Across
- 4. Salamone ____________: Italian Jewish violinist and composer who composed both vocal and instrumental music and published the first book of polyphonic liturgical music for the synagogue
- 5. Jacopo ________: Italian composer, singer, and instrumentalist, associated with the Florentine Camerata, who developed the dramatic recitative style for use in opera
- 7. A slow, stately, duple meter dance; a favorite during the 16th c.
- 8. 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
- 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
- 15. Spanish vernacular polyphonic song featuring several coplas (verses) framed by an estribillo (refrain). They were short, strophic, mostly homophonic pieces and were sung in feast days, and are still sung today throughout the Spanish-speaking world, primarily during Christmas
- 20. A 17th c. style in which vocal works were accompanied with instruments and basso continuo
- 22. Guillaume ____________: French composer and theorist whose music represents the international style of the mid-15th c, when he was the leading composer
- 26. 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
- 27. Elisabeth-Claude _____________: Harpsichordist and composer, known mostly for her harpsichord collections, who wrote the first opera by a French woman
- 29. William ____________: Leading English composer in the late 16th and early 17th c., who served under and was protected by Queen Elizabeth I
- 30. 16th-century congregational hymn; Luther wrote or adapted hundreds of these
- 32. 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
- 34. Term for a dramatic musical interlude performed between the acts of a play; it is the most immediate predecessor of opera
- 35. 16th c. reform movement that resulted in the fracturing of Western Christianity, deeply impacting music
- 38. A group of instrumental dances
- 39. 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.
- 41. 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
- 42. Giovanni ____________: Italian composer and organist, who with Willaert and his uncle Andrea was the leading representative of 16th and early 17th c. Venetian music
- 44. Jean-Baptiste _____________: Italian-born composer, conductor and dancer who oversaw the Music of the Chamber in the court of Louis XIV, known primarily for his operas
- 46. Renaissance brass instrument, a precursor of the trombone
- 47. A staged drama featuring continuous or nearly continuous music, which became the leading genre of the 17th and 18th c.
- 49. Maddalena ____________: Italian composer, lutenist, and singer, who was the first woman whose music was published, known for her madrigals
- 50. 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
- 54. 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
- 55. 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
- 56. Catholic response to the Protestant Reformation, with reforms emerging from the Council of Trent that had profound impact on sacred music
- 57. A lyrical piece for solo voice, either independent or forming part of an opera, oratorio, cantata or other large work.
Down
- 1. 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
- 2. 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
- 3. 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
- 6. A lively, fast triple meter dance; usually paired with a pavane
- 9. ____________ 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
- 10. A dramatic work on a religious subject, similar in style to opera but not staged, developed in Rome in the early 17th c.
- 11. A type of vocal writing for solo voice that imitates dramatic speech; it was developed by Jacopo Peri
- 12. Luca ____________: Italian composer who was one of the most prolific madrigalists of the late 16th c., notable for his madrigalisms and advanced harmonic expressiveness
- 14. 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.
- 16. A male singer who was castrated before puberty to preserve his high vocal range, prominent in the 17th and 18th centuries, especially in opera
- 17. A bass viol is also known as ______________, because it was played by setting it on the floor between the player’s legs
- 18. Renaissance double-reed wind instrument with a curved lower end
- 19. A dance of Latin American origin, usually featuring a ground bass
- 21. 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. 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
- 24. Tomás Luis de ____________: Spanish singer, organist and composer who wrote only sacred music and is the most famous Spanish composer of the 16th c.
- 25. 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
- 26. A work that explores the idiomatic possibilities of a solo instrument; this genre emerged in the early 17th c.
- 28. Henry _________: Organist and composer whose career was supported by the English Royal court; his Dido and Aeneas was one of the only successful English operas of the 17th c.
- 31. System of notation and performance practice, used in the Baroque period, in which an instrumental bass line is written out and one or more players fill in the chords
- 33. 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
- 36. 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
- 37. 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
- 40. Composer whose Componimenti musicali (1623) is the only Bolognese publication by a nun; her works for 1-2 voices and basso continuo show the influence of Monteverdi
- 43. John ____________: he composed in all polyphonic genres of his time and was the most highly regarded English composer of the 15th c.
- 45. Girolamo _____________: Italian organist and composer, primarily known for his keyboard works, who was one of the greatest composers of keyboard music in the 17th c.
- 48. French ___________: an instrumental piece in a majestic style, with dotted rhythms, that opened Lully’s operas and marked the entrance of the king
- 51. Singer and actress, active primarily in Venice in the mid-17th c., who was one of the first operatic prima donnas
- 52. 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
- 53. 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