Music History Final Exam Study Guide PDF

Music History Final Exam Study Guide 6 questions per era. 7 questions for an overview. 20 minutes for 25 questions. Exam Date and Time: Thursday, December 12th, 9:45am Strategy: 1- Check the whole test 2- Answer the ones you know for sure 3- Ed...

Music History Final Exam Study Guide 6 questions per era. 7 questions for an overview. 20 minutes for 25 questions. Exam Date and Time: Thursday, December 12th, 9:45am Strategy: 1- Check the whole test 2- Answer the ones you know for sure 3- Educated guess and process of elimination for the ones you don’t know 4- Check before submitting ​ General dates of the eras +​ Historical milestones Medieval Era: ​ (Fall of Roman Empire) 476 AD – 1400 ○​ Early medieval music was dominated by Gregorian chant and monophonic traditions. Later developments include polyphony and the works of composers like Guillaume de Machaut. ○​ Feudalism (peasants, knights and nobility) ○​ Early Middle Ages -​ War, migrations ○​ Middle - Late Middle Ages -​ cultural growth (ex: gothic churches were built, and universities were founded) -​ Black death ○​ Religious Symbolism in Art ○​ C. 1100-1300 Troubadors and trouveres ○​ C. 1150 Hildegard of Bingen, O successors ○​ C. 1170 School of Notre Dame -​ Musical Notation -​ Center of polyphonic music (organum) -​ Choirmasters Leonin and Perotin developed measured rhythm innovations (clearly defined meter) Renaissance Era: ​ 1400–1600  ○​ Marked by greater use of polyphony, humanistic themes, and notable composers such as Josquin des Prez, Palestrina, and Thomas Tallis. ○​ Humanistic portrayals in art rather than just religious symbolism. Rebirth of curiosity and creativity. An age of individualism and refinement. ○​ Inspired by Ancient Greek culture and classical mythology. Trends come back with a new touch—an age of rebirth and nostalgia. ○​ 1453 Fall of Constantinople ○​ 1492 Colombus reaches America ○​ 1503 Leonardo da Vinci, Mona Lisa; 1504 Michaelangelo’s David; 1505 Raphael’s School of Athens, 1596 Shakespeare’s Romeo and Juliet -​ Geometrical systems add the illusion of space and depth (more 3D looking) ○​ 1517- 1648 Protestant Reformation -​ Catholic Church is exposed for its corruption -​ Martin Luther leads this separation movement away from the Catholic Church -​ Council of Trent seeks to fix those issues within the Church ○​ 1563 Palestrina’s Pope Marcellus Mass ○​ 1600 John Dowland Flow My Tears ○​ 1601 Thomas Weelkes, As Vesta Was Descending Baroque Era: ​ 1600–1750 ○​ Characterized by dramatic expression, ornate ornamentation, and the rise of opera, oratorios, and instrumental forms. Composers include J.S. Bach, Handel, and Vivaldi.  ​ Musical geography Countries: places that influenced each musical era (in chronological order) Medieval ​ Italy (c. 600–1400): -​ Played a role in early liturgical developments. -​ The emergence of Gregorian Chant, standardized by the Roman Church, influenced all of Europe. ​ France (c.900-1300) -​ Notre Dame School: Center of early polyphonic music with composers like Léonin and Pérotin. -​ Ars Nova: A significant period of innovation led by French composers like Guillaume de Machaut, who advanced rhythm and notation. ​ Germany (c. 1100–1400 ​ England (c. 1200–1400) -​ Composers like John Dunstable influenced continental developments, paving the way for Renaissance styles. Renaissance ​ Italy (c. 1450–1600): -​ Italy was the music epicenter, particularly in the late Renaissance (for both sacred and secular) -​ Giovanni Pierluigi da Palestrina (c. 1525–1594) defined the Counter-Reformation’s musical style. -​ Madrigals (c. 1520–1600) and early operatic experiments emerged in Italy. -​ ​ The Low Countries (c. 1450–1600) -​ Franco-Flemish School (c. 1450–1600): Josquin des Prez, Orlande de Lassus, and others spread polyphony throughout Europe. -​ Dominated sacred and secular music in the 15th and 16th centuries. ​ France (c. 1450–1600): -​ Development of chanson and contributions to sacred polyphony. -​ Integration of Franco-Flemish composers like Jean Mouton and Claude Le Jeune into French court culture. ​ England (c. 1500–1600) -​ Elizabethan era (c. 1558–1603): Flourishing of sacred music by William Byrd and Thomas Tallis, and the English madrigal tradition. -​ Composers like John Dowland excelled in lute songs and instrumental music. ​ Spain (c. 1450–1600)  -​ Renowned for composers like Tomás Luis de Victoria (c. 1548–1611), who specialized in sacred polyphony. -​ Growth of villancicos and Spanish secular music. Baroque ​ Italy ​ Then France ​ France and Italy compete ​ Germany and England blend styles national styles ​ Italy -ornament melody -virtuosic singers ​ French -ornament chords ​ German -blended italian and french styles in the Baroque ​ English -started using 3rds and 6ths ​ Franco-Flemish -​ Renaissance composers from the Low Countries (Flanders) -​ Modern parts of the Netherlands, Belgium, and northern France -​ The business of music in each era 1.​ Church, 2. Courts, 3. Civic Authorities Medieval 1.​ Patronage by the Church ​ Roman Catholic Church was the center of musical life ​ Most important musicians were priests - liturgical singing ​ Vocal music dominated this era, although there was still a variety of musical instruments -​ BUT: Instrumental music was frowned upon (in the Church) due to its association with pagan rituals -​ After 1000 AD, Organs and bells became common in the Church 2.​ Manuscript Handwritten productions ​ Extremely expensive, thus only accessible to the church and the wealthy 3.​ Minstrels and Troubadours  ​ Secular music entertainers performed in courts and public spaces (festivals, noble patronage, public donations) Renaissance Musicians enjoyed higher status and pay than ever before 1.​ Patronage of Music by courts and wealthy, powerful families ​ Musicians still worked in churches and towns ​ Now, Kings, princes, and dukes competed for the best composers ​ 1 Court = 10 to 60 musicians (singers and instrumentalists) 2.​ Town musicians played for civic processions, weddings, and religious services 3.​ Flemish composers were held highly regarded positions, especially in Italy (leading musical center in the 1500s) Baroque (check with books) 1.​ Expansion of Patronage: ​ Patronage expanded beyond the Church and royalty to include wealthy merchants and middle-class audiences. ​ Famous patrons like Louis XIV of France maintained lavish musical establishments. 2.​ Opera as a Commercial Enterprise: ○​ Opera houses opened as public venues, especially in Italy and later in other parts of Europe. ○​ Composers like Handel and Monteverdi benefited from ticket sales and public performances. ○​ Opera singers became some of the first "superstars" of the music business. 3.​ Rise of Instrument Makers: ○​ Instrument manufacturing became a lucrative trade. ○​ Renowned makers like Stradivari (violins) and Ruckers (harpsichords) gained prominence. 4.​ Emergence of Music Publishing: ○​ The Baroque period saw a significant increase in the publication and sale of music. ○​ Composers like Bach and Vivaldi published their works to increase their income and reputation. 5.​ Professionalization and Competition: ○​ Musicians began to compete for positions in royal courts, churches, and public venues.  ○​ The Baroque era also introduced the idea of freelance musicianship, where composers like Handel transitioned between court employment and public ventures. Notation 1.​ Medieval chant notation A.D. 600 to 1300 ​ No meter, no note hierarchy - (ex: earliest notated Gregorian chant manuscripts in c.900) - since there was no rhythmic structure, harmony could not happen 2.​ Franconian Notation during the Ars Nova period in the 1300s ​ Rhythm values are categorized and divided into a hierarchy of shapes ​ Beats could be subdivided into 2 and 3 ​ Syncopation is more common 3.​ Late medieval era: Stemming of rhythm - smaller divisions, time signatures Technological innovations Medieval Renaissance ​ Printing press Baroque ​  Genres Medieval (c.800-1400) It’s all about the tenor! Genre Sacred/S Country Langua Vocal/Instr Form Definition/ Composer ecular ge/Text umental Features Plainchant sacred Carolingian Latin Vocal Through Monophonic, Anonymous Empire composed gregorian chants under became the Charlemag foundation of ne - France liturgical music for & Italy the Roman Catholic Church. mass sacred France Latin Vocal Through Musical setting to Hildegard von and then composed the Mass Ordinary Bingen Italy (kyrie, gloria, (1098–1179), during the credo, sanctus, Guillaume de agnus dei). Machaut Renaissan (1300–1377), ce Johannes. organum Sacred Latin Vocal Through Polyphonic, Leonin, (gregorian composed parallel-oblique (to Perotin chant + a omit tritones), diff line) Florid (melismatic) and discant (neumatic) Notre Dame organum. Led to the creation of motets. motet Secular Latin Mostly vocal Polyphonic voices Leonin, and and in this era, added to Perotin sacred french was later pre-existing tenor, Guillaume de accompanie isorhythmic, talea Machaut and color are d in other repeated eras throughout, based on a cantus firmus, multiple texts of different themes in polyphony (at the same time). madrigal Secular: Italy Italian 2-3 voices in Strophic Poem + Music Fransesco nature, (“song polyphony (only with 2-3 stanzas Landini  love of the (imitative during and a ritornello (a (2-3 voices) mother too) medieval refrain that was tongue”) era) repeated) Formes Secular France French Vocal Strophic: Standard poetic Machaut fixes Used in ballade, forms that help to (leading chansons, rondeau, shape musical and composer of in and virelai. rhythmic the Ars Nova) particular framework. the Derived from ballade, dancing genres. rondeau They use a refrain. and virelai Ballata Italy Italian Vocal AbbaA A song to Francesco (from 2-3 voices (A) is the accompany dance. Landani ballare, “to refrain, 2 Monophonic songs dance”) piedi (bb) with choral and a volta refrains. (a), followed by the refrain again. Renaissance (1400-1600) The humanistic interest in language created a close relationship with words and music. Word painting was very common; the music resembled the meaning of the words. More homophony was used to highlight the meaning of the text, while polyphony was used in cadences. Lines are easier to recognize due to rhythmic independence. Genre Sacred/S Country Language/ Vocal/Instrum Form or Definition/ Compose ecular Text ental Types Features rs 16th c. Always Italy (OG) Always Vocal polyphony Imitative Emphasis on John motet sacred Franco Latin, not turns more counterpoint M/m 3s and Dustable, flemish from Mass homophonic to Music M/m 6s rather Josquin school Ordinary. highlight the follows the than P4 & P5s Desprez, France More words more meaning of Imitative Spain coherent text. the text ideas across England voices More More unified european polyphony, places more homophony is used. madrigal Secular Italy Vernacular Vocal - Through Polyphonic Early-  Then Text from composed - with Jacques England contemporar allows for homophonic Arcadelt y poets about word sections. Mid-Cipria heroes and painting to Added more no de Rore love occur voices and Late-Luca chromaticism Marenzio as time Thomas advanced the Weelkes- genre. 5-6 english voices by the madrigal late century. Lute song Secular England Vernacular - Vocal and Either Homophonic John poetic texts instrumental strophic or or Dowland’ through-co polyphonic. s Flow my mposed Read with tears tablature: tab notation. Lyrical melodies, chorales Sacred Mainly Vocal Choral- (foundati Latin german for onal rep Also chant for english, Essentially the gregorian lutheran italian, chants for the church) french, lutheran german and church. spanish chanson Secular France French Vocal - 1 voice Strophic Polyphonic, Guillaum poems abt per part (does not lively rhythm, e Dufay humanism allow word Syllabic, and Josquin painting to it opens up des Prez with half occur) note, quarter , quarter note. Dance pair secular Instrumental Contrasting It pairs two William tempos, contrasting Byrd Couple dances one dances, after the other. Slow vs Binary or Fast with ternary different form meters. variations secular Instrumental Chorale, Vries a William partitas, preexisting Byrd chaconne, or melody,  passacaglia. Melody repeats with subtle changes and contrapuntal material in each variation. villancico secular Spain Spanish Vocal and strophic Homophonic, Juan del instrumental Short, Encina accompaniment syllabic, simple canzona secular Originated No text, Contrapuntal Opening, Polyphonic Giovanni in Italy. instrumental instrumental middle, and and Gabrieli Influence genre inspired by final contrapuntal from chansons sections. instrumental version of the French chanson. Chansons Served as predecessors of Baroque Sonatas. Light, fast-moving, and strongly rhythmic. mass Sacred Mostly Liturgical Vocal Depends on Polyphonic Josquin Latin (from the composer (more subtle Desprez A gradual Bible) and uses shift into homophony too) choral vernacular composition languages made up of the 5 sections from the Mass ordinary Baroque (1600-1750) Genre Sacred/ Country Language Vocal/Ins Form Definition/ Composer Secular trumenta Features l opera Any, Italy, Italian, Vocal Varies by Musical drama Monteverd mostly France french with period and with costumes, i secular, instrumen area acting, staging, Handel rarely tal movement, choirs, sacred accompan instrumental iment interludes, etc. oratorio Sacred Originate Latin, Large Not a Arias, recits, Handel always d in Italy English vocal fixed form choirs, Bach Popular -Liturgical work with orchestra, no in or orchestral costumes or drama, religious Germany religious accompan texts. and texts iment England cantata Either Italy Vernacular Voice and Does not Continuo, solos: Monteverd sacred (e.g continuo follow a arias & recits, i or Italian, Then strict form choirs, smaller Barbara secular french, Chamber than oratorio Strozzi german, Vocal english, work with spanish) continuo Bach cantatas Sacred Germany Mostly Voice and Order of More complex J.S Bach Compose german, continuo Bach’s and innovative d for the some in Cantatas: than previous lutheran latin. Choir cantatas church Text is from Recit Complex services biblical Aria counterpoints passages, Recit lutheran Da Capo chorales or Aria reflective Chorale poems Da Capo Aria Sacred or Any Vocal with ABA’ Aria has two Handel’s secular language. accompani contrasting Vadoro ment sections, goes pupile back to the beginning and the singer ornaments that A section. Cori spezzatti Sacred Italy ig Latin or Vocal Choir divides usually vernacular into two or more done in choirs to create the a fuller sound.  church Dance suites secular Germany, instrumen Order: A collection of Bach, France tal Prelude, dances no Purcell, - Allemand longer meant to Rameau Originate e, dance. d from Courante, Dance Sarabande Pairs Toccata & Fugue Sacred Instrumen Toccata serves Girolamo (organ) tal as a prelude/ Frescobald or intro to the (toccatas) secular fugue. Toccatas Bach are (harpsic (fugues) improvisatory. ord) Fugue is contrapuntal, structured, and written down rather than improvised. Concerto Sacred Italy Instrumen Fast- Ensemble piece Vivaldi or tal or slow-fast for more than secular vocal Types: one or two Solo instruments/ voices. One or concerto more solos clash Concerto with the Grosso orchestra. Orchestral Contrast and concerto ornamentation. Lament any Instrumen Descending Purcell’s tal bassline in a Dido’s melancholic lament piece. Moves the affections. Abstract any Instrumen Toccatas, Improvisatory Johann tal fugues, pieces that are Sebastian Bach: The variations not tied to a Art of Fugue specific narration. Highlights musicality over representing a  meaning or story. Sonatas Instrumen Sonata Could mean tal form the ensemble, the form, etc. Idiomatic to the instrument Trio sonatas 4: 2 Three-part violins, 2 texture with 4 basso instruments. continuo -De Chiesa (organ, (uses organ) 4 contrabass, movements or lute or (slow-fast(fugal) cello) - slow-fast) -De Camera (harpsicord) Italian version of french dances Major composers and theorists ​ Medieval C. 800–1400 Composer Early, Country Contributions/ Unique Style Major middle, or Works/Pieces late in the musical era Hildegard Phillip De Vitry Francesco Landini Jacopo da Bologna Leonin Early 2 voice polyphony for Christmas and Easter, solo portions from the Mass proper Perotin Early 3-4 voices polyphony Notre Dame organum Franco of Franconian motet. Created rhythmic Note Cologne Hierarchy based on shapes. Guillaume de late France Famous musician and poet. Leading French Notre Dame Machaut composer of the time. Composed sacred and Mass (4 voice (1300-1377) secular works. The first one to compose polyphony) polyphony for the mass ordinary. Guido of Arezzo (ca. 991-1033) ​ Renaissance (1400-1600) Composer Early, Country Contributions/ Unique Style Major middle or Works/Pieces late in the musical era Guillaume Dufay early Franco-Flem member of the Burgundian School but ish worked in Italy Johannes After dufay He extended the bass’s range below C, and Secular and Ockeghem composed masses in contrapuntal texture of sacred 4 independent voices. Worked in Paris. Monteverdi late Crosses over to Baroque Secular Tomas Luis de mid/late Spain but Broke counterpoint rules, picardy third, O Magnum Victoria worked in notes outside of the diatonic scale, much Mysterium Italy more expressive and dissonant. Sacred only Palestrina Saved polyphony in the church, made it Mass for Pope (1525-1594) more coherent for the text to be understood so the Council of Trent would not ban it. 104 masses and other 450 sacred works. John Dunstable Early England Isorhythmic motets, 3 voice polyphony, Before dufay mass and secular pieces, emphasized Influenced imperfect consonances (3rds and 6ths). His dufay works influenced the Burgundian school. Josquin Desprez Middle-late Franco-Flem MOST Important Composed masses, motets Ave Maria… (1440-1521) After ish and and secular vocal pieces. Changed textures virgo serena ockeghem worked in in his pieces, and used imitative polyphony. Italy Changes meters. Arcadelt Early Madrigal composer ​ Baroque (1600-1750) Composer Early, middle Country Contributions/Unique Style Major or late in the Works/Pieces musical era Claudio early Italy Composed the first Opera Orfeo Monteverdi (1567–1643) Jean-Philippe late France Theorist and composer. Overtone series, Rameau triad and 7th chords, tonic, (1683–1764) subdominant, and dominant. He blended french and italian opera styles. George Frideric late German His vocal compositions were very fitting Messiah, Water Handel for the singers. Known for his oratorios Music, Julius (1685–1759) and operas. Ceaser Antonio Vivaldi late Italy Known for his concertos. He wanted be (1678–1741) known as an opera composer.. Johann late Germany Known for his complex counterpoints Sebastian Bach (1685–1750) Barbara Strozzi Early Most published composer Shuts ??? Most important german composer before Bach Coreli ???? Coccini ??/ Frescobaldi  Theorists Guido Franco of Cologne - note hierarchy Rameu -overtone series -triads and 7th chords are the fundamental aspects of music therapy -tonic, subdominant and dominant performance practice Different styles in countries voices per part in a genre (ex: 1 voice per part in madrigals) Notation (tablatature) ​ Other Resources Music of the Middle Ages (A Brief History)