Term
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Definition
| Choral music is that which is sung by 2 or more voices on a part (but, we'll include chamber music, too, for this class). |
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Term
| Name at least 4 different types of plainchant |
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Definition
| Old Roman (7-9th cent), Mozarabic (7-9the cent Christians in Spain under Muslim rule), Gallican (Gaul before the 10th century), Ambrosian (12-13th cent N Italy/Alps, Milan), Gregorian (Roman Catholic 10th cent onward), Sarum (British Isles 12-13th cent) |
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Term
| What are some characteristics of chant? |
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Definition
| 1. Monophonic 2. mostly stepwise 3. limited range 4. through-composed 5. Gross Generalization, but mostly syllabic (syllabic, neumatic - 2 or 3 per syllable, and melismatic) |
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Term
| List three traditional methods of performing chant |
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Definition
| 1. Direct - basically solo or unison 2. Antiphonal - 2 performing forces 3. Responsorial - solo answered by body |
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Term
| List the texts (in order) of the Requiem Mass |
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Definition
| Introit, Kyrie, Gradual, Tract, Sequence, Offertory, Sanctus, Agnus Dei, Communion - If King George Tries Singing Our Songs, Altos Cry. |
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Term
| Which hour of the daily Office contains the Magnificat text? |
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Definition
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Term
| Which hour of the daily Office contains the Hodie text? |
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Definition
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Term
| Which hour of the daily Office contains the Nunc dimittis text? |
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Definition
| The Canticle of Simeon, or Nunc dimittis, is in the Compline |
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Term
| Which text is always at the end of the Magnificat? |
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Definition
| The Doxology - Gloria Patri |
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Term
| What are three ways in which texts can be set to music? |
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Definition
| Syllabic, Neumatic and Melismatic |
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Term
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Definition
| a repeating rhythmic and melodic figure |
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Term
| What sacred genres existed in the 16th century? List a specific example of each genre (title and composer). |
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Definition
| Mass: Pope Marcellus Mass by Palestrina, Motet: sicut cervus by Palestrina, Anthem: Sing Joyfully by Byrd. Others that could come up: Chorale (A Mighty Fortress - Luther), Psalm Settings (All Psalms - LeJeune), Magnificat (LeJeune) |
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Term
| Who composed the earliest extant polyphonic requiem? |
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Definition
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Term
| What later 16th century composer wrote numerous sacred pieces with Latin texts but no secular music? |
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Definition
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Term
| What is 'point of imitation'? |
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Definition
| Term for a single imitative idea; that SECTION of a polyphonic composition that is based on a single imitative idea which usually corresponds to one phrase of text. JJ |
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Term
| For what sacred compositional practice is Willaert best known? |
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Definition
| cori spezzati (St. Mark's) |
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Term
| Who had a choir of 60 singers? In what city? |
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Definition
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Term
| Which 16th century composer's sacred music often featured repeated sections? |
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Definition
| Hassler (Verbum caro factum est - motet) |
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Term
| How does Josquin achieve variety/interest in 'Ave Maria'? Unity? |
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Definition
| VARIETY: changing textures - a glossary of Renaissance imitative technique, manipulates sound contrasts - high vs. low, polyphonic vs homorhythmic, number of voices (2 vs. 4, etc.), manipulates meter (proportio sesquialtera) UNITY - canonic imitation, homorhythmic in places, cadences in C (almost exclusively), 'Ave' at the beginning of each quatrain, the rising 4th motif |
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Term
| What is a cross-relation and what nationality is associated with them? |
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Definition
| 1/2 step between flat seven and a natural seven in the same chord. England. (Also known as a false relation) |
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Term
| Who was hailed as the savior of Catholic church music? Why? |
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Definition
| Palestrina. because he was appointed to the Council of Trent |
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Term
| Which 16th century composer wrote only three masses? What was the voicing of each? |
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Definition
| William Byrd: First mass - 3 voices, Second Mass - 4 voices and Third Mass - 5 voices |
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Term
| Name prominent composers of sacred music from 16th century Burgundy/France (3). |
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Definition
| Ockeghem, Josquin des Prez and Willaert |
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Term
| Name prominent composers of sacred music from 16th century Italy (2). |
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Definition
| Palestrina and G. Gabrielli |
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Term
| Name prominent composers of sacred music from 16th century England (3). |
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Definition
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Term
| Name prominent composers of sacred music from 16th century Spain (1)? |
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Definition
|
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Term
| Name prominent composers of sacred music from 16th century Germany (3)? |
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Definition
| Franck, Hassler, Praetorius, Isaac |
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Term
| Name a prominent international composer of 16th century sacred music (1). |
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Definition
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Term
| Define 'cantus firmus' technique |
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Definition
| that which is based on a borrowed melody, usually in the tenor and usually set to longer note values |
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Term
| Define 'parody' technique |
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Definition
| reuse of a polyphonic section of a pre-existing composition |
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Term
| Define 'paraphrase' technique |
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Definition
| use of one line of a pre-existing tune |
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Term
| What city and church are associated with the proliferation of polychoral compositions? |
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Definition
| Venice - St. Mark's Basilica |
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Term
| Who is recognized as the most important composer of polychoral motets? |
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Definition
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Term
| Who wrote a treatise on performance practice called 'Syntagma musicum'? |
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Definition
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Term
| How might we analyze a two-voice cadence in Renaissance polyphony? |
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Definition
| The resolution will always be to the 8ve and by step (whole or half). If it goes DOWN it is the 'leading voice' (nothing to do with leading tone). If it goes UP it is the 'ornamental voice'. |
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Term
| What is the difference between an anthem and a motet? |
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Definition
| An anthem is in English and written for the Anglican church. A motet is not. |
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Term
| What is the difference between a 'verse anthem' and a 'full anthem'? |
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Definition
| A full anthem is for chorus only. A verse anthem is for soloists, choir and organ or viols. |
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Term
| What were the important religious reformations in the 16th century? |
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Definition
| 1517: German - Lutheran Reformation, 1534 (add 17 from Ger): English - Anglican Reformation, also 1534: French - Calvinist Reformation |
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Term
| List the types of secular genres that existed in the 16th century and give examples of each. |
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Definition
| ITALIAN MADRIGAL 'Il bianco e dolce cigno' by Arcadelt, FRENCH CHANSON 'La Guerre' Programmatic Chanson by Janequin, GERMAN POLYPHONIC LIED "Innsbruck, I must leave thee" Isaac; ENGLISH MADRIGAL "Fire, Fire" Morley (balletos and canzonettas) |
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Term
| Who were the prominent composers of the secular genres that existed in the 16th century? |
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Definition
| ITALIAN MADRIGAL Arcadelt, Verdelot, Festa, de Rore, Marenzio, Gesualdo; FRENCH CHANSON Sermisy, Willaert, Janequin, and Le Jeune; GERMAN POLYPHONIC LIED Isaac, Senfl and Hassler |
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Term
| Identify and describe three stages of the development of the Italian madrigal. |
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Definition
| BEGINNING - serious Italian poetry (Petrarch), 4 voices, free rhyme scheme, one stanza of 10 lines with 7 or 11 syllables per line, uncomplicated polyphony and homophony (mostly homorhythmic), rhythmic values had little variation; MIDDLE (7) - 1) Variety of rhythmic values and more black notes, 2) 5 (norm) or 6 voices (and more), 3) less serious poetry, 4) more homophony, 5) short motifs, 6) chromaticism for expression 7) word painting; END "the Mannerist style" - focus on texts set in a declamatory and expressive manner, ideals of expression which led to vaired rhythms, expression and word painting. Madrigals were often published in collections. |
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Term
| What composers are associated with each stage of the Italian Madrigal? |
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Definition
| BEGINNING - Verdalot, Willaert, Festa Bros, Arcadelt; MIDDLE - A. Gabrielli, RORE, Wert (the early madrigals); END - Wert (the later madrigals), MARENZIO and Gesualdo and the early madrigals of Monteverdi |
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Term
| Who was considered the leader of the second generation of madrigal composers? |
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Definition
| Cipriano de Rore because he was the first significant composer to use a wide range of rhythms in his madrigals |
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Term
| To whom do the English madrigalists owe a great debt? |
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Definition
| The Italians. "The English are thieves!" -JJ Morley stole the fa la la from Gastoldi balletto. Gibbons stole the slow, expressive style from Marenzio with long notes, angst, word painting, suspensions, etc. |
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Term
| What are four different types of 17th century chanson? Prominent composers of each? |
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Definition
| PARISIAN Sermisy, IMITATIVE Willaert, PROGRAMMATIC Janequin and MUSIC MESUREE LeJeune |
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Term
| What composer worked in all of the secular genres during the 17th century? |
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Definition
| di Lasso - all of them; Italian mad, Fr Chanson (esp Parisian), German Polyphonic lied |
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Term
| Who established the style of madrigal publication (i.e. First Book of Madrigals, etc.)? |
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Definition
| The style of madrigal publication was created by Arcadelt (issuing madrigals in successively numbered books) - don't confuse this with the first book published with madrigal in the title - 8 by Verdelot, 2 by Festa ... Page 50, Page 53???? Madrigali de diversi musici: libro primo de la Serena |
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Term
| Did Palestrina compose any madrigals? |
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Definition
| Yes - they were popular at the time, but overshadowed in history by his sacred works |
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Term
| What composer published more madrigals than all of the English madrigalists combined? |
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Definition
| Marenzio (1553-1599) -1,100 |
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Term
| Is there any evidence to suggest that Italians stole from other Italians in the 17th century? |
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Definition
| Yes - Gesualdo especially ... almost exact plagarism ... a murdering plagarizing prince - yippea |
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Term
| Who wrote perhaps the most famous German secular piece of the period? |
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Definition
| Heinrich Isaac - Innsbruck, I Must Leave You Innsbruck, Ich muss dich lassen |
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Term
| What types of genres existed in the 17th century? (list an example from each category) |
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Definition
| MOTET: 'In dulci jubilo' Buxtehude MADRIGAL: 'Cruda, Amarilli',Monteverdi, CANTATA: 'Jesu meine Freude' Buxtehude, OPERA: "L'Orfeo" Monteverdi, MASS: "Messe minuit pour Noel" (Charpentier) and SERVICE: Purcell Bb Service Mag and Nunc, ORATORIO "Jephthe by Carissimi, ANTHEM: 'I was Glad' - Purcell, CALVINIST PSALM SETTING: Any Psalm 1-150 Sweelinck, LUTHERAN CHORALE: "Becker Psalter" by Schutz, ODE - multi movement Anglican, part song 'Come ye, Sons of Art' Purcell |
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Term
| Who were the prominent composers of those genres? in England? in Italy? in France? Germany? in Holland? |
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Definition
| ENGLAND: Blow, Purcell ITALY: Scarlatti, Carissimi, Monteverdi; FRANCE: Lully, Charpentier; GERMANY: Buxtehude, Schutz, Schein, Scheidt, Teleman; HOLLAND: Sweelinck (Psalm settings, especially) |
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Term
| Describe Monteverdi's contribution to the madrigal. |
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Definition
| 8 books of madrigals (+ 1 more posthumously), we can trace from the "Mannerist Period" to continuo (in book 5) to later madrigals with monody (percursor to opera); (Julian adds added basso continuo, avant garde techniques) - first 4 books prima practica, second four books seconda practica |
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Term
| What are the basic style differences between Renaissance and Baroque music? |
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Definition
| equal voices vs. outer voice; a cappella vs. continuo; unmeasured vs. measured; linear vs. vertical; instruments interchangable vs. idiomatic (sort-of); modality vs. tonality |
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Term
| What do we mean by 'concerted'? |
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Definition
|
|
Term
| What brought fame to the prominent German composers of the 17th century? |
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Definition
| performances rather than compositions - especially organ |
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Term
| What constituted a Lutheran Missa Brevis? |
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Definition
| Kyrie & Gloria (usually with German passsages included) |
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Term
| Whose German cantatas were typically accompanied by only two violins and continuo? |
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Definition
| Buxtehude (and many more ... most of them) |
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Term
| What was the political situation in England in the 17th century? |
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Definition
| messy - Cromwell banned all music composition from 1649-1660 until Charles II (the Restoration) brought it back. |
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Term
| What is meant by the terms decani and cantoris? |
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Definition
| CANTORIS: choristers seated in rows facing into the alter behind the cantor (SR); DECANI: choristers seated in rows facing into the alter behind the Dean (SL) |
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Term
| Who was the most famous composer of odes? Briefly characterize an ode. |
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Definition
| Most famous composer of odes - Purcell. ode - a multi-movement work with chorus, organ and solo in England celebrating a special event or person (kind of like a mostly secular oratorio) |
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Term
| Who was appointed maestro di cappella at St. Mark's in 1613? |
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Definition
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Term
| What limited the composition and publication of sacred music by French composers? |
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Definition
| King Louis XIV owned all publication rights. For a long time, they wouldn't let Protestant compositions be published. |
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Term
| Who was the only French composer to study abroad and write more than motets? |
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Definition
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Term
| What is the story line behind Carissimi's Plorate filii Israel? |
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Definition
| Jeptha prays to God that God will help him lead Israelites in victory over over the Amorites. He promises that if God helps him, he'll sacrifice the first person he sees upon return. The Israelites win. He comes home and sees his daughter first. She doesn't want to die a virgin, so she asks to go to the hills with her friends before she is put to death. She is granted this and killed upon her return. |
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Term
| Who composed over 1,000 sacred cantatas? |
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Definition
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Term
| Did Schutz compose any secular music? If so, describe. |
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Definition
| Yes. He wrote madrigals while studying with G. Gabrielli. Point of imitation similar to Gabrielli and in Italian |
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Term
| In what cities did Bach work? when, and what were his responsibilities? |
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Definition
| 1700 (15) Luneberg (near Hamburg) - chorister, violinist and organist with organ gigs around N, Germany; 1703 (18) Arnstadt - organist (early sacred cantatas); 1707 (22) Mulhausen - organist (early sacred cantatas); 1708 (23) Weimar - court organist (later sacred cantatas); 1717 (32) Kothen - Kapellmeister; 1723 (38) Leipzig - Kantor (later sacred cantatas) |
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Term
| What genres (and how many) of choral music did Bach compose? |
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Definition
| 200 Cantatas (100 more lost) 5 cycles, 28 secular cantatas (2 lost), 5 Masses, 1 Magnificat, 3 Oratorios, 2 Passions, 7 Motets, many chorale arrangements |
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Term
| Do BWV numbers indicate chronological order of composition? |
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Definition
| No, they are grouped thematically, not chronologically |
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Term
| What do the Jahrgang refer to? How many were there? How many survive? Mainly from which ones? |
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Definition
| The 5 liturgical years for which Bach wrote cantatas. Jahrgang 1, 1723-24 (these survive virtually complete); Jahrgang 2, 1724-25 (chorale cantatas, these survive almost complete as well and are the most famous ones); Jahrgang 3, 1725-1727 (most of these survive); Jahrgang 4, 1728-29 (of the Picander ones, a few survive); Jahrgang 5, extended into the 1740s (mostly lost). There are approximately 200 extant cantatas of the approximately 300 written. |
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Term
| What are characteristics of the early Bach cantatas? late Bach cantatas? |
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Definition
| EARLY SACRED CANTATAS (Arnstadt and Mulhausen): texts directly from the Bible, multisectionalized movements, frequent word painting, short arioso sections for soloists, accompaniment of strings and basso continuo, predominantly choral with a few short solo passages. LATER SACRED CANTATAS: (Weimar and Leipzig) pietistic poetry or comb. biblical and pietistic poetry, less chorale movements (usually just at the beginning and the end), long movements in one tempo and based on a single compositional idea, less and more subtle word painting, lengthy da capo arias, accompaniment involving obbligato winds, less choral. |
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Term
| What types of cantatas did Bach compose? |
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Definition
|
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Term
| What is a chorale cantata? |
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Definition
| Uses a chorale tune throughout (like a cantus firmus) |
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Term
| What two types of recitative do we see in Bach’s cantatas? |
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Definition
|
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Term
| Is Bach’s Magnificat chant-based? |
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Definition
| There's an obbligato line that the oboes play in movement number 10 Suscepit Israel (m. 5) used as a cantus firmus in one of the instrument parts. |
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Term
| How many masses did Bach write? What are they? |
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Definition
| 5. 4 Missae and the b minor Mass BWV232. |
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Term
| What is a Lutheran Missa Brevis? |
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Definition
| Kyrie & Gloria (used to be in German), Bach's were in Latin |
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Term
| What is so unusual about Bach's B minor Mass? |
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Definition
| it is a collection of movements from his life as opposed to a work conceived at one time for performance... every movement is scored differently |
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Term
| What was the purpose in Bach's composing of the motets? |
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Definition
| generally funerals (or celebrations of wealthy people) |
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Term
| How many motets? Briefly characterize them. |
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Definition
| 6 - generally for double chorus, in 2 or 3 movements with the final movement being for chorus. They were generally composed for funerals (or celebrations) - nonliturgical |
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Term
| What is the overall form of Jesu, meine Freude? |
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Definition
| A Palindrome in 11 movements that creates a cross of interest based on a chorale - the only one |
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Term
| Did Bach compose an oratorio? |
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Definition
| Shrock says Yes - 5. Two Passions and 3 Oratorios (Christmas, Easter and Ascension, but these are compilations - parodies - of cantatas) Michael says No Passions are separate from Oratorios |
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Term
| What are some major differences between the St. Matthew and St. John Passions? |
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Definition
| St. John is much shorter and takes less resources and has no chorales. There were significant revisions. St. Matthew is double everything and has chorales in it. Only one version of St. Matthew's Passion |
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Term
| To what extent was Bach influenced by Handel? by Buxtehude? |
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Definition
| Not influenced so much by Handel. Very influenced by Buxtehude. |
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Term
| Make a list of Bach choral genres, with an example for each category |
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Definition
| MOTETS: Jesu, meine freude, CANTATA (200 extant): Christ lag in todes banden (early) & Ein Feste Burg (late), lass, furstin lass noch einen strahl (secular) MAGNIFICAT (one in D and Bb), PASSIONS, B-Minor Mass |
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Term
| In what countries did Handel live and work (when), and in what languages did he compose? |
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Definition
| Born in GERMANY, trained in ITALY, became famous in ENGLAND |
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Term
| What types of choral music did Handel compose? |
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Definition
| 21 Oratorios, 4 coronation Anthems, 11 Chandos Anthems, 3 Latin Psalm settings, app. 10 odes and other occasional works, one masque and one Passion. NO service, madrigal, masses or magnificat. (42 Operas) NO MASSES, NO REQUIEM, NO MADRIGAL |
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Term
| When and why did Handel begin composing oratorios? |
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Definition
| English tastes changes and they didn't want Italian opera anymore. They canceled his opera season in 1738 because of a lack of subscribers. Also, he could write oratorios for Lent when opera couldn't be performed |
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Term
| Which oratorios were the most famous in his lifetime? When did Messiah become famous? |
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Definition
| In his lifetime, Samson & Judas Maccabeus were popular (especially the latter). The Messiah became famous in 1750 when presented for charity in the chapel of the Foundling Hospital in London. |
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Term
| Which oratorio of Handel's impressed Joseph Haydn? |
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Definition
|
|
Term
| Name five oratorios of Handel that have quality choral movements. |
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Definition
| Israel in Egypt, Messiah, Judas Maccabeus, Samson, Solomon |
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Term
| Name two Handel operas that have quality choral movements. |
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Definition
| Julias Caeser (sp????) really only one, but Deidamia was in the book, too. - we won't be asked this!!! |
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Term
| What are some examples of Handel borrowing from himself? |
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Definition
| The original version of Esther borrowed 9 movements from an earlier Passion and the revised version borrowed two movements of the Coronation Anthem and 1 from an Ode. Messiah borrowed 4 choruses from secular Italian duets. |
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Term
| What is the basic story line of the oratorio Solomon? |
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Definition
| Three acts: I. Inauguration of the Temple, II. Wisdom as a Judge (baby splitting) III. Queen of Sheba (visit) |
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Term
| What instrumental forces are required for Solomon? |
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Definition
| 2 flutes, 2 oboes, 2 choirs - 13 choruses (double winds and chorus) |
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|
Term
| Who influenced Handel’s choral style in his oratorios? |
|
Definition
| PURCELL. But, he robbed from LeGrenzi, Scarlatti and Caldara |
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|
Term
| What are the performance obstacles in Handel’s choral music? |
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Definition
| huge forces, tessitura and melisma - altos are super low, oratorios too long, too difficult |
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Term
| Name four choruses from Messiah. |
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Definition
| For Unto Us a Child is Born, All We Like Sheep, His Yoke is Easy, He Shall Purify |
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Term
| What are the Coronation Anthems? Briefly characterize them. |
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Definition
| The first royal commissions of Handel as a naturalized citizen. Zadock the Priest, Let Thy Hand Be Strengthened, The King Shall Rejoice, and My Heart is Inditing. All the anthems are choral, no solos or separate instrumental movements. They are rather grand. George & Caroline |
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Term
| What are the Chandos Anthems? Briefly characterize them. |
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Definition
| The 11 Chandos Anthems (1717-1718) generally consist of 6-8 movements, including an instrumental overture or sinfonia, solos and choruses. The scoring of the 1st 6 has no altos and no violas. Later anthems have altos, but retain the 2 violin and basso continuo texture. |
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Term
| Make a list of Handel’s choral genres, with an example for each category. |
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Definition
| CORONATION ANTHEM: Zadock, CHANDOS ANTHEM: Let God Arise, PSALM: Dixit Dominus, ODE: Ode for the Birthday of Queen Anne, PASSION: The Brockes Passion; ORATORIO: Take your pick ... MASQUE: Aces and Galitea OPERA: Julias Cesare |
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Term
| What are the dates for the Classical Era, and what were the musical differences from the previous period of music? |
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Definition
| 1750-1820. Shrock lists them in a row ... light in texture, homophonic in orientation, clear cut in terms of structure (sonata, rondo or variation), limited contrapuntal writing, highly used classical forms SONATA, rondo and variation, |
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|
Term
| What three terms that signaled the arrival of the Classical era? |
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Definition
| rococo - light and graceful, taken from French architecture; style gallant - refined and accessible as opposed to learned and academic; empfinsamerstil - sentimental style, uncomplicated and direct in expression |
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|
Term
| Describe changes in orchestration and choral forces for the Classical era. |
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Definition
| at least one keyboard instrument that played along (even in Haydn symphonies), wind parts were doubled or tripled according to strings, 1st and 2nd violins were always across from each other one to the left one to the right, 2:1 Orchestra:Choir members |
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|
Term
| Describe Classical era masses, motets, oratorios. |
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Definition
| masses: (earlier longer, middle shorter, later longer) structured with Gloria and Credo separated within to multiple movement; motets - no longer an a cappella genre |
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|
Term
| Where did Mozart live and work? When? And what were his responsibilities? |
|
Definition
| Konzertmeister Salzburg Court 1768-80 |
|
|
Term
| During which time of his career were the majority of his choral works written, and for whom? |
|
Definition
| His youth for Archbishop Collorado |
|
|
Term
| What types of choral music did Mozart compose? |
|
Definition
| 1 Requiem, 18 Masses (6 missa longa, 9 missa breve, 4 missa brevis et solemnis) and Mass Movements, Litanies, Opera, Vespers, Motet, and 1 English Anthem |
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|
Term
|
Definition
| yes - operas, the masonic stuff, the cantatas (for royal occasions) |
|
|
Term
| What is the form of the first movement of Mozart’s Vesperae solennes? |
|
Definition
|
|
Term
| What is unique about the instrumentation of much of Mozart’s sacred music? |
|
Definition
| no violas, the trombones double the voices - so DON'T HIRE TROMBONES WHEN YOU DO THESE unless you hire JUST bass trombone for the Tuba Mirum |
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|
Term
| What political/religious factors influenced Mozart’s compositional output? |
|
Definition
| Archbishop Colloredo - Archbishop of Saltzburg; Maria Theresia (1717-1780) - he ran up and jumped on her lap; Joseph II (1741-1790) from 1780-1790 (after Maria Theresia died) "Josephinism" - has to do with the Enlightenment ruling principles. Leopold II He was conservative with his money. Many church reforms, including simplifying church services.; 1790 Leopold came into power. |
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|
Term
| What are the characteristics of the Missa Brevis of the Classical period? |
|
Definition
| reduced orchestration, brief duration, telescoping or overlapping text, Viennese church trio and ALL 5 MVT |
|
|
Term
| What types of choral music did Haydn compose? |
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Definition
| MASS ORATORIO (Creation & Seasons) large scale vocal works, small scale vocal works, a cantata, canons, father of the German part songs |
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Term
| How many masses did Haydn compose? |
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Definition
| 12 in class (6 early and 6 late) |
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Term
| Briefly characterize Haydn's masses. |
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Definition
| just 6 early / 6 late ... varied--brevis with reduced orchestration and brief duration, telescoping text; solemnis--fuller and longer, Gloria/Credo in three parts know this: missa brevis all five movements, telescoping text, limited orchestral interludes, not a lot of text repetition, no extended solos (very brief) NO VIOLAS, Viennese Church trio (2 violins and a cello) - same for Mozarts |
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Term
| Did Haydn write any secular music? |
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Definition
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Term
| What is the form of the Kyrie from the Lord Nelson Mass? |
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Definition
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Term
| Who influenced Haydn's oratorios? |
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Definition
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Term
| What is unique about the instrumentation of a Haydn Missa Brevis? |
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Definition
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Term
| What political/religious factors influenced Haydn's compositional output? |
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Definition
| Employed by Esterhazy's; their desires determined what he did or didn't do, Josephinism - JOSEPHINIUM REFORMS |
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Term
| What are the major choral works of Beethoven? |
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Definition
| Missa in C Major; Ninth Symphony; Missa solemnis; |
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Term
| What are some of the compositional devices employed by Beethoven in his Missa Solemnis? |
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Definition
| extreme dynamic changes, high tessitura for sopranos and fugal writing ... sectionalized Kyrie; expanded Gloria (five sections and multiple subsections including a three-section fugue); six section credo; six part Sanctus with an orchestral prelude before Benedictus--almost a concerto for flute/violin; four-part Agnus Dei involving military motifs; textual repetition for added drama |
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Term
| What were some of the 'choral' symphonies that followed Beethoven's? |
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Definition
| Lobgesang (Mendelssohn); Mahler 2, 3, and 8; Berlioz's 'Romeo and Juliet' Vaughan Williams |
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Term
| What types of choral music did Brahms write? |
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Definition
| choir and orchestra; sacred a cappella; secular a cappella; vocal with piano; folk song arrangements; canons; NO MASS; NO OPERAS |
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Term
| List four relatively short (approx. 15 min.) choral/orchestral works from the Romantic Period. |
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Definition
| Schicksalslied (Song of Destiny); Alto Rhapsody; Triumphlied; Nanie |
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Term
| What is the origin of the text of Ein deutsches Requiem? |
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Definition
| Luther's translation of the Bible |
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Term
| In what form are many of the movements of Ein deutsches Requiem? |
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Definition
| ABA/rondo, whole thing is loosely mirror construction |
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Term
| What is one important unifying feature of the Brahms Requiem? |
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Definition
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Term
| Is there anything unique about the orchestration for the Brahms Requiem? |
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Definition
| 2 harps play from the harp part, parts for the contrabassoon and organ are scored, piccolo and tuba, no violins in the first movement |
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Term
| Did Brahms compose motets in earlier styles? |
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Definition
| Yes--relating to Palestrina, Schutz and Bach especially |
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Term
| What compositional devices does Brahms employ in Schaffe in mir Op. 29, No. 2? |
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Definition
| canon, fugue, augmentation, imitation, hybridization, stretto, inversion, sequence, pedal points, hemiola, durchbrochen arbeit |
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Term
| What are the neo-classical (backward-looking) traits of Brahms' Schaffe in mir Op. 29, No. 2? |
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Definition
| Renaissance-style polyphony; Bach fugue-like (same as the above answer) |
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Term
| What is the overall form of Schaffe in mir Op. 29, No. 2? |
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Definition
| Three movements, one verse per movement. |
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Term
| What types of choral music did Schubert write? |
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Definition
| Deutsche Messe (in D); Latin Masses (G MAJOR, C major, F major, Bb major, Eb MAJOR, Ab MAJOR) 1 German Requiem, 30 Motets, 71 partsongs, several cantatas, 1 unfinished oratorio, 9 canons |
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Term
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Definition
| Mass No. 1 in F major, D 105; Mass No. 2 in G major, D 167; Mass No. 3 in B-flat major, D 324; Mass No. 4 in C major, D 452; Mass No. 5 in A-flat major, D 678; Mass No. 6 in E-flat major, D 950 |
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Term
| Describe the similarities/differences in the motet styles of Bruckner and Mendelssohn. |
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Definition
| Bruckner: NEORENAISSANCE PALESTRINA, SATB no solos, a cappella, homorhythmic, Mendelssohn: STYLE OF BACH German, double choir homophonic melody on top can have solo voices, often accompanied, fugal passages, SIMILARITIES - both short, both sacred |
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Term
| Besides motets, what other choral music did Mendelssohn compose? |
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Definition
| MENDELSSOHN - 2 oratorios (Paulus/Elijah), 8 secular cantatas, 26 sacred cantatas and other large scale works, 40 small sacred pieces, 60 secular part songs NO REQUIEMS or MASSES |
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Term
| Besides motets, what other choral music did Bruckner compose? |
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Definition
| BRUCKNER - 6 Masses and 2 Requiems, 1 Te Deum, 5 large scale Psalm settings, 32 motets, 19 large-scale secular works and 26 shorter secular pieces; ... stay with Masses and Motets for Bruckner -jj |
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Term
| Make a list of 19th Century sacred genres. |
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Definition
| Mass, motet, Requiem, oratorio |
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Term
| Example of 19th century mass |
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Definition
| Schubert Mass in G; Liszt Mass for Men's Choir |
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Term
| Example of 19th century motet |
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Definition
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Term
| Example of 19th century Requiem |
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Definition
| Ein Deutsches Requiem (Brahms), Berlioz and Verdi |
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Term
| Example of 19th century oratorio |
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Definition
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Term
| Define partsong in the 19th century: |
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Definition
| small-scale pieces set to secular poetry scored for a cappella chorus or chorus with piano accompaniment always in the vernacular |
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Term
| What factors led to the proliferation of 19th-century German partsongs? (8) |
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Definition
| Singakademie; Liedertafel; Singing societies/festivals; Rise of middle class; Nationalism; Diminishing of church; Glee clubs; Revolutionary period 1830-1848 |
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Term
| What are the basic characteristics of 19th-century German partsongs? (3) |
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Definition
| small-scale, secular, a cappella or with piano - - everything that we said about the 2nd English Choral School, plus Strophic |
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Term
| Describe the partsong output of Schubert (by voicings): |
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Definition
| SCHUBERT: TTBB ... many for MEN's voices, some for women and some for mixed |
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Term
| Describe the partsong output of Mendelssohn (by voicings): |
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Definition
| MENDELSSOHN: SATB ... many for SATB, some for TTBB (0 women's) |
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Term
| Describe the partsong output of Schumann (by voicings): |
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Definition
| SCHUMANN: SATB ... many for SATB, some for TTBB, less for women |
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Term
| Any partsongs from Brahms? |
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Definition
| BRAHMS: SSAA ... His secular a cappella works are all partsongs: many for WOMEN's voices, fair amount for SATB, just a few for TTBB |
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Term
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Definition
| two voice parts combine to make one motive |
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Term
| Classical tonal relationships vs. Romantic tonal relationships |
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Definition
| Classical I-V-I; Romantic thirds (I-III or vi-I) |
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Term
| What other types of secular choral music existed in this century? |
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Definition
| part songs; smaller choral/orchestral works (lied); choral symphonies, vocal chamber music |
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Term
| Who were the major composers of choral music in the early 19th century? |
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Definition
| Rheinberger, Schumann, Schubert, Berlioz, Mendelssohn, Beethoven |
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Term
| Who in the Classical period wrote Requiems for men's voices? |
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Definition
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Term
| What was the major center of compositional activity in France? |
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Definition
| The Paris Conservatory, Niedermeyer Conservatory, National Music Society of France, Schola Cantorum |
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Term
| For what specific churches did the significant French composers work? |
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Definition
| Ste Clotilde (Franck & Dubois), La Madeleine (Saint Saens, Dubois & Faure), St Suplice (Widor, Faure & Vierne), Notre Dame (Vierne was the organist) |
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Term
| What were the main musical choral genres for the French composers? |
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Definition
| masses, motets, oratorios, cantatas and part songs |
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Term
| Name several of the major choral works by Berlioz. |
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Definition
| Requiem, La damnation de Faust, L'enfance du Christ, Te Deum, Romeo et Juliette |
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Term
| How did the composers Berlioz and Verdi set the "Tuba mirum" text of the Requiem? |
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Definition
| SIMILARITIES: antiphonal treatment (only 2 trumpets in Verdi's as opposed to 4 in Berlioz's), repeated notes in anapestic rhythm and triplet fanfares, prominence of Eb Major (tonic in Berlioz and dominant in Verdi) with an intruding Db, and after about 2 dozen bars of orchestral music, the entrance of choral basses in their high register; MAIN DIFFERENCE: Verdi starts out quietly with a single note on the dominant, gradually adding to create intensity BASIC EFFECT: Berlioz's suggests awe, Verdi's evokes terror |
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Term
| Name the choral output of Verdi. |
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Definition
| Four Sacred Songs (Ave Maria) - get from someone else |
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Term
| List some traits of the 2nd English Choral School. |
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Definition
| CONSERVATIVE style, conventional rhythms, diatonic melodies, tonal harmonies, divisi SSAATTBB (contenance angloise - English countenance), backward looking school |
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Term
| Who are the composers of this group? |
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Definition
| Parry, Stanford, Elgar, Sullivan, Delius, Vaughan Williams, Holst, Britten, Rutter, Tippett, Walton, Howells, Tavener |
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Term
| List five major British choral/orchestral works from this style period. |
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Definition
| Vaughan Williams' 'Dona Nobis Pacem' & 'Serenade to Music,' Walton's 'Belshazzar's Feast,' Britten's 'War Requiem,' Delius's 'Sea Drift,' Rutter's 'Gloria'; Holst's 'Christmas Day' |
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Term
| What types of choral music did Vaughan Williams compose? |
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Definition
| 39 choral/orchestral works, 32 choral pieces scored a cappella or with keyboard, 14 hymns, 35 carols, and 29 folk song arrangements |
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Term
| What types of choral music did Benjamin Britten compose? |
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Definition
| 40 works that range from large scale choral orchestral compositions to a cappella and piano-accompanied part-songs, and liturgical pieces and anthems for the Anglican Church to concert cantatas set to sacred and secular texts. If we go from small to large: part-songs, psalm settings, anthems, hymns, cantatas (sacred and secular), War Requiem, Mass - missa brevis - NO ENGLISH SERVICE Mag and Nunc ... Magnificat and Nunc Dimmittis |
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Term
| Was the partsong a common genre in this style period? |
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Definition
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Term
| Would you describe this school as “progressive” or more “neo-classical”? |
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Definition
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Term
| What are the performing forces in Britten’s War Requiem? |
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Definition
| 3 distinct ensembles: mixed chorus and orchestra with sop soloist, tenor and baritone soloists with chamber orchestra, and boys' chorus with organ. |
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Term
| Name three composers (other than RVW, from any period) who set the O vos omnes. |
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Definition
| Palestrina, Victoria, Gesualdo, Clausen, Pablo Casals, David Childs, Stroope |
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Term
| For what performing forces did Britten compose his Missa Brevis? How many movements? |
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Definition
| SSA soloists, SSA treble chorus and organ |
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Term
| Name ten important American choral composers of the 20th century: |
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Definition
| Ives, Howard Hansen, Randall Thompson, Louise Talma, Copland, Samuel Barber, Bernstein, Dello Joio, Clausen, Lauridsen, Whitaker, Stephen Paulus, Gwyneth Walker |
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Term
| List five Mass settings (any nationality) of the 20th century: |
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Definition
| Kodaly, Janacek, Stravinsky, Bernstein, Stravinsky, Hindemith, Rutter |
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Term
| What is the difference between atonal and 12-tone? |
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Definition
| Atonal - no tonal center; 12 tone uses all 12 before any are repeated |
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Term
| Between atonal and avant garde? |
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Definition
| Atonal - no tonal center; avant garde uses nontrad notation and sound |
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Term
| List several avant garde compositional techniques: |
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Definition
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Term
| Name three 20th-century Requiems: |
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Definition
| Durufle, Hindemith (When Lilacs), Britten, Rutter |
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Term
| Name three European composers who arranged numerous folk-song settings for choral performance? |
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Definition
| Kodaly, Orff and Vaughan Williams ... |
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Term
| List five 20th-century oratorios: |
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Definition
| Child of Our Time - Tippett, Belshazzar’s Feast – Walton, Oedipous Rex - Stravinsky, Dream of Gerontius - Elgar, |
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Term
| Who are the composers of the 2nd Viennese school? |
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Definition
| Schoenberg, Webern and Berg |
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Term
| List several compositional techniques employed by Stravinsky in “Symphony of Psalms: |
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Definition
| imitative words like: inversion, stretto, importance of the third, importance of two chords or two modalities against each other – Michael - double fugue, canon, minor thirds, relationship between C Major and C Minor throughout the piece – Patrick III. unifies on the C again, thirds, minor-major again … Everything Stravinsky – use of rhythms and ostinati ... IV Laudate theme from earlier movement elongated, Alleluia from the beginning |
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Term
| What is the form of the second mvt of Stravinsky's "Symphony of Psalms"? explain |
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Definition
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