Help
Options
Didn't know it?
click below
click below
Knew it?
click below
click below
Don't Know
Remaining cards (0)
Know
retry
shuffle
restart
0:00
Embed Code - If you would like this activity on your web page, copy the script below and paste it into your web page.
Normal Size Small Size show me how
Normal Size Small Size show me how
Renaissance Music
| Term | Definition |
|---|---|
| a capella | without instrumental accompaniment |
| academy | a learned society, founded in imitation of Plato's _____ for the purpose of furthering the arts, literature, or science |
| air de cour | an accompanied French strophic song for one or two voices from the Late Renaissance and Baroque periods |
| anthem | evolved from the latin motet after the Reformation; despite Latin titles, it was sung in English, assuming the role of the motet in English Anglican and Protestant services -- usually simpler and more homophonic in style than the motet |
| balletto | a dance-like vocal piece in homophonic style |
| basse danse | one of a family of Renaissance dances which apparently used a gliding or walking step; the music seems to have been mostly improvised, and very little is extant |
| Burgundian cadence | a disguised V-I cadence often used by the _______s in three-part music; the highest voice moves from the seventh to the octave, the middle voice leaps up an octave from the dominant, and the lowest voice descends one step to the tonic |
| cambiata | changing-tone dissonance in which one or two rhythmically weak non-harmonic pitches l ie between consonant ones, usually with a prominent reversal of direction in the vocal line |
| canzona | a type of instrumental composition derived from the chanson and retaining that genre's sectional structure, varied textures, and lively rhythms |
| canzonetta/canzonet | a short composition of the canzona type for voices; noteworthy for its light character |
| choral | a Protestant hymn, a form cultivated especially during the Renaissance and Baroque periods; their tunes were frequently employed by composers as cantus firmij |
| chromatic/chromaticism | refer to the use of tones outside of a given diatonic framework; narrowly speaking, they denote the use of different forms of the same pitch name, such as C and C-sharp |
| consort | a term used in the 17th century for a small instrumental ensemble |
| consort song | a late 16th and early 17th-C composition that features one or two voices with the accompaniment of a consort, often of viols -- a prominent composer of these composition types was William Byrd |
| contrafactum | the substitution of a new text for the original one, often of a sacred for a secular one, as in the borrowing of secular tunes for use with Protestant chorale texts |
| cori spezzati | divided choirs, a practice which originated in 16th-C Venice; referred to as polychordal |
| cross-relation | the appearance of a note in two versions, one chromatically altered, within the space of a measure or so in two different voices; also used to describe the effect produced by the presence of the tritone |
| cyclic principle | the use of the same or closely-related thematic material in some or all of the movements of a large-scale composition |
| diminutions | improvised embellishment of a melodic line by introducing faster motion, running passages |
| enharmonic | refers to notes that sound the same but are written differently |
| familiar style | refers to passages in vocal music sung in chordal or homophonic fashion; used in contrast to a learned, or contrapuntal style |
| fantasia | a term that encompasses a great variety of works in improvisatory style from the Renaissance to the Romantic period; generally denotes solo pieces for lute or keyboard instrument of the late 16th and 17th centuries |
| fauxbourdon | a controversial term referring to a technique that results in three voices singing basically in first inversion chords; employed frequently bu Dufay |
| figured music | used before 1600 to denote polyphony (versus plainchant) and especially the style of the Netherlanders |
| frottola | an Italian secular song of the middle Renaissance; usually set in a treble-dominated style of lighter tone and texture than the Renaissance madrigal, which it precedes historically |
| galliard | a leaping dance in fairly fast triple meter; often preceded by a pavane in a paired set |
| imitation | a form of repetition in which a melody is re-stated in different voice parts |
| improvisation | spontaneously created music, as in a fantasia or a cadenza, or just spontaneous re-creation of a given melody |
| inversion | melodically, a mirror-like exchange of ascending and descending intervals of a time |
| Lied | late in getting started, German polyphonic song flowered in the Renaissance, assisted greatly by such Netherlanders as Isaac and Lassus |
| madrigalism/madrigalian | the highly developed use of tone-painting in the madrigal, a characteristic that then appeared in both chanson and motet |
| motto theme | in the Renaissance the term refers to a motive that appears at the beginning of the movements of a Mass |
| paraphrase | a varied version of a given melody; technique was often used by Dunstable, Dufay and Josquin |
| parody | the practice of reworking a polyphonic composition so that it forms the basis for a Mass |
| passamezzo | a moderately fast dance in quadruple meter; often followed by a saltarello |
| pavane | a dignified courtly dance in slow duple meter; frequently paired with the galliard |
| pedal point | a sustained note, usually in the bass, over which harmonies change; often employed just before or during a cadence |
| points of imitation | sections beginning contrapuntally with the same motive in each voice |
| polychordal | employing two or perhaps more distinct choirs of voices and/or instruments, as in the works of Giovanni Gabrieli |
| psalter | book of musical settings for Protestant congregational singing |
| ricercare | a term for several types of instrumental pieces; the most significant is a work for keyboard or ensemble of the 16th century which resembles the motet in its use of successive points of imitation |
| service | the musical portions of the Anglican liturgy, including the portions from the Mass Ordinary |
| sortisatio | improvisation of counterpoint on a given part; also known as discantus supra librum and contrappunto alla mente |
| tablature | one of the several systems of notation using various sy mbols rather than notes on a staff; often used for lute music |
| tactus | a continuing but unaccented pulse |
| throughcomposed | a term sed for musical forms in which repetition of sections is eschewed in favor of new music |
| tone-painting | depicting natural sounds of word-meanings in musical tones |
| variations | a type of composition based upon varied repetition of a theme or a harmonic pattern, the overall structure of phrases and sections generally being maintained throughout |
| villancico | Spanish song of the Renaissance in a form similar to the Italian ballata; written for three and four voices, and for accompanied solo voice |
| villanella | a popular type of chordal song composed in the Renaissance |
| cornetto | a tubular wooden instrument with finger holes and a cup-shaped mouthpiece; in use from the Middle Ages until the Baroque period |
| crumhorn | a curved double-reed Renaissance instrument with a newarly cylindrical pipe and a wind cp to cover the reeds |
| douchaine | probably a straight-capped shawm with a mellower, softer sound |
| lute | an important plucked stringed instrument; its fingerboard was fretted and it usually had 11 strings tuned to 6 different pitches which were plucked |
| recorder | a wooden flute with a beaked mouthpieces played in a vertical position |
| regal | small reed organ |
| vihuela | a Spanish guitar of the 16th century |
| viol | a bowed stringed instrument with frets; an ensemble instrument that found considerable favor in the 16th and 17th centuries |
Created by:
mehrivnak
Popular Music sets