Renaissance Term List
Late Medieval and Early Renaissance
Isorhythm-review by listening and score analysis the isorhythmic works from the Ars nova
Means by which Machaut unified the non-syllabic movements of Messe de notre dame
English polyphony including imitative forms
Italian imitative forms caccia and madrigal
French chausse
Characterisitics of English music as compared to continental music
General history of England and France (King and Burgundy) in the first half of 15th century
faburden and fauxbourdon (differences and similarities and who used each)
John Dunstable
Giles Binchois
Guillaume Dufay
formes fixes
International song style (impact of Ars subtilior and Johannes Cicconia)
Franco-Flemish composers (importance and impact)
Antoine Busnois
Johannes Ockhegham
Mid-Renaissance Vocal
Pervasive imitation and impact upon form and composition methods
Josquin Despres (or Des Prez or Desprez)
motet
Franco-Flemish chanson and spin-off, the fantasia
Methods of Mass composition (i.e. parody, cantus firmus, etc.)
canti carnascialeschi
frottola
Marco Cara
Villancico
Juan del Encina
Cancioniero de Palacio and contemporary MSS (MSS=manuscripts)
Parisian chanson
Claudin de Sermissy
Lutheran chorale
Late Renaissance Vocal Music in Italy and Spain
Adrian Willaert
Council of Trent
Giovanni de Palestrina
Tomas Luis de Victoria
Dance Music in the very late 15th and entire 16th Centuries
basse danse and basse danse commun (texture, form, and composition method)
Early new dances-pavana and saltarello
Characteristics of late favorities-pavan (also pavana or pavane), galliard, and almain (also allemande)
bass frameworks and significance-you should know progressions for folia and passamezzi (antico and moderno)
Significance of Canconiero de Palacio and contemporary Italian MSS
variation form
passaggi, diferencias, glosas, diminutions
English Lute and Virginals School (especially John Dowland and William Byrd)
lute ayre and its derivative settings
English Renaissance Sacred Vocal Music
Reasons for Anglican Church
Service and types
Anthem and types
William Byrd
Rise of Music Printing
Ottoviano Petrucci
Pierre Attaingnant
Italian Madrigal in 16th Century
Sonnet form
Petrarch
Pietro Bembo
"Bemb-isms"
Adrian Willaert
Jacques Arcadelt
Cipriano de Rore
Luca de Marenzio
Carlo Gesuado
Musica transalpina
Thomas Morley
Thomas Weelkes
You should describe the styles of each composer in the list and note his contribution. Perhaps more critical is the polarity established between pervasive imitation and homophony during this time span. The single most significant point of looking at all this material and listening to all this music is that you understand and establish geneologies, tracing each thread through all the subsequent related genres. to do this, make two columns, one marked "pervasive imitation" and the other "homophonic." List each genre according to type.
Isorhythm-review by listening and score analysis the isorhythmic works from the Ars nova
Means by which Machaut unified the non-syllabic movements of Messe de notre dame
English polyphony including imitative forms
Italian imitative forms caccia and madrigal
French chausse
Characterisitics of English music as compared to continental music
General history of England and France (King and Burgundy) in the first half of 15th century
faburden and fauxbourdon (differences and similarities and who used each)
John Dunstable
Giles Binchois
Guillaume Dufay
formes fixes
International song style (impact of Ars subtilior and Johannes Cicconia)
Franco-Flemish composers (importance and impact)
Antoine Busnois
Johannes Ockhegham
Mid-Renaissance Vocal
Pervasive imitation and impact upon form and composition methods
Josquin Despres (or Des Prez or Desprez)
motet
Franco-Flemish chanson and spin-off, the fantasia
Methods of Mass composition (i.e. parody, cantus firmus, etc.)
canti carnascialeschi
frottola
Marco Cara
Villancico
Juan del Encina
Cancioniero de Palacio and contemporary MSS (MSS=manuscripts)
Parisian chanson
Claudin de Sermissy
Lutheran chorale
Late Renaissance Vocal Music in Italy and Spain
Adrian Willaert
Council of Trent
Giovanni de Palestrina
Tomas Luis de Victoria
Dance Music in the very late 15th and entire 16th Centuries
basse danse and basse danse commun (texture, form, and composition method)
Early new dances-pavana and saltarello
Characteristics of late favorities-pavan (also pavana or pavane), galliard, and almain (also allemande)
bass frameworks and significance-you should know progressions for folia and passamezzi (antico and moderno)
Significance of Canconiero de Palacio and contemporary Italian MSS
variation form
passaggi, diferencias, glosas, diminutions
English Lute and Virginals School (especially John Dowland and William Byrd)
lute ayre and its derivative settings
English Renaissance Sacred Vocal Music
Reasons for Anglican Church
Service and types
Anthem and types
William Byrd
Rise of Music Printing
Ottoviano Petrucci
Pierre Attaingnant
Italian Madrigal in 16th Century
Sonnet form
Petrarch
Pietro Bembo
"Bemb-isms"
Adrian Willaert
Jacques Arcadelt
Cipriano de Rore
Luca de Marenzio
Carlo Gesuado
Musica transalpina
Thomas Morley
Thomas Weelkes
You should describe the styles of each composer in the list and note his contribution. Perhaps more critical is the polarity established between pervasive imitation and homophony during this time span. The single most significant point of looking at all this material and listening to all this music is that you understand and establish geneologies, tracing each thread through all the subsequent related genres. to do this, make two columns, one marked "pervasive imitation" and the other "homophonic." List each genre according to type.
posted by Richard Metzger at 8:00 PM
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