CDGFS
for Quiz 1:
No. 1. Lamenassêah al Haggitit
C=anon.;
D=0 A.D.; G=Hebrew psalm; F=recitation formula; S=the recitation formula has 3
parts, an intonation, a reciting tone, and various types of medial and final
cadences. This piece has syllabic text-setting
and a restricted range. It is
monophonic, and is an example of direct psalmody.
No. 2. Tecum
principium & Psalm 109
C=anon.;
D=800 A.D.; G=Vespers antiphon and psalm; F=antiphon—psalm—Gloria
patri—antiphon; S=the antiphon is a monophonic Gregorian chant that has a
syllabic text-setting and a medium range.
The psalm and Gloria patri are set to a recitation formula having
3 parts, intonation, reciting tone, and various types of medial and final
cadences. The psalm and Gloria patri
have syllabic text-setting and a restricted range. This piece is monophonic, and incorporates antiphonal psalmody.
No. 3. Hodie
Christus & Magnificat
C=anon.;
D=800 A.D.; G=Vespers antiphon and canticle; F=antiphon—canticle—Gloria
patri—antiphon; S=the antiphon is a monophonic Gregorian chant that has a
neumatic text-setting and an extended range.
The canticle and Gloria patri are set to a recitation formula
having 3 parts, intonation, reciting tone, and various types of medial and
final cadences. The canticle and Gloria
patri have syllabic text-setting and a restricted range. This piece is monophonic, and incorporates
antiphonal psalmody.
No. 4. O magnum mysterium
C=anon.;
D=ca. 800 A.D.; G=Great Responsory & Verse; F=ABCB [respond—repetenda—verse—repetenda];
S=melismatic chant with extended range.
Mode 3. Proper responsorial
chant.
No.
5. Te Deum laudamus
C=anon.;
D=ca. 800 A.D.; G=Te Deum; F=through-composed, but based on recitation
formulae; S=syllabic text-setting, medium range, recurrent melodic motives
throughout; our performance incorporates improvised polyphony (organum). Ordinary chant.
CDGFS
for Quiz 2:
No.
6. Resurrexi et adhuc
(Solesmes performance)
C=anon.;
D=ca. 800 A.D.; G=introit and psalm; F=antiphon—psalm verse—antiphon—Gloria
Patri—antiphon; S=the antiphon is a monophonic Gregorian chant that has a
neumatic text-setting and a medium range.
The psalm verse and Gloria patri are set to a recitation formula
having 3 parts, intonation, reciting tone, and various types of medial and
final cadences. The psalm verse and Gloria
patri have syllabic text-setting and a restricted range. This piece is performed in the free flowing
rhythmic style developed by the monks of Solesmes. Proper antiphonal chant.
No.
7. Resurrexi et adhuc
(Proportional performance)
C=anon.;
D=ca. 800 A.D.; G=introit and psalm; F=antiphon only on our recording; S=the
antiphon is a monophonic Gregorian chant that has a neumatic text-setting and a
medium range. This is the same piece as
no. 6, but performed in a more metric fashion.
No.
8. Quem quaeritis in
sepulchro
C=anon.;
D=ca. 800; G=introit trope; F=through-composed; S=dramatic dialogue between
angel sitting at Jesus’s empty tomb and the women who came to mourn there. Used for teaching purposes as mini liturgical
drama prior to beginning of Easter Mass.
No.
9a. Kyrie eleison
C=anon.;
D=ca. 1100; G=Kyrie; F=aaabbbccc’ (or aaabbba’a’a’)’; S=melismatic
text-setting, medium range. In mode 1,
but ending on cofinal (A). Ordinary
chant.
No.
9b (same track as 9a). Kyrie Cunctipotens
genitor
C=anon.;
D=ca. 1100; G=troped Kyrie; F=aaabbbccc’ (or aaabbba’a’a’)’; S=syllabic
text-setting, medium range. In mode 1,
but ending on cofinal (A). Same melody
as no. 8a, but with addition of new text.
No.
10. Alleluia. Pascha nostrum
C=anon.;
D=ca. 800; G=alleluia and verse; F=respond—verse 1—respond—verse 2—respond;
S=melismatic text-setting, extended range.
The alleluia ends with a long melisma called the “jubilus”. Proper responsorial chant.
No.
11. Absolve Domine
C=anon.;
D=ca. 800; G=tract; F=through-composed, but incorporating formulaic melodic
motives; S=melismatic text-setting, medium range. Recurrent melodic motives.
All tracts are in modes 2 or 8; this one is in mode 8.
No.
12. Rex caeli Domine & Sit Gloria Domini
C=author
of Musica enchiriadis; D=ca. 850; G=modified parallel organum and
parallel organum; F=AABB and through-composed; S=Rex caeli is an example
of modified parallel organum for 2 voices.
The chant melody in the vox principalis is on top, and the
newly-composed organal voice begins in a unison with it, then moves through
2nds and 3rds to a parallel 4th away. In the second A and B section octave doublings are introduced to
produce compound modified parallel organum.
In Sit Gloria the chant melody is again on top, with the organal
voice below. In this piece the parts
move in parallel perfect 5ths. Octave
doublings make this an example of compound parallel organum.
No.
13. Kyrie Cunctipotens genitor
(Free organum). EMH:4b
C=author
of Ad organum faciendum; D=ca. 1100; G=free organum; F=a complete
performance of this piece presumably would follow the form of the chant Kyrie
Cunctipotens genitor, which is aaabbbccc’.
As it appears in the manuscript, the piece is through-composed. S=the Kyrie/ Cunctipotens genitor
Mass Ordinary chant is in the lower voice, with a newly composed organal voice
often moving in contrary motion above it.
No.
14. Alleluia. Te matyrum EMH:5
C=Wulfstan
of Winchester; D=ca. 1000; G=free organum; F=ABA (alleluia—verse—alleluia); S=2
voiced setting of free organum, with the Mass Proper Alleluia chant in the
lower part. The parts often move in
contrary motion, and they cross in a
number of places.
No.
15. Anon., Ave regina caelorum
(Marian votive antiphon) EMH:7a
C=anon.;
D=ca. 1100; G=Marian votive antiphon; F=a varied musical repetition in the
first two phrase that mirrors a poetic rhyme in the text; the remainder is
through-composed; S=medium range, neumatic text-setting style. A rhymed text and partially rhythmic poetic
text.
No.
16. Veni sancte spiritus
(Sequence)
C=anon.;
D=ca. 1190; G=Mass sequence (or prose); F=aabbccddee; S=a strongly rhymed and
rhythmic late medieval text set in a mixture of syllabic and neumatic styles. Extended range, Dorian mode.
No.
17. Pange lingua gloriosi EMH:7c
C=anon.; D=1264; G=hymn; F=strophic; S=syllabic text
setting, medium range, rhymed and rhythmic late medieval text.
No.
18. Ave generosa
(Hymn) SS:7 (from 15701 Phonodisc)
C=Hildegard
of Bingen; D=ca. 1150; G=hymn to the Virgin; F=essentially through-composed,
but text sections demarcated by similar melodic material at their beginnings
and endings; S=monophonic chant; wide range, neumatic to melismatic text
setting; the chant has a sensual text that describes the union of the Virgin
Mary with God.
CDGFS
for Quiz 3:
No.
19. Olim sudor Herculis SS:8 (from Hoppin, Anthology of Medieval
Music)
C=author
of the Carmina Burana; D=13th century; G=Latin secular song;
F=aa—Refrain—bb—Refrain—cc—Refrain, etc.; S=monophonic song; poetic text
employing classical imagergy that tells young men not to fall in love; our
recording makes the song metric, and adds instruments for the refrains. Medium range, largely syllabic.
No.
20. Can vei la lauzeta mover EMH:8a
C=Bernart
de Ventadorn; D=ca. 1170; G=troubadour canso; F=strophic; S=syllabic to
neumatic text setting, medium or extended range; courtly love text; our
recording is unaccompanied and is performed metrically.
No.
21. Anon., A l’entrada del
tens clar SS:9 (from Stolba, The
Development of Western Music)
C=anon.
Troubadour; D=ca. 1260; G=troubadour balada; F=strophic, with aa’B form for
each verse; S=highly rhythmic bawdy May song intended for dancing; extended
range, largely syllabic text setting.
No. 22: A chantar m’er de so q’ieu no
valdra, SS:10
Composer: Beatriz de Dia; Date: ca. 1200; Genre: monophonic
trobaritz canso; Form: strophic; Style: mostly syllabic text-setting, medium
range, unmetered in score, but performed metrically; a courtly love poem about
unrequited love that uses female voice. Our recording adds improvised
instrumental parts and treats the melismas in the melody as ornaments.
No.
23. Biaus m’est estez
EMH:8e
C=Gace
Brulé; D=ca. 1200; G= (Trouvère
chanson) ; F=strophic, with aab form for each verse; S=monophonic courtly love
song; medium range, syllabic to neumatic text setting; elaborate improvised
instrumental accompaniment on our recording by Thomas Binkley.
No.
24. Prendes i gardes
EMH:8f
C=Guillaume
d’Amiens; D=ca. 1290; G=Trouvère rondeau; F=AbaAabAB; S=extreme economy of
means in this monophonic bawdy dance song; limited range, largely syllabic text
setting. Piece written in triple meter;
performance monophonic, with drum accompaniment.
No.
25. Danse royale
(Estampie) SS:11 (from Davison, Historical Anthology of Music)
C=Chansonnier
du roy; D=ca. 1200; G=estampie; F=aa’bb’cc’dd’, etc.; the same music recurs at
the end of each section, with alternating open and closed endings; S=monophonic
instrumental dance performed by shawms, pommers (a low shawm), drums (nakers),
and vielles. Metric, highly rhythmic
melody suitable for dancing.
No. 26. Nu alerst
lebe ich SS:12
C=Walter von der Vogelweide; D=ca. 1200; G=Minnesinger Lied;
F=strophic, with aab repetitions in each verse; S=monophonic song with text
concerning the Crusades to retake the Holy Land from the Muslims; medium range,
syllabic and neumatic text setting style; our score and recording metricize the
piece, which was written in chant notation; various medieval instruments
accompany the voice on the recording, and often insert instrumental verses
between the sung verses. Heterophony.
No. 27. Viderunt
Emmanuel EMH:9a
C=St. Martial; D=ca. 1100; G=Aquitanian organum; F=aabb’; S=2
voice example of organum in which a late medieval rhymed and rhythmic text is
sung in the lower part to a more florid organal accompaniment above. Unmetered polyphony for Christmas season.
No. 28. Kyrie
Cunctipotens genitor EMH:9b
C=Codex Calixtinus; D=ca.
1150; G=florid or melismatic organum; F=our score and recording have music for
the 1st and 4th Kyries and the 1st Christe
section of the chant; S=2 voice example of organum setting a troped Kyrie,
which appears in the lower part in longer notes to a more florid organal
accompaniment above. Unmetered
polyphony used in the Liturgy of St. James at Santiago da Compostela, Spain.
No. 29. Léonin, Alleluia. Pascha nostrum
C=Leonin; D=1190-1220; G=organum duplum, with motets;
F=alternation of organum purum, plainchant, and discant (motet) sections. This piece is constructed over a Mass
Alleluia chant. The solo sections of
the chant are sung in 2 part polyphony; the choral sections are sung as
plainchant. Melismatic sections of the
chant sung by soloists are set in discant style, on our recording, as
motets. Non-melismatic solo sections
are set as organum purum. S=a 2 voice
piece in which the lower voice is drawn from the Alleluia for Easter Mass. There are 3 styles of polyphony on our
recording: organum purum, in which the
lower part moves in very slow notes and the duplum moves more rapidly in
unmeasured rhythms above it; discant sections, in which both voices move in a
rhythmic mode; and copula, in which the lower part moves in very slow notes,
but the upper part is measured. On our
recording the discant sections have an added text in the duplum, thus making
them motets.
No. 30. Pérotin, Alleluia. Pascha nostrum
C=Perotin;
D=ca. 1210; G=organum triplum; F=alternation of organum triplum for the solo
sections of the chant, and plainchant for the choral sections; S=3 voiced
organal setting of Alleluia for Easter Mass.
Upper parts change between 3rd and 1st rhythmic
modes. Very long tenor notes, and a
much longer piece overall than Leonin’s comparable organum duplum. One discant section uses the same lower 2
pts. as Leonin’s setting. The upper
parts are linked by melodic imitation.
CDGFS
for Quiz 4:
No. 31. Deus in
adjutorium [EMH:12a; no. 30]
C=anon.; D=ca. 1210; G=, Conductus
sine caude; F=strophic; S=3 equal voices; rhymed and rhythmic strophic text; no
pre-existent chant melody; all parts move together and stop together; all parts
sing the same text; no caudae.
No. 32. Anon.,
Motets on Ad solitum vomitum/Regnat [EMH:13; no. 31]
C=anon;
D=ca. 1210; G=2 voiced clausula, 2 voiced motet, 3-voiced conductus motet,
Latin double motet; F=each work is built over a repeating tenor melody; S=this
is a group of 4 related polyphonic works, all of which are built over the
melisma “Regnat” from the Alleluia for the Feast of the Assumption of the
Virgin Mary; all begin on C, and end on G; all are in the 3rd
rhythmic mode; in all the top parts often overlap the lower parts. The clausula has only the regnat text; the 2
voiced motet has a moralizing text; the
conductus motet has the same text in the upper two parts, which start and stop
together; and the Latin double motet has independent moralizing texts in each
of the top two parts.
No.
33. Anon., L’Autre jour/Au
tens pascour/In seculum (French double motet). EMH:13f
C=anon;
D=ca. 1230; G=French double motet; F=built over repeating tenor taken from the
Easter Gradual Haec dies. S=3
voiced motet in 1st rhythmic mode in upper parts, 5th
mode in tenor. Bawdy French texts in
upper parts. Piece begins on C, ends on
F.
No.
34. Anon., On parole de
batre/A Paris/Frese nouvele (Franconian motet [French triple motet]). EMH:15b
C=anon;
D=ca. 1260; G=Franconian motet [French triple motet]; F=motet built over French
popular street cry, which is repeated four times; S=3 voices, rhythms follow
notational system of Franco of Cologne, and thus are written in ¾ time, quarter
note to the breve; bawdy French texts in two upper parts.
No.
35. Anon., Sumer is icumen in,
SS:13
C=anon; D=ca.
1300; G=pes canon; F=a four-voice canon over a two voice pes; S=highly
consonant polyphonic setting of an English secular song; piece exhibits
unusually close control of texture and consonance for its early dating.
No.
36. Machaut, Bone pastor
Guillerme (Isorhythmic motet)
EMH:17
C=Machaut;
D=1324; G=isorhythmic motet; F=isorhythmic structure of 4C=8T; S=3 voiced
piece, with Latin texts in upper two parts praising Guillaume de Trie,
Archbishop of Reims; the isorhythmic tenor talea sounds 4 times in normal
rhythm, then 4 times in diminution, at which time the upper voices enter into
hocketing; the upper parts are in imperfect time, perfect prolation; the tenor
is in perfect mood. Frequent double
leading-tone sonorities and cadences.
Highly syncopated.
No.
37. Machaut, Nes que on
porroit (Ballade) EMH:18a
C=Machaut;
D=ca. 1340; G=polyphonic ballade; F=strophic, with aabC repetitions in each
verse; S=3 voiced piece, with main melody in top voice; lower two parts seem
accompanimental, and are performed on instruments on our recording; courtly
love text in top part; perfect time with perfect prolation gives effect of
flowing triplets through much of the cantus.
Open-ended plagal cadence after first “a” and “b”; closed authentic cadence
after second “a” and “C”.
No.
38. Machaut, Rose liz
printemps verdure (Rondeau) SS:14
(from NAWM)
C=Machaut;
D=ca. 1340; G=polyphonic rondeau; F=ABaAabAB; S=4 relatively equal parts, all
sung on our recording, though only one is texted in the score; courtly love
text; triple leading tone cadence at end; mild syncopations throughout. Perfect time, imperfect prolation.
No.
39. Machaut, Agnus Dei from the Missa
Notre Dame (Isorhythmic Mass
movement). SS:15
C=Machaut; D=ca. 1360s-70s;
G=isorhythmic Mass Ordinary movement; F=A (Agnus I) B (Agnus II) A (Agnus
I). Agnus I & III have isorhythmic
tenor form 1c=2t; Agnus II has isorhythmic tenor form 1c=6t. s=high level of dissonance; isorhythmic
sections preceded by non-isorhythmic introductions; 4 voices. Highly syncopated
rhythms, hocketing; triple leading tone cadences.
CDGFS
for Quiz 5:
No. 40. Jacopo da
Bologna, Non al suo amante
(Trecento madrigal) EMH:19
c=Jacopo
da Bologna; d=ca. 1340; g=polyphonic madrigal; f=aab; s=2 voiced piece notated
in 3rd division meters (octonaria and duodenaria), with many
sixteenth notes; amorous text by Petrarch.
cadences come to unisons. Both
parts texted, similar in style and speed.
No. 41.
Gherardello da Firenze, Tosto che l’alba (Trecento caccia) EMH:20
C=Gherardello da Firenze; D=ca. 1340; G=trecento
caccia; F=through-composed; S=3 parts; top 2 are canonic, with accompanying
instrumental part below; onomatopoeia to illustrate the hunting text; piece
uses 2nd division meter
(senaria imperfecta), final section accelerates.
No.
42. Johannes Ciconia, Sus un’
fontayne (Ars subtilior virelai)
EMH:23
C=Ciconia;
D=ca. 1400; G=Ars subtilior virelai; F=AbbaA; S=setting of courtly love text
for voice and two instruments.
Tremendous rhythmic complexity brought on by extensive use of colored
notation, displacement syncopation, and multiple simultaneous meters. There is a high level of dissonance in this
piece, which is representative of “the more subtle art”.
No.
43. Power, Ave regina caelorum
(Polyphonic antiphon) EMH:24b
C=Power; D=ca. 1400 (or
1410); G=polyphonic votive antiphon; F=through composed; S=for 3 parts; English
discant style, with paraphrased Gregorian cpf in middle voice. Highly consonant harmonies, with prevalence
of 3rds and 6ths. All voices declaim same
text, and generally move together.
Frequent parallel voice leading & 1st inversion chordal motion.
No.
44. Dunstable, Beata mater
(Song motet) EMH:25
C=Dunstable;
D=ca. 1400; G=song motet; F=through composed; S=3 voiced setting of sacred text
praising the Virgin Mary; panconsonant harmonies that often form either root
position or first inversion chords; all 3 voices sing the same text at roughly
the same time; simple rhythms, triadic melodies. Example of “the English guise.”
No.
45. Dufay, Christe redemptor
omnium (Fauxbourdon hymn) EMH:26
C=Dufay;
D=1420s; G=alternatim hymn setting; F=strophic, alternating between
chant and polyphony; S=a3; polyphonic verses are set as fauxbourdons, with the
chant in paraphrase in the top voice, a fauxbourdon improvised a perfect
parallel 4th below, and a harmonizing lowest part; panconsonant, the
parts move together.
No.
46. Binchois, Deuil angoisseux
(Ballade) SS:14
C=Binchois; D=ca. 1440; G=polyphonic ballade; F=strophic,
with aa’bC repetitions within verses; S=a3 or a4; poem a lament on death of the
husband of the poet, Christine de Pisan; English style harmony; octave leap
cadence; the tenor is harmonic filler, the contratenor functions as a harmonic
bass; a more purely formal textual / musical relationship than would be found
in Dufay; all vocal performance on our recording.
No.
47. Dufay, Adieu m’amour,
adieu ma joye (Rondeau) EMH:30b
C=Dufay;
D=ca. 1450; G=polyphonic rondeau; F=ABaAabAB; S=3 voices, two of which are
texted. S/T framework with
accompanimental contratenor; all parts carefully coordinated; English tertian
consonant harmonies, triadic melodies, some melodic imitation between parts.
No.
48. Dufay, Agnus Dei from Missa
Se la face ay pale (Cyclic tenor
Mass movement). EMH:27
C=Dufay; D=ca. 1450;
G=tenor Mass; F=all mvts. of this Mass are built around a cantus firmus
deriving from the tenor of Dufay’s chanson Se
la face ay pale, which he divides up into three segments. Mass mvts. are generally unified by key,
head motive, and the cantus firmus, though in a number of sections (e.g., Agnus
II) the cantus firmus is not present.
The piece is built around a tenor/soprano framework; the lowest part
functions as a true bass; the contratenor is melodic/harmonic filler (typical
texture of late 15th century); textural change mirrors natural text divisions;
lucid harmony and texture.
No.
49. Dufay, Ave regina caelorum
(Tenor motet) EMH:28
C=Dufay; D=1464/1474; G=votive motet; F=through-composed
in 2 partes; S=text tropes a Marian antiphons with interpolations imploring the
Virgin’s mercy on “dying Dufay”; motet written by Dufay for his own funeral
service; musical structure carefully matched to text; paraphrase of Marian
antiphon in tenor starts off as cantus firmus, but then is rhythmically
assimilated into other voices; equality of voices, melodic imitation,
word-painting; texturally lucid, with sections beginning as duets, picking up
speed and adding voices, until motion ceases with substantial authentic
cadences. Highly progressive in style
for 1464.
No.
50. Ockeghem, Agnus Dei from Missa Mi-mi (Cyclic Mass
movement). EMH:29
C=Ockeghem;
D=ca. 1480; G=cylic Mass movement; F=through-composed; S=dense, continuous
non-imitative polyphony in 4 voices; movements of the mass are related by the
use of the “mi-mi” head motive (the third degree of the natural and soft
hexachords). Elided cadences, equal
voices, no cantus firmus or other pre-existent material. The tenor drops out in the 2nd Agnus Dei.
No.
51. Anon., Orsù orsù
car’signori (Carnival song) EMH:38
C=Anonymous ; D=ca. 1500 ; G=Canti carnascialeschi ;
F=strophic, with abbcd repetition within verses (only one verse on our
recording) ; S=formulaic
melody and harmony; syllabic declamation, repeated pitches; clearly defined
musical phrases; repetition of music and text; strongly marked, dance-like
rhythms; homophonic and homorhythmic textures.
No.
52. Josquin, Scaramella (Frottola) SS:15
C=Josquin;
D=ca. 1480s; G=frottola; F=strophic, with each verse being through composed;
S=4 voiced setting of Italian popular text that mocks the Lanzi (foreign
soldiers); S/T framework, with harmonic bass and filler contratenor; tuneful
cantus and tonal harmonies; rhythmically active, with considerable rhythmic
interplay between parts and some hemiola; some melodic imitation. The assimilation of Italianate harmony with
northern polyphonic techniques.
CDGFS
for Quiz 6:
No.
53. Josquin, Ave Maria gratia
plena…virgo serena (Motet) EMH:32
C=Josquin ; D=ca. 1480 ;
G=motet ; F=through-composed ; S= “the
Mona Lisa” of the musical Renaissance; a centonate text that draws from a Marian sequence and
hymn, and ends with a personal prayer to the Virgin ; the musical form
closely reflects the structure of the text, with each of the 7 sections of
motet being articulated through textural change and clear cadences on the modal
final. Frequent voice-pairing, and a
mix of imitative and non-imitative counterpoint ; the only chant
paraphrase occurs in the first section of the motet, the rest being
newly-composed polyphony ; each section of the motet normally begins with
two voices, then accelerates rhythmically as it moves to four voices prior to
the substantial cadences ending each section.
Classic representative of the Franco-Flemish style between 1480 and
1520.
No.
54. Josquin, Kyrie and Agnus Dei
from Missa Pange lingua (Paraphrase cyclic Mass movements) EMH:34
C=Josquin; D=ca. 1510;
G=paraphrase Mass movement; F=through-composed; S=a4; all voices equal in
importance; all voices paraphrase a Gregorian hymn melody at phrase beginnings,
then become increasingly free of it as they proceed; equality of vv.; mixture of “syntactic imitation, free counterpoint, and
homophonic declamation”, with paired imitation and points of imitation.
No.
55. Févin, Faulte d’argent
(3-part arrangement) EMH:35b
C=Févin;
D=ca. 1500; G=3-part arrangement or Chanson rustique; F=strophic, with each
verse being based on a popular tune that begins and ends with similar music;
S=3 voiced imitative piece; popular French song in the middle (tenor) voice,
the other parts paraphrase the tune in imitation. Quick, rhythmically sprightly, performed on our recording by a
soloist and 2 instruments.
No.
56. Sermisy, Secourez-moy
(Lyrical Parisian chanson) SS:18
C=Sermisy ; D=ca. 1530 ; G=lyrical Parisian chanson ;
F=strophic, with AABCC and other internal repetitions within each verse ;
S=four voices ;
contrapuntally-enlivened homophonic texture; rhythmic clichés; formal and
harmonic clarity.
No.
57. Gombert, Ave regina
caelorum (motet) EMH:41
C=Gombert;
D=ca. 1530s; G=motet; F=through-composed; S=5 voiced setting of Marian
antiphon; successive phrases of the chant provide motives that are paraphrased
and imitated in all 5 voices; highly continuous texture, with elided and
avoided cadences ; relatively little textural contrast, in comparison to
Josquin, and a much smoother rhythmic flow.
No.
58. Encina, Oy comamos y
bebamos (Villancico) SS:19
C=Encina ; D=ca. 1500 ;
G=villancico; F=strophic, with abba repetitions in each verse (estribillo,
mudanza, vuelta); S=text for Fat Tuesday ; tuneful, limited range, highly
rhythmic melody with short, clearly defined phrases ; chordal setting
based on harmonic patterns of Folia dance.
No.
59. Isaac, La mi la sol (Vocal style instrumental piece) EMH:36, CD
1415
C=Isaac;
D=ca. 1510; G=vocal style instrumental piece; F=based on a cantus firmus, that
is treated to successively shorter diminutions; S=performed on 4 viol da
gambas; cantus firmus in tenor, imitations in other 3 parts; piece accelerates
through successive diminutions of tenor.
Wholly vocal in style.
No.
60. Attaingnant, Basse danse and Branle gay (Instrumental dances)
C=publ.
By Pierre Attaingnant; D=ca. 1530; G=basse danse & branle; F=AABB, and
ABAA; S=homophonic 4 part instrumental dances performed on viols and wind
instruments.
No.
61. Diego Ortiz, Recercada
settima from Tratado de glosas (Improvisation study). EMH:49b
C=Diego Ortiz; D=1553; G=ricercar; F=set of
variations over the passamezzo moderno bass; S=from a treatise on how to
improvise instrumental variations over a recurrent bass pattern; performed by
viol da gamba and basso continuo; highly rhythmic, intended for dancing
No.
62. G. Gabrieli, Canzona
Septimi Toni (Instrumental
canzona). EMH:47
C=G. Gabrieli; D=1597; G=instrumental canzona;
F=built around a recurrent triple-meter refrain; S=work for 2 equal
instrumental choirs; chansonesque rhythmic motives; mix of imitative, and
chordal writing, frequent antiphonal effects; sequential melodies based on
diminution patterns. Instruments
include a violin & a cornetto.
No.
63. Marco Cara, Io non compro
più speranza (Frottola) EMH:39
C=Cara;
D=ca. 1500; G=barzelletta; F=strophic, with repetition scheme of aaba; S=the
barzelletta is a type of Italian poetry having a refrain. Formulaic melody and harmony; syllabic
declamation, repeated pitches; clearly defined musical phrases; and musical
repetitions. It is set for lute and
solo voice.
No.
64. Arcadelt, Il bianco e
dolce cigno (Chansonesque madrigal) EMH:50
No.
65. de Rore, Da le belle
contrade (Classic madrigal) EMH:51
C=Cipriano de Rore; D=ca. 1560;
G=classic madrigal; F=through-composed; S=a5 setting of high quality Petrarcan
canzona; excellent declamation; variable textures; word painting; text mood
expressed through changes in hexachord from the flat side of the system to the
hard side.
No.
66. Giovanni Gastoldi, Amor
vittorioso (Ballett) SS:21
C=Gastoldi; D=ca. 1580; G=ballet;
F=strophic, with AABB repetitions within verses; S=5 voices;
contrapuntally-enlivened homophony, fa-la refrain.
CDGFS
for Quiz 7:
No.
67. Walter and Bruck, Settings of
Aus tiefer Not (Lutheran choral settings). EMH:40
C=Walter and Bruck; D=ca.
1520s-‘30s; G=Lutheran choral settings; F=strophic (AAB in each verse); S=the
Walter setting is a simple a4 tenorlied built around Martin Luther hymn tune in
which the parts usually move together; the Bruck setting is more imitative in
texture, and the chorale tune appears in all voices.
No.
68. Palestrina, Veni sponsa
Christi (Plainchant and Motet) EMH:42
C=Palestrina;
D=1570s; G=motet; F=series of points imitation based on chant paraphrase; S=4
voiced Latin motet exhibiting careful prima pratica handling of dissonance, in
which all dissonance is carefully prepared and quit; the texture consists of a
series of points of imitation, each of which is built around a paraphrase of
one phrase of a Gregorian chant.
Classic Counter-Reformation music.
No.
69. Palestrina, Kyrie from Missa
Veni sponsa Christi (Imitation or Parody Mass movement). EMH:43
C=Palestrina;
D=1570s; G=Imitation or parody Mass movement; F=the 3 sections of the Kyrie
parody various sections of Palestrina’s motet Veni sponsa Christi;
S=Parody Mass movement exhibiting careful prima pratica handling of dissonance,
in which all dissonance is carefully prepared and quit; each section of the
Kyrie derives some of its polyphony from one or more sections of a motet by
Palestrina that is itself based on a Gregorian chant. Classic Counter-Reformation music.
No.
70. Lassus, Tristus est anima
mea (Motet) EMH:44
C=Lassus;
D=publ. 1604 (posthumously), style from 1570s; G=motet; F=through-composed;
S=serious latin setting of Jesus’s words to his disciples in the Garden of
Gethsemane; in 5 voices; variable textures; some melodic word-painting, the
rhythms mirror the stresses and non-stresses of the text; a work influenced by
the madrigal, but not partaking of its more extreme elements.
No.
71. Lassus, La nuict froide et
sombre (Madrigalian chanson) SS:22
C=Lassus;
D=ca. 1570; G=madrigalian chanson; F=through-composed, with final repetition;
S=settings in 4 voices of a serious and dignified love poem; the musical
setting uses melodic word painting and textural change to illustrate the text,
and employs excellent declamation of the text.
No.
72. Lassus, Sibylla cimmeria
(Motet) EMH:45
C=Lassus; D=ca. 1558;
G=musica reservata motet; F=through-composed; S=experiemental motet in four
voices; extreme attention to speech-like declamation leads to constant changes
of meter; the pieces illustrate words with hexachordal changes; the extent to
which individual words are depicted musically gives the piece a schizophrenic,
disjointed quality.
No.
73. Gesualdo, Moro lasso al
mio duolo (Chromatic madrigal) EMH:54
C=Gesualdo; D=ca. 1600; G=chromatic madrigal;
F=through-composed; S=a5; highly variable textures; extreme example of word
painting; highly chromatic melodies and harmonies that modulate far into
hexachordal system to express extremes of emotion.
No.
74. Le Jeune, Revecy venir du
printemps (Measured chanson) SS:23
C=Le Jeune ;
D=ca. 1570 ; G=measured chanson ; F=strophic song with refrain ; S=from 2-5
vv.; each strophe grows in number of voices; musique and vers mesurée, where
poetry is written according to predetermined stress patterns, and stressed
syllables are exactly twice as long as unstressed ones. Homophonic textures. Accompanied on our recording. No tone painting.
No.
75. Morley, Fyer, Fyer! (English ballett) SS:24
C=Morley; D=1595; G=English ballet; F=strophic, with
AABB form within each verse; S=a5; mostly homophonic and homorhythmic; rapid
declamation; each section ends with a “fa-la” refrain. More contrapuntally complex than Gastoldi’s
balletto.
No.
76. Byrd, Sing Joyfully (Full Anthem) SS:25
C=Byrd; D=ca. 1600; G=full anthem;
F=through-composed; S=6vv.; careful text declamation, leading to metrical
irregularities; word-painting; highly varied in texture; cross-relations at
cadences.
No.
77. O. Gibbons, This is the
Record of John (Verse anthem) SS:26
C=Gibbons;
D=ca. 1600; G=verse anthem; F=alternation of solo and full choir that echoes
the solo; S=setting of English anthem text for fiols and voices; mixture of
imitative and non-imitative counterpoint; long-breathed melodic lines; rhythms follow those of the words, but not
in exact speech declamation.
No.
78a. Dowland, Flow my tears
(Lute song) EMH:57
C=Dowland ; D=ca. 1600 ; G=lute song ;
F=strophic; AABBCC each verse ; S=solo voice and contrapuntal lute
accompaniment; some word painting; excellent declamation of serious poem.
No. 78b. Dowland, Lachrimae gementes
C=Dowland ;
D=ca. 1600 ; G=consort song ; F=strophic; AABBCC each verse ; S=arrangement for
viol consort of Dowland’s lute song Flow my tears.
No.
79. Cavalieri, Dalle più alte
sfere (Solo madrigal) SS:27
C=Cavalieri; D=1589; G=accompanied solo song; F=through-composed
with final varied
repetition on our
recording; s=set for solo soprano and instrumental ensemble or continuo
instrument; vocal ; vocal parts
incorporate frequent virtuoso diminutions and runs; accompaniment is often
chordal; slight word painting in vocal parts, but piece mostly showcases the
agility of the singers.
No.
80. G. Caccini, Perfidissimo
volto (Solo madrigal) EMH:55
C=G. Caccini; D=1602; G=solo madrigal; F=through-composed
with final varied repetition; S=stile recitativo for solo voice and continuo
instrument. Declamatory, speechlike
melody ornamented with gruppos, trillos, and accenti. Little word-painting.
CDGFS
for Quiz 8:
No.
81. J. Peri, Euridice, Excerpt
from Scene 2 (Florentine opera) EMH:62
C=Peri; D=1600;
G=Florentine opera; F=the excerpt of Scene 2 we studied is through-composed;
S=Most of Scene 2 is in declamatory stile recitativo. The changing emotions of the characters are depicted by hexachordal
changes from the soft hexachords (Bb, F) to the hard side of the system (D, A,
E, etc.), and by some seconda pratica dissonance. The accompaniment is very simple so that it can closely follow
the singers dramatic presentation of their texts.
No.
82. C. Monteverdi, Cruda
Amarilli (Seconda pratica madrigal) EMH:53
C=Monteverdi; D=ca. 1600;
G=seconda pratica; F=through-composed; S=a5; excellent, almost speechlike
declamation; second practice dissonance; variable textures often reflect words.
No.
83a & 83b. C. Monteverdi, Orfeo-2,
Excerpt from Act II (Florentine opera).
EMH:63
C=C. Monteverdi; D=1607; G=Florentine-style opera;
F=Orfeo’s aria in Act II is strophic; the following recitatives are
through-composed. S=Orfeo’s Act II aria
is a rollicking, tuneful, highly rhythmic dance-song with no word-painting, but
Monteverdi makes extensive use of hexachords, word-painting, and second pratica
dissonance in his recitativo sections.
That he learned this technique from his work as a madrigal composer is
suggested by the echo of “Ahi, casa acerbo” found in the concluding,
unaccompanied 5-voice chorus. He shows
his sensitivity to timbre by specifying a wood organ and chittarone for Orfeo’s
recitatives. His ornaments follow those
found in Caccini’s Le nuove musiche.
No.
84. Stefano Landi, Il
Sant’Alessio, Excerpt (Roman opera) SS:28
C=S. Landi; D=1632; G=Roman opera; F=instrumental
sinfonia in 4 sections, with similar music at beginning and end; comic aria is
strophic; S=instrumental sinfonia reminiscent of Gabrieli canzona, with
chansonesque rhythmic motives, and variable, often lightly imitative
textures. The aria sets a comic text
and is in a rapid patter style, with simple, chordal accompaniment.
No.
85. C. Monteverdi, L’incoronazione
di Poppea,Act I, Sc. 3 (Venetian opera).
EMH:64
C=Monteverdi; D=1643; G=Venetian opera; F=mix of
recitative, bel canto triple meter aria, duple meter strophic aria; final part
of scene is unified by recurrent refrain sung by Poppea; S=recitative follows
natural rise and fall of voice, rather than heightened rhetoric of Florentine
opera. Recitative leavened with
lilting triple meter, bel canto arias, and strophic, duple meter arias; Nero
sung by castrati. His part calls for
both beautiful tone (triple meter arias) and agility (when he praises Poppea’s
beauty). End of scene unified with
recurrent refrain for word “Tornerai”.
No.
86. F. Cavalli, “O delle mie
speranza,” from La Doriclea (Venetian bel canto aria). SS:29
C=Cavalli; D=1645; G=Venetian bel canto aria;
F=built over basso ostinato; S=lyric soprano aria built over basso continuo,
with supporting instruments. Diatonic
melodies, triple-meter ostinato bass line, largely diatonic melodies, little
dissoanance.
No.
87. C. Monteverdi, Zefiro
torna (Accompanied madrigal) EMH:58
C=Monteverdi;
D=1632; G=accompanied madrigal; F=built over basso ostinato consisting of the
Romanesca bass; S=2 sung parts over recurrent basso ostinato; extensive
word-painting, some seconda pratica dissonance; in essence, a series of
variations in which the melodies are heavily influenced by word-painting.
No.
88. Barbara Strozzi, Lagrime
mie (Solo cantata) SS:30
C=Barbara Strozzi; D=1659; G=Solo Cantata; F=Recitative, Arioso, Aria, Recitative,
Strophic Aria, Recitative, Aria; S=Unrequited love text; Use of ornaments
(trillo, gruppo), word painting, tonal harmony, mix of expressive recitative
and bel canto style singing. This work has the elements and basic form of an
opera. Solo might have been sung by a
castrato, or by Strozzi herself.
No.
89. G. Gabrieli, In ecclesiis (Grand concerto) EMH:59
C=G. Gabrieli; D=before 1612; G=grand concerto; F=work
unified by recurrent triple-meter refrain.
S=Six
instruments, Four voices with organ continuo, Three separate choirs (SATB)
perform in the work. Triple meter
refrain, use of Cori Spezzati (antiphonal choir), distinct melodic motives,
unprepared dissonance. Scacchi's Modern
Style.
No.
90. C. Monteverdi, Pulchra es
(solo concerto) SS:31
C=C.
Monteverdi; D=1610; G=solo concerto; F=varied final repetition; S=duet with
basso continuo accompaniment; elaborate, ornamental lines; highly sectional;
some word painting.
No.
91. H. Schütz, Saul, Saul,
was verfolgst du mich? (Grand concerto).
EMH:61
C=Heinrich Schütz;
D=1650; G=Grand Concerto; F=Built around a recurrent refrain; S=polychoral work
for two choirs and a group of soloists, with basso continuo and 2 obbligato
violins; text concerns St. Paul’s conversion on the road to Damascus; extensive
word painting, echo effects, seconda practica dissonance; music carefully
depicts the dramatic scene.
No.
92. Carissimi, Jephte,
Excerpts (Latin Oratorio) EMH:65
C=Giacomo
Carissimi; D=1649; G=Latin Oratorio; F=Overall form of two parts separated by a
sermon, each part ending with chorus; S=Prominent chorus, soloists, and basso
continuo; tonal harmony, simple accompaniment, recitative-like text
declamation. Venetian bel canto singing
in aria passages in first selection; use of musical rhetoric like that
described by C. Bernhard, including pathopoeia (descending chromatic
half-steps) in second section.
CDGFS
for Quiz 9:
No.
93. Pierre Guédron, Cessés
mortels de soupirer (Air de cour) SS:32
C=Guédron; D=1613;
G=air de cour; F=strophic, with binary form within verses; S=elements of
musique mesurée in this solo song with chordal lute accompaniment.
No.
94a. Lully, Overture to Armide
(French overture) SS:27
C=Lully; D=1686; G=French overture;
F=overture has elements of rounded binary form; S=French overture with 5 pt
strings has clear division between opening and closing sections in “Grand
style” [with overdotting and notes inégales] and faster imitative B section.
No.
94b. Lully, Alceste, Act II,
Sc. 7-8 (Tragédie lyrique) EMH:68
C=Lully; D=1674; G=tragédie-lyrique; F=Scene
7 is built around an air in AAB form; Scene 8 is unified with a recurrent
refrain; S=Scene 7 operns with a short trio with the changing meter required by
the accentual patterns of French Baroque verse; the following aria is a simple,
after which the trio re-enters. Scene 8
(where Alceste discovers the dying Admete on the battlefield) is in dramatic
recitative that mixes Italian declamation and naturalness with the changing meters
required by French verse. Highly moral
and uplifting plot spread over 5 acts.
Their duet is given unity by a recurrent refrain. In comparison to Italian opera, much lighter
vocal style, less florid and virtuoso, much less differentiation between aria
and recitative than in Italian opera.
Largely diatonic harmonies.
No. 95. Byrd, John,
come kiss me now (Keyboard variations)
EMH:70 from The Fitzwilliam Virginal Book (c. 1610)
C=Byrd; D=ca. 1600; G=keyboard variations; F=variations
built around a recurrent popular tune and the passamezzo moderno bass pattern;
S=highly ornamented, idiomatic writing for virginal; often excellent
part-writing, with melodic imitations.
Accelerando to the end, with considerable display of technical
virtuosity in rapid scalar patterns.
No.
96. Louis Couperin, Prélude à
l’imitation de Mr. Froberger (Unmeasured keyboard prelude). EMH:75
C=L. Couperin; D=ca. 1650;
G=unmeasured prelude; F=tripartite prelude in A—B—A’ form; S=unmeasured, freely
rhythmic, and improvisatory opening and closing sections in this harpsichord
piece set in stile brisé of lutenists; middle fugal section is more tightly
constructed. Piece has adventuresome
harmonies and some chromaticism, in emulation of Froberger.
No. 97. Johann
Jacob Froberger (161-67), Suite VI (1654)
C=Froberger; Date: 1654; Genre: Keyboard Allemande, Courante,
Sarabande, or Gigue; F=all use binary (AABB) form; Style: Stylized binary
dances in stile brisé for keyboard, in which the harmony moves I-V in the “A”
section, and V-I in “B”. The allemande
is a tombeau for the death of a member of the imperial family; slow tempo,
duple meter, highly ornamented treble part, some chromaticism & harmonic
color, improvisatory, virtuosic, movement ends with ascending scale portraying
the ascent of the soul to heaven. No
inegale on our recording. The Gigue is
a rapid dance in compound meter performed with notes inégales; the Courante is
in a medium tempo and is characterized by hemiola and rhythmic play. The Sarabande is a slow dance in triple
meter with a strongly accented 2nd beat.
No. 98. Girolamo Frescobaldi (1583-1643), Toccata, from Toccate, Libro primo (1615)
C=Frescobaldi; D=1615; G=keyboard toccata;
F=through-composed; S=written out free-form improvisation; rapid figuration is
either scalar or written out trills; several inserted fugal passages. No pedal part. Occasionally colorful harmonies.
Piece used to fill time in Catholic liturgy.
No. 99. Samuel Scheidt (1587-1654), Jesus Christus unser Heiland, chorale variations from Tabulatura nova, Pt. III (1624)
C=Scheidt; D=1624; G=chorale variations;
F=variation set; S=varied treatments of a Lutheran chorale for organ with
pedal. Verse 1 is a choral fugue; Verse 2 is an echo bicinium; Verses 3-5
employ the chorale as a cantus firmus; It is used both as a cantus firmus and
in paraphrase in Verse 6. Idiomatic
organ music for Lutheran Protestant worship.
No. 100, Dietrich Buxtehude (1637-1707), Praeludium in E,
BuxWV 14 (organ prelude, c. 1680)
C=Buxtehude; D=ca. 1680; G=organ prelude;
F=multi-sectional, alternating rhapsodic and fugal or imitative sections;
S=multi-sectional work for large North German organ with developed pedal
division; obbligato, florid pedal part, with written out pedal trills; fugal
sections employ tonal answers, but little development of subjects beyond tonic
and dominant expositions; terraced dynamics employed through manual
changes. Late Baroque melodic/harmonic
vocabulary.
No. 101. Henry Purcell (1659-95), Excerpt from from Act
III of Dido and Aeneas (1685)
C=Purcell;
D=1689; G=English opera; F=opening chorus, binary aria “When I am laid in
earth”, through-composed final chorus marked in the score to be repeated. S= recitative and aria similar to those
cultivated in Italy during the mid-17th century. Recitative and arioso sections observe
natural declamation and rise and fall of the voice; harmony is used to convey
the emotion of the individual singing.
Dido’s Lament is a classic Venetian bel canto triple meter aria over a descending
ground bass that differs from Venetian style only in that it is cast in binary
form. The final chorus, though
accompanied, employs a contrapuntal style and word-painting reminiscent of
English madrigals from the beginning of the century.
No. 102. Alessandro Scarlatti (1660-1725), Excerpt from
cantata Su le sponde del Tebro (ca.
1705)
C=A. Scarlatti; D=ca. 1705; G=secular solo cantata;
F=first aria is strophic, with ABCB internal repetition scheme; 2nd
aria is a strophic da capo aria; S=scored
for solo soprano/castrato, basso continuo, trumpet, and 2 violins. Text concerns unrequited pastoral love. Arias express shepherds direct thoughts and
speech, secco recitative in between arias describes in 3rd person
his change of heart. The 2nd
aria is a motto aria. Late Baroque
melodic/harmonic language.
CDGFS
for Quiz 10:
No.
103. Vitali, Sonata a due
Violini col suo basso continuo (Trio sonata da chiesa). EMH:446
C=Vitali;
D=1667; G=trio sonata da chiesa; F=Slow—fast—slow—fast; S=2 violins and
continuo; contrapuntal chamber music, with imitative violin parts; sections
unified by recurrent harmonies; sequential, motivic melodies anticipate late
Baroque.
No.
104. Corelli, Sonata da camera
a tre, Op. 4, no. 5 (Trio sonata da camera). EMH:450
C=Corelli;
D=1694; G=trio sonata da camera; F=series of binary dance movements; S=2
violins and continuo; contrapuntal chamber music, with imitative violin parts
in fast movements; walking bass; the fast harmonic rhythm of late Baroque;
motivic, motoric melodies; fully functional harmony; suspension chains, circle
of fifths; interpenetration of harmony and counterpoint.
No.
105. Corelli, Sonata for Violin,
Op. 5, no. 1 (Solo sonata da chiesa), EMH:459
C=Corelli;
D=1700; G=solo sonata da chiesa; F=series of slow and fast sections; S=solo
violin and continuo; extended violin technique, with double and triple stopping
to create trio sonata textures; use of high positions on fingerboard, rapid
passagework; walking bass; the fast harmonic rhythm of late Baroque; motivic,
motoric melodies; fully functional harmony; suspension chains, circle of
fifths; interpenetration of harmony and counterpoint.
No.
106. Corelli, Concerto, Op.
6, No. 1 (Concerto grosso), SS:35
C=Corelli; D=ca. 1685;
G=concerto grosso; F=alternation of slow and fast sections form a composite
first movement of 3 total movements in this concerto; S=an amplified Corelli
trio sonata da chiesa, in which the concerto grosso reinforces important
structural points, but the essential texture is that of a contrapuntal trio
sonata.
No.
107. Vivaldi, Violin Concerto in g
minor, Op. 8, no. 8 (Violin concerto).
EMH:571
C=Vivaldi; D=1725; G=solo concerto; F=mvt. 2
through-composed; mvt. 3 alternates ritornelli and solo episodes; S=scored for
solo violin, string orchestra and continuo.
The ritornelli serve as structural pillars for this concerto. The solo violin presents contrasting melodic
material that is technically more challenging.
Late Baroque melodic/harmonic language.
Longer ritornelli with more thematic elements and more virtuosic violin
part than Torelli. Ritornelli employ
slower harmonic rhythm of pre-classic style.
No.
108. F. Couperin, Pièces de
claveçin, Premier livre , Premier ordre (Stylized keyboard
dances). EMH:548
C=F. Couperin; D=1713; G=stylized keyboard
dances; F=binary (I-V, V-I); S=stile brisé harpsichord music; highly ornamented
in all parts, and even more highly ornamented in the repetitions. Allemande and Courante movements.
No.
109a. D. Scarlatti, Sonata in d
minor, K. 120, EMH:560
C=D. Scarlatti; D=ca. 1725; G=keyboard
sonata; F=rounded binary (I-V, V-I); S=harpsichord solo sonata; extended
keyboard techniques, including crossed hands, rapid parallel thirds/sixths in
one hand.
No.
109b. D. Scarlatti, Sonata in D
Major, K. 119, EMH564
C=D. Scarlatti; D=ca. 1725; G=keyboard
sonata; F=rounded binary (I-V, V-I); S=harpsichord solo sonata; extended
keyboard techniques, including crossed hands, rapid repeated notes, dissonance
(acciacatura); rapid arpeggiations.
No.
110. Rameau, Hippolyte et
Aricie, Act I, Sc. 2 (French opera), EMH:499
C=Rameau; D=1733; G=Tragèdie lyrique;
F=recitatives are through-composed; “Hippolyte m’occupe” is in ABA’ form;
S=Lullian style opera/ballet with colorful Italianate Late Baroque
harmonies. Scored for 4 pt. Strings and
independent, obbligato winds. Harmonies
include 2nd inversion chords; frequent diminished and augmented
sonorities; and 9th, 11th, and 13th chords.