MUS308 Final Review

123456789101112131415161718192021222324252627282930313233343536373839404142434445464748495051
Across
  1. 2. William ____________: Leading English composer in the late 16th and early 17th c., who served under and was protected by Queen Elizabeth I
  2. 4. ____________ mass: A polyphonic mass cycle in which each movement’s tenor is based on the same melody, usually a chant or a secular song of the day, such as Du Fay’s Missa Se la face ay pale, based on his own ballade
  3. 8. System of notation and performance practice, used in the Baroque period, in which and instrumental bass line is written out and one or more players fill in the chords
  4. 10. In the early 17th c., a genre of secular, vocal chamber music consisting of solo voice plus basso continuo, intended for private performance in an aristocratic home
  5. 11. Renaissance double-reed wind instrument with a curved lower end
  6. 12. A slow, stately, duple meter dance; a favorite during the 16th c.
  7. 14. A male singer who was castrated before puberty to preserve his high vocal range, prominent in the 17th and 18th centuries, especially in opera
  8. 16. 16th-century congregational hymn; Luther wrote or adapted hundreds of these
  9. 18. Jacopo ________: Italian composer, singer, and instrumentalist, associated with the Florentine Camerata, who developed the dramatic recitative style for use in opera
  10. 21. Term for the period during the late 14th to the late 16th centuries, featuring a revival of classical learning, increased interest in nature, and a more individualistic view of humanity
  11. 22. Luca ____________: Italian composer who was one of the most prolific madrigalists of the late 16th c., notable for his madrigalisms and advanced harmonic expressiveness
  12. 23. In the early 1570s, a group that met at Count Bardi’s palace in Florence, whose interest in reviving Greek tragedy led to the creation of opera
  13. 25. Heinrich ______________: Composer known primarily for his sacred works, who synthesized German and Italian styles and is considered the greatest German composer of the 17th c.
  14. 26. 16th c. reform movement that resulted in the fracturing of Western Christianity, deeply impacting music
  15. 27. A vernacular song for unaccompanied voices, with emphasis on heightening the meaning of the text, which was the most important secular genre of the 16th c.
  16. 29. Tomás Luis de ____________: Spanish singer, organist and composer who wrote only sacred music and is the most famous Spanish composer of the 16th c.
  17. 30. Also known as ground bass, a repeated bass pattern on which an entire composition is based, common primarily in Spain, Spanish America, and Italy; examples include the “lament” (a descending tetrachord) and the chaconne
  18. 32. A bass viol is also known as ______________, because it was played by setting it on the floor between the player’s legs
  19. 34. Singer, composer, and teacher who as a member of the concerto delle donne was the highest paid musician on the Medici payroll, and the most prolific female composer of her time
  20. 37. Term originally meaning a misshapen pearl and used in a derogatory way in the 18th century to describe the heavily ornamented art of the previous generation, now used to describe the style of European music between 1600-1750
  21. 38. French singer and composer, active in French, Burgundian and Italian courts, especially the court of the Duke of Ferrara, considered the greatest composer of his time and one of the greatest of the Renaissance
  22. 42. Claudio ______________: Italian composer who represents the transition from the late Renaissance to the Baroque and was the most important and innovative composer of late 16th and early 17th c. Italy
  23. 44. A lyrical piece for solo voice, either independent or forming part of an opera, oratorio, cantata or other large work.
  24. 48. A term developed in the early 17th c. to refer to the style of Renaissance polyphony, especially Palestrina’s style, as opposed to the modern monodic, concertato style
  25. 49. A lively, fast triple meter dance; usually paired with a pavane
  26. 50. A 17th c. style in which vocal works were accompanied with instruments and basso continuo
  27. 51. Renaissance brass instrument, a precursor of the trombone
Down
  1. 1. The musician in charge of a chapel, whether at an aristocratic court or in a church; the position involved being responsible for all musical activities, including composing new music, performing, training and managing musicians. In a court, he would often be responsible for secular as well as sacred music
  2. 3. From Italian retorno (“return”), a section of music that repeats or recurs throughout a piece; used particularly in early opera arias and in instrumental music
  3. 5. Catholic response to the Protestant Reformation, with reforms emerging from the Council of Trent that had profound impact on sacred music
  4. 6. Giovanni ____________: Italian composer and organist, who with Willaert and his uncle was the leading representative of 16th and early 17th c. Venetian music
  5. 7. Guillaume ____________: French composer and theorist whose music represents the international style of the mid-15th c, when he was the leading composer
  6. 9. Jean de ____________: Influential French singer, composer, and teacher, famous particularly for his masses, who represents the transition between older counterpoint and late 15th-c. styles
  7. 13. Term coined by the Monteverdi brothers, in response to Artusi’s criticisms of Cruda Amarilli, to describe a freer use of dissonance in the service of the text
  8. 15. Orlande de ____________: Franco-Flemish singer and composer who was the best-known and most admired composer of his time; his works include French, Italian, and German music
  9. 17. Girolamo _____________: Organist and composer, primarily known for his keyboard works, who was one of the greatest composers of keyboard music
  10. 19. Term for a dramatic musical interlude performed between the acts of a play; it is the most immediate predecessor of opera
  11. 20. A group of three female singers at the Medici court in Florence, famous for their vocal virtuosity
  12. 24. Singer and composer whose eight published collections of vocal music place her as one of the most prolific composers of vocal chamber music in the 17th c., and one of the few female composers who were able to publish
  13. 28. A work that explores the idiomatic possibilities of a solo instrument; this genre emerged in the early 17th c.
  14. 31. Singer, voice teacher, and composer whose 1602 collection Le nuove musiche exemplifies the Florentine Camerata’s experiments in monody and explains early Baroque ornamentation practice
  15. 33. A staged drama featuring continuous or nearly continuous music, which became the leading genre of the 17th and 18th c.
  16. 35. A group of instrumental dances
  17. 36. John ____________: he composed in all polyphonic genres of his time and was the most highly regarded English composer of the 15th c.
  18. 39. Giovanni Perluigi da ____________: Italian singer and composer who was able to balance polyphony with text declamation; his music became a model of 16th c. counterpoint
  19. 40. A type of vocal writing for solo voice that imitates dramatic speech; it was developed by Jacopo Peri
  20. 41. A dance of Latin American origin, usually featuring a ground bass
  21. 43. A dramatic work on a religious subject, similar in style to opera but not staged, developed in Rome in the early 17th c.
  22. 45. Adriaan ____________: Flemish composer who contributed significantly to the development of the Italian madrigal, and established Venice as one of the most influential musical centers of the 16th c.
  23. 46. In the early 17th c., a term used to describe a solo melodic line plus basso continuo, developed as a way to better deliver a dramatic or expressive text
  24. 47. Cipriano de ____________: Leading madrigalist of the mid-16th century, with innovations in harmony and texture that created a dramatic style, intensely expressive of the text