)
Recorder (end-blown, finger holes)
Psaltery (trapezoidal wooden soundbox with gut strings, plucked)
Rebec (pear-shaped, bowed with three strings)
Vielle (violin, bowed)

Sackbut (trombone)
Shawm (oboe, double reed, shrill tone)
Cornetto (trumpet)
Crumhorn (double reed, J-shaped)