Term
(Dances from) Danseries a 4 parties, second livre
(NAWM #59) |
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Definition
Pierre Attaingnant [PUBLISHER]
-Dances
-CA. 1547
-Basse danse & Branle gay
1) Contains quaternions in 3/4, with long note in 2+ voices on every 8th beat, creating hemiola
2) Binary form, which later led to other standard forms of 18th century
3) Branle gay in ABA' form, sung to "Que je chatoulle ta fossette"
4) Players decide instrumentation; percussion not notated, but used some |
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Term
Pavana Lachrymae
(NAWM #61) |
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Definition
William Byrd (CA. 1540-1623)
-Pavane variations
-CA. 1600
1) Keyboard variation of "Lachrimae" included in Fitzwilliam Virginal Book
2) Transposed up 4th with equal rhythmic values
3) 1st variant similar to original, unlike 2nd variant (labeled "Rep.")
4) Virginal (harpsichord) was preferred instrument, with written and ornamental embellishments in music |
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Term
Canzon septimi toni a 8, from Sacrae symphoniae
(NAWM #62) |
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Definition
Giovanni Gabrieli (CA. 1555-1612)
-Ensemble canzona
-CA. 1597
1) Divided into 1st & 2nd choir (SATB ranges), each accompanied by organ
2) G Mixolydian, transparent texture, rhythmic motives, & moves quickly
3) ABCBDBE form features a refrain (B) in triple meter, unlike the duple meter of whole piece
4) Unspecified instrumentation, but with specified clefs indicating range
5) Features "basso continuo" & "basso seguente" |
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Term
Cruda Amarilli
(NAWM #63) |
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Definition
Claudio Monteverdi (1567-1643)
-Madrigal
-Late 1590s
1) Breaks contrapuntal rules with striking dissonances to reflect text
2) Typifies Monteverdi's style of polyphonic madrigals
3) Published for 5 voices with optional basso continuo, making piece flexible |
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Term
Vedro 'l mio sol
(NAWM #64) |
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Definition
Giulio Caccini (CA. 1550-1618)
-Solo madrigal
-CA. 1590
1) Thorough-composed rather than strophic, favoring repetition
2) Each line of poetry is separate phrase ending with cadence
3) Simple chordal accompaniment helped clarify text & melody
4) Accompanied by figured bass |
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Term
Le musiche sopra l'Euridice: Excerpts
(NAWM #65) |
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Definition
Jacopo Peri (1561-1633)
-Opera
-1600
1) 3 movements: Prologue, Aria, & Dialogue in Recitative
2) Earliest opera to survive in a complete score
3) Greek plot centers on power of music, rewritten with happy ending
4) Final excerpt is example of "recitar cantando" (recitative), crucial to new operas & allegedly pioneered by Peri |
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Term
L'Orfeo: Excerpt from Act II
(NAWM #66) |
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Definition
Claudio Monteverdi (1567-1643)
-Opera
-1607
1) Built on Peri's opera, creating a more satisfying form
2) Exhibits Monteverdi's use of varied forms & styles for dramatic purposes
3) Explicit instrumentation |
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Term
L'incoronazione di Poppea: Act I, Scene 3
(NAWM #67) |
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Definition
Claudio Monteverdi (1567-1643)
-Opera
-1642
1) Various styles, representing cycling moods of characters (aria, recitative, & arioso) determined by content
2) Smaller & less varied instrumentation used for public opera
3) Nero sung by castrato |
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Term
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Definition
Barbara Strozzi (1619-1677)
-Cantata
-1650s
1) Text is mostly in madrigal-type verse with 7 & 11 syllable lines
2) Divides free-form verse into content-oriented sections
3) Demonstrates mastery in applying music to express genre's vocabulary
4) Scored for solo voice with continuo |
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Term
O quam tu pulchra es
(NAWM #70) |
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Definition
Alessandro Grandi (1586-1630)
-Solo motet (sacred concerto)
-CA. 1625
1) Text drawn from Song of Songs in Bible, a popular textual source
2) Incorporates elements from recitative, madrigal, & aria
3) Use of new operatic and chamber styles in motets was novel |
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Term
Historia di Jephte: Excerpt
(NAWM #71) |
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Definition
Giacomo Carissimi (1605-1674)
-Oratorio
-CA. 1648
1) Genre developed as settings of sacred Latin or Italian text, performed in oratories (church halls) and resembling operas
2) Text emphasizes Lenten themes
3) Recitative's dissonance recalls Florentine opera
4) Harmony & melody express emotional intensity
5) Closes with 6-voice chorus, lamenting through bass line descension |
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Term
O lieber Herre Gott, SWV 287, from Kleine geistliche Konzerte I
(NAWM #72) |
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Definition
Heinrich Schutz (1585-1672)
-Sacred concerto
-CA. 1636
1) Duet uses contrasts between various styles to convey text
2) Departure from traditional counterpoint exemplifies stile moderno
3) Text determines compositional style |
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Term
Saul, was verfolgst du mich, SWV 415, from Symphoniae sacrae III
(NAWM #73) |
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Definition
Heinrich Schutz (1585-1672)
-Sacred concerto
-CA. 1650
1) Text drawn from Paul's encounter with Christ on the road to Damascus
2) Set for 6 solo voices (favoriti), 2 violins & 4-voice choirs, and continuo
3) Exemplifies mastery at text depiction |
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Term
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Definition
Girolamo Frescobaldi (1583-1643)
-Toccata
-CA. 1615, REV. 1637
1) Tempo and ornamentation are flexible
2) Italian for 'touched', toccatas are improvisatory and exploratory
3) Unfolds as a series of brief phrases
4) Transposed Dorian mode on G |
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Term
(Ricercare after the Credo from) Mass for the Madonna, in Fiori musicali
(NAWM #75) |
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Definition
Girolami Frescobaldi (1583-1643)
-Ricercare
-CA. 1635
1) Part of 3 organ masses, this is an imitative composition on development of a single subject
2) In G Dorian with an optional fermata ending in the middle of the piece
3) Organ tuned in mean-tone temperament |
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Term
Sonata IV per il violino per sonar con due corde
(NAWM #76) |
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Definition
Biagio Marini (1594-1663)
-Sonata for violin and continuo
-CA. 1626
1) Takes advantage of violin idioms while borrowing from vocal monody
2) Name derived from use of double stops
3) In A Aeolian mode
4) Presents a series of contrasting sections, distinguished by varied moods, meters, and tempos |
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