Music Midterm Review LISTENING - Amazon S3s3.amazonaws.com/prealliance_oneclass_sample/POgPrXAZOL.pdfMusic Midterm Review LISTENING: FROM THE RENAISSANCE: 1. Josquin des Prez, The

Music Midterm Review LISTENING:

FROM THE RENAISSANCE:

1. Josquin des Prez, The Cricket 2. William Byrd, Sing Joyfully 3. (Not on MyMusicLab but on the Naxos Playlist -- and elsewhere...): 4. Weelkes, Since Robin Hood 5. Arcadelt, Il bianco e dolce cigno 6. Palestrina, Kyrie from the Missa Papae Marcelli

FROM THE BAROQUE (and ALL from MyMusicLab)

1. Claudio Monteverdi, Orpheus selection from Act II 2. Henry Purcell, Dido and Aeneas Overture and Act 1, nos. 1-4 (Any one

portion of these two excerpts is fair game) OPERA 3. Barbara Strozzi, Revenge aria

***For each, you should be able to name composer (first and last names), title (in English, though foreign language titles also accepted), era, and significance (of the work).

VOCABULARY: MELODY: single line of notes heard in succession as unit PHRASE: CONTOURS: a rising and falling variation pattern, as in music and intonation SCALES: HARMONY: 2 notes; two or more notes heard as a single entity. Simultaneous

sounding of two or more pitches.

CHORDS: three or more notes sounding simultaneously

A melody can be harmonized (using chords) in more than one way, our harmonic

choices are infinite “and harmonic choices can be an early way to make a

statement/change the meaning of

PITCH: Defined in hertz. Highness or lowness of a pitch based on FREQUENCIES (number of oscillations per second). A440 # that which sounds when something vibrates at 440Hz. DYNAMICS: loudness or softness of the music. Based on AMPLITUDE. Basic notational values (all Italian terms) p (piano) = soft, f (forte) = loud .

TIMBRE: Distinct sound quality of a given instrument/voice. Defined by the overtones in a sound wave. (each instrument/voice will have its own distinct sounds wave like a fingerprint) TEXTURE: relationships between the different components of a given passage.

1. MONOPHONIC: do they all sound at the same time and do exactly the same thing without and accompaniment

2. HOMOPHONIC: is there a single melody line with accompaniment (a star voice with some supporting roles)

3. POLYPHONIC: are there multiple melodies of equal importance occurring at the same time

FORM: all music is in some way organized through time, even if that is the complete

rejection of organization. The pattern of organization (or lack thereof) is refered to

as form. Three standard formal strategies;

1. REPETITION 2. VARIATION 3. CONTRAST

WORD PAINTING: Composers often use music to reinforce/conflict what a text is

saying, Poetic,

GENRE: Categories music into related groups like:

Rock, indie rock, classical, folk, jazz. In western classical music, we often categorize

by;

1. INSTRUMENTATION: (string quartet, symphony, piano, opera, mass..)

2. SOCIAL FUNCTION:

THE OFFICES: services performed throughout the day that initially used exclusively

chant

MARTINS: sung before daybreak LAUDS: performed at sunrise PRIME: 6 A.M. TERCE: 9 A.M. SEXT: Noon NONE: 3P.M. VESPERS: Sunset (only office that allowed for polyphony) Compline:

directly after Vespers COMPLINE: directly after Vespers

ORGANUM: composed chant for more than one part. ORGANUM TRIPLUM: 3 voices involved all doing different things DISCANT CLAUSULAE: parts of chant and start inserting them into other chants that they liked TRECENTO: (anything that happened in the 1300 in Italy)

TRIPLE METER: (1-2-3, 1-2-3) POLYPHONIS TEXTURE: MEDIEVAL PERIOD:

Began 476CE Spans 1000 years, from Fall of Roman EmpireRenaissance. Roman Catholic Church Dominated (Music was a way to serve God)

IMPORTANT HISTORICAL INFLUENCES:

Western empire: Rome (home base) Eastern empire, Byzantium: Constantinople (home base) 800: Charlemagne crowned as Emperor (French) 936: Otto I establishes the Holy Roman Empire 1095: Beginning of the Crusades

GRAND RELIGIOUS BUILDINGS: NOTRE DAME

Pass along a liturgical message, especially to the illiterate. Reinforce a particular narrative. Inspire as an allegory of the power of the divine. Likewise, plainchant was meant to transfer a message and inspire

worshipers through its sound. Question of MORTALITY (paid church, supported religious power, kings,

bring you into this lifestyle) PLAINCHANT

POPE GREGORY (540-604) Claimed the Holy Spirit, in the form of a dove, gave him the melodies of plainchant.

ANONYMOUS COMPOSERS (800 CE) (monks, priests, nuns) developed and codified a repertory of plainchant of which there were many traditions:

o Ambrosian, Byzantian,

o Gallican, o Mozarabic, o Gregorian Chant

GREGORIAN CHANT:

Illuminated manuscript: NEUMES Text is always in Latin, Made out of gold Created by at least 3 scribes it is a multi-person job. Illustrations were a story, meant to teach something, an added element to

think about. NEUMES:

Were produced it was a modern-day Germany

Likely noted by trained scribes, monks with specific knowledge of music notation and with great artistic talent

Every large religious establishment would have monks on hand who would produce manuscripts such as this.

The detail and richness of each manuscript precluded the opportunity to mass-produce and distribute these books. They would have been very valuable and specific to the needs of a certain church and its musical practices.

EX: The first letter of the chant is enlarged and has illustrations incorporated in it, which coincide with the story behind the chant itself.

READING PLAINCHANT MUSIC:

One note per syllable = syllable setting of plainchant Earliest system of pitch notation indicated CONTOUR but not specific pitches

nor durations. This system suggested the performers largely memorized the repertory.

Red lines indicated a single syllable to many notes = Melismtic Red letters indicate new line of Latin chant

RELIGIOUS LIFE (CATHOLIC)

Music for the office usually found in an ANTIPHONER. LIBER USUALIS: a compendium of plainchant still printed today. THE OFFICES: services performed throughout the day that initially used

exclusively chant o MARTINS: sung before daybreak o LAUDS: performed at sunrise o PRIME: 6 A.M. o TERCE: 9 A.M. o SEXT: Noon o NONE: 3P.M. o VESPERS: Sunset (only office that allowed for polyphony) Compline:

directly after Vespers o COMPLINE: directly after Vespers

THE SEASONS OF THE CATHOLIC CHURCH:

ADVVENT: begins fourth Sunday before Christmas CHRISTMAS: (December 25th), including the following 12 days until EPIPHANY: (January 6th), and the following weeks PRE-LENTEN SEASON: begins nine weeks before Easter (date is moveable) LENT: forty days before Easter. Begins on Ash Wednesday EASTERTIDE: Easter until forty days after culminating in PENTECOST: (seven weeks after Easter) TRINITY OR “ORDINARY TIME”: from the first Sunday after Pentecost to the

beginning of Advent

THE (HIGH) MASS CELEBRATED ON SUNDAY AND HIHG HOLY DAYS: 1. PROPER: changes every day 2. ORDINARY: always the same

a. KYRIE (only movement in Greek, (everything else in Latin) b. GLORIA c. CREDO d. SANCTUS e. ANGUS DEI f. ITA MISSA EST

SECULAR COURT MUSIC: Composers set music dealing with;

o Courtly love, o Heroism, o Pain, o Loss

SECULAR MONODY: Jongleur or minstrels TROBADOURS: spoke Provencal or l’angue d’oc TROUVERES: North of France (spoke language d’oil) Jeu de Robin et Marion Adam de la Halle Minnesingers / Meistersingers –present day Germany “Finders of song”

HILDEGARD VON BINGEN (1098-1179)

Born into a nobility of RHEINHESSEN in Western Germany (Bermersheim) Promised to the church at the age of; at the age of 154 was ‘bound’ to the new

local Benedictine monastery. o Stone cell (‘tomb’) shared with one other woman. o Could see out through a single window.

Founder and abbess of the convent at Rupertsberg (nr. Bingen) in Germany (1147-1150)

HER WORK:

PROPHETIC POWERS AND VISIONS starting at age 5. Later known as the “SIBYL OF THE RHINE”.

Most famous works, SCIVIAS (know the ways), describes 26 visions. 1160-1170 undertook 4 PREACHING MISSIONS throughout Germany. Lengthy correspondence with and was consulted by POPES, EMPERORS,

SECULAR AND SCCLESIASTICAL LEADERS. Multiple efforts to CANONIZE her have been put forward but never been

successful. Work took 10 YEARS to write. VOLMAR was her AMANUENSIS: someone who writes down thoughts

EARLY 1150’s she began collecting her POETRY but likely settings themselves dates to the 1140’s.

o Most pieces remain extant in the modern day location of her convent. Her music extends the normal ranges and text settings of plainchant. 75-

note-long Melisma’s! (She was a bit of a composition rebel.) Often wrote HER OWN TEXT and HER OWN MUSIC for compositions 1ST WOMAN to advocate successfully for her NUNS TO SING IN CHURCH 1ST WOMAN given permission to WRITE MUSIC AND RECORD THOUGHTS on

other subjects o Theology, o Medicine, o Plants, o The lives of the saint

CHURCH MODES (BOETHIUS) 380CE- 524CE

Scholar of ancient Greece Wrote an extensive treatise on musicDEISTITUTIONE MUSICA:

o describing the cult and teachings of Pythagoras, a leading Greek theorist

The text placed music squarely as a mathematical pursuit, although it held a special position

o “ it is related to ethical action as well as to pure reason.” From the 9th to the 12th centuries, this was the most commonly cited and

debated text for musicians. o Have more than 150 contemporary sources for this treatise. o Dorian – white notes d to d o Phrygian – white notes e to e o Lydian - White notes f to f o Mixolydian – white notes a to a o Lonian – white notes c to c

PLAY OF VIRTUE:

Morality Play, ca. 1150 Extensive work likely in some way incorporated into religious services Depicts the struggle of good an evil for an innocent soul Each of the 16 virtues

o Humility, o Chastity, o Love o Obedience, o Mercy, o Humility, o Discretion, o Patience

Preformed by a different person (woman performer)

Devil only speaks, has no music (only male voices.) LENONIN (LEONINUS)(1135-1201)

ANONYMOUS IV wrote about the NOTRE DAME SCHOOL Leononin o Was a COMPOSER in Notre Dame School, employed by the church,

became the magister, meaning he was allowed to teach. Responsible for the book titled; MAGNUS LIBER ORGANI ORGANUM: composed chant for more than one part.

o Organum becomes and evolves to be palifium over 1200 years o Lenonin started and created the rules of organum. You must maintain

a sense of purity, (the intervals of an octave and a fifth) o Doriam mode – final is ‘D’

No images of him no recordings Rhythmic modes

o There were set patterns when first introduced HISTORICAL INFLUENCE:

In Parisian culture around c.1200 the church began to buckle down on heretics.

o Coming down on anyone who deviated from the what the church wanted

o People who practices organistae; you were often cut off from the church society.

o Many were even burned at the stake for their practices o A lot of Organistae’s were considered;

Rowdy, Many sexual deviance, Drinking, like a fraternity, They were often fired than re-hired to reinforce the fact that

they are not connected to the church. IDEA THAT This is what happens when you try to alter the

text of the church. PEROTIN(1200):

ANONYMOUS IV also wrote about him He was Lenonins SUCCESSOR.

o His work was recorded. o Perotin took everything lenonin was comfortable composing and took

it to the NEXT LEVEL ORGANUM TRIPLUM: 3 voices involved all doing different things DISCANT CLAUSULAE: parts of chant and start inserting them into other

chants that they liked. o Adds to the idea of changing tradition. o It also meant you needed to read music in order to preform it.

He represents a serious milestone. Started creating music for MORE THAN 2 INDEPENDENT PARTS.

Music from 1200-1400CE is the GROUND WORK FOR THE RENAISSANCE.

PLAINCHANT ALLELUIA: CARO MEA:

Alleluia from the mass for the Feast of the Corpus Christi (body of Christ) o Celebration of Holy Sacrament o Text for Alleluia from the Gospel of John, 6:55-56

Mass Structure: o Ordinary: always the same –Kyrie, Gloria, Credo, Sanctus, and

Angus Dei o Proper: specific to Sunday or feast day – Introit, Gradual, Alleluia,

Offertory, Communion MOST PLAINCHANT COMPOSERS WERE ‘UNKNOWN’ = MONKS OR PRIESTS MONOPHONIC The Alleluia is a RESPONSORIAL CHANT: alternates between soloist and

chorus Singing lengthens and extends each syllable and allows the singer to project

the words over a much larger space Melismas, o like on the final ‘A’ of ‘Alleluia’, used to heighten the experience.

Form: o A(soloist) “Alleluia” o A (chorus) o B (soloist)

High point at “sanguis meus vere est potus” Long descent to “meam carnem”

o A (soloist) o A (chorus)

Plainchant TODAY: pope Benedict XVI recently announced that the Vatican choir would begin using plainchant once again on a regular.

FRANCESCO LANDINI (Behold Spring)

Often depicted holding a pipe organ Couldn’t see (smallpox) therefore he was trained musically Born into a WEALTHY FAMIYL TRECENTO: (anything that happened in the 1300 in Italy) Mixture of the French and Italian At this time many highly trained musicians were forming in Belgium and

France His contemporaries spoke about his POETRY and how he sang. He traveled He was very influential for a composer

THE SQUARCIALUPI CODEX

An elaborate, hand-written manuscript. The 216 leaves of parchment are decorated with gold lead and miniature

portraits, EX: Landini playing a portative organ. By the 14th century, staff lines had become standard.

BEHOLD SPRINGS: BY LANIDINI

A Ballata (Italian for “danced”) two voices A secular song of LOVE Courtly love is this age

o Knight declares himself servant of his lady love o Heroic deeds done in her honor o Love for her ennobles him, especially if she rejects him

Poet Giovanni Boccaccio, in his poem, Decameron, describes how a group of lords and ladies, fleeting the plague, sang this song to divert their minds

o Phillip de Vitry 3 forms fixes 1) Viredai 2)Vondeaux 3)ballade

POLPHORIC: Precursor: ORGANUM

o PEROTIN: famous composer of organum who worked at cathedral of Notre Dame in Paris

o Text setting syllabic setting projects text: clearly occasional Melasmic

o Women’s voices: Women often performed together, as they do so in this

painting. Still behold singing could have been preformed just as easily by men or women.

TRIPLE METER: (1-2-3, 1-2-3)

o Cannot have a free meter when two or more parts move together o Lengths of individual notes vary, but meter remains constant

POLYPHONIS TEXTURE:

o Subdivided into smaller units with cadenced each cadence ends with a unison

FORM: poetic stanzas are turned into three verse, known as strophers

o First verse repeated at the end o Music of the second strophe contrasts with music of the other

three o A B A A o A=1st melody/text o B=contrasting melody/text

o A= 1st melody repeated with different o A= 1st melody repeated with original

MOST PROLIFIC AND FAMOUS ITALIAN COMPPOSERS OF THE 15TH CENTURY;

Blinded by smallpox as a child Served as organist at a church in Florence Famous poet

MUSIC: Ballatas: like behold springs Virelais: French song Caccia: hunting songs

Guillaume de Machaut; I can all too well compare my lady: Machaut c1300 Reims *First to write a polyphonic mass

o I CAN ALL TOO WELL COMPARE MY LADY:

o Another story of courtly love o The poet’s beloved lady compared to Pygmalion (who carves a statue

so beautiful that he Falls in love with it o Texture: three independent voices

Upper voice most active Lower two voices difficult to distinguish until B section

o Five cadenced o From AAB:

Same music used for sentence 1 and 2 Contrasting music for the other two sentences Like the form of “the star-Spangled Banner” Ars nova Ars antiqua

GUILLAUME DE MACHAUT:

Poet and composer Spent much of his life in the service of monarchs Appointed canon at the cathedral of Rheims in 1335 Supervised the copying of his complete works in six large manuscript “Messe de Notre Dame” (mass of our lady) is the first known polyphonic

setting of all the sung movements of mass ordinary by one composer