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Music History Prelim

  1. Ordo Virtutum
    • Medieval
    • liturgical drama, monophonic
    • Hildegarde von Bingen (1098-1179)















  2. Can Vei La Lauzeta Mover
    • Medieval
    • Troubador Song (1175)
    • Bernart de Ventadorn (1140-1200)
    • Southern French Tradition (as Opposed to Trouvere)
  3. Viderunt Omnes (gradual), Magnus Liber
    • Medieval
    • Organum duplum, Notre Dame
    • Leonin (1150-1201)
  4. Viderunt Omnes
    • Medieval
    • Organum Quadruplum, Notre Dame, Rhythmic Modes
    • Perotin (1175-1225)
  5. Roman de Fauvel
    • Medieval
    • Philippe de Vitry (1291-1361)
    • Ars Nova, Isorhythm, Allowed for Subdivisions of 2 and 3
  6. Je Puis Trop Bien, Mass of Our Lady (1365)
    • Medieval
    • Guilaume Machaut (1300-1377)
    • Isorhythmic Motet, Cyclic Mass, (Slow tenor, 4 voice)
  7. Or Su, Gentili Spiriti
    • Medieval
    • Trecento Madrigal, Thirds and Sixths
    • Francesco Landini (1325-1397)
  8. Doctorum Principem (Written for Patron)
    Sus une Fontayne (Virelai)
    • Medieval
    • Ars Subtilior (Complex Rhythm)/Isorhythm
    • Johannes Ciconia (1350-1412)
  9. Non Al Suo Amante
    • Medieval
    • Madrigal
    • Jacopo de Bologna (1340-1386)
    • Uses text painting, sets poetry by Petrarch
  10. Belle, bonne, sage
    *can be instrumental, tout par compas
    • Medieval
    • Rondeau (1400)
    • Baude Cordier (1380-1440)
    • Musical Games (tout par compas), circle canon
  11. Quam Pulca Es
    • Renaissance
    • John Dunstable (1380-1453)
    • Contenance Anglois, More Homophonic
  12. Dueil Angoisseus
    • Renaissance
    • Rondeau
    • Gilles Binchoise 1400-1460
    • Chansons, Forms Fixes (French)
  13. Nuper Rosarum Flores,
    Missa Se la Face ay Pale (Ballade; Basis for a Cantus Firmus Mass)
    • Renaissance
    • Guillaume Dufay (1400-1474)
    • International Style, Fauxbourdon
  14. Missa Prolatiunum
    • Renaissance
    • Mensural Canon
    • Johannes Ockeghem (1410-1497)
    • Low tessitura, Fewer Cadences, Blurred Phrases
  15. Je Ne Puis Vivre (chanson),
    Fortuna Desperata
    • Renaissance
    • Secular Song
    • Antoine Busnois (1430-1492)
    • Imitation, Equality Among Voices
  16. De Tous Biens Plaine
    • Renaissance
    • Hayne von Ghizeghem (1445-1480)
    • Less of a Distinction Between Instrumental and Vocal Music,
    • Instrumental Music Starts Here
  17. Innsbruck, Ich Muss Dich Lassen
    • Chorale
    • Heinrich Isaac (1450-1517)
  18. Miserere Mei Deus (motet),
    Guillaume Se Va Chaufer (Ave Maria virgo Serena, El grillo bon contore, Missa Hercules Dux)
    Ferrarie (sanctus, soggetto cavato),
    Missa Pange Lingua
    • Renaissance
    • Josquin des Prez (1450-1521)
    • Varying Textures, Text Painting, Drive to the Cadence
  19. Missa Sub Tuum Presidium
    • Renaissance
    • Cyclic Masses
    • Jacob Obrecht (1453-1505)
  20. Absalon Fili Me
    • Renaissance
    • Pierre de la Rue (1452-1518)
    • Wrote Motets, and Masses
    • Sounds like Josquin
  21. Il Bianco e Dolce Cigno
    • Renaissance
    • Italian Madrigal (1530)
    • Jacques Arcadelt (1505-1568)
  22. Da Le Belle Contrade
    • Renaissance
    • Italian Madrigal
    • Cipriano da Rore (1515-1565)
    • Uses Word Painting, Prima Prattica, and Clear Text Settings
  23. Tant que Vivray
    • Renaissance
    • Chanson
    • Claudin Sermisy (1490-1562)
    • Homophony
  24. Verily I Say Unto You
    • Renaissance
    • Thomas Tallis (1505-1585)
    • English Homophony
  25. O Lord, Make They Servant Elizabeth
    • Renaissance
    • William Byrd (1542-1623)
    • Wrote Sacred Vocal Works, Keyboard Music,
    • Used Cross-Relations
  26. Flow my Tears
    • Renaissance
    • Sacred Vocal
    • John Dowland (1563-1626)
    • Empfindsamkeit-like
  27. As Vesta Was
    • Renaissance
    • Madrigal
    • Thomas Weelkes, Morley (1576-1623)
    • Uses Chromaticism
  28. Tristis est Anima Mea (motet),
    Matona Mia Cara (madrigal)
    • Renaissance
    • Poking Fun at Italian Madrigals
    • Orlando de Lassus (1531-1594)
    • Uses Sectional Clarity, Double Choirs,
    • Expressive
  29. Hor Venduto Hor La Speranza
    • Renaissance
    • Marco Cara (1470-1525)
    • Wrote Frottolas, Used Formes Fixes,
    • Instrumental Accompaniment? (lute player)
  30. Missa Pape Marcello,
    Missa Aeternae Christi,
    Tu es Petrus
    • Renaissance
    • Giovanni Pierluigi da Palestrina (1525-1594)
    • Uses Translucent Textures, Clear Counterpoint, Singable Melodies, Small Groups Within Ensemble,

    • Council of Trent
  31. Moro, Lasso
    • Renaissance
    • Extreme Madrigal
    • Carlo Gesualdo (1560-1613)
    • Emphasizes Text Depiction
  32. Magnificat settings: O Magnum Mysterium
    • Renaissance
    • Thomas Luis de Victoria (1548-1611)
    • Spanish; Exhibits Tonal Fluctuation,
    • Considered More Harmonically Advanced Than Contemporaries
  33. Le Nuove Musiche, 'Fili' (singer),
    Vedro Le Mio Sol (1590)
    • Baroque
    • Monody Madrigal (solo song with basso continuo)
    • Giulio Caccini (1545-1618)
    • Sounds as Spoken
  34. L'Euridice
    • Baroque
    • Opera
    • Jacopo Peri (1561-1633)
    • Recitative (Secco)
  35. Orfeo (Tu Se Morta) (1607),
    Cruda Amarilli (1600),
    Poppea (1640)
    • Baroque
    • Claudio Monteverdi (1567-1643)
    • Emotive, Uses Cross Relations, Text Rule, Secunda Practica
  36. Symphoniae Sacrae (Saul)
    • Baroque
    • Religious Music
    • Heinrich Schutz (1585-1672)
    • Uses Clear Text Setting, Word Painting, Double Choruses
  37. Fiori Musicali (Organ Masses)
    • Baroque
    • Girolamo Frescobaldi (1583-1643)
    • Wrote for Organ (tocatts-imitative, ricercar), used juxtaposition of textures,
    • More Imitative
  38. Giasone (Story of Jason)
    • Baroque
    • Opera (Venice)
    • Pietro Francesco Cavalli (1602-1676)
  39. Oh Di Betlemme
    • Baroque
    • Cantata
    • Antonio Scarletti
  40. Jephte "plorate"
    • Baroque
    • Latin Oratorio
    • Giacomo Carissimi (1605-1674)
    • Sung Dramatic Religious Works
  41. Armide
    • Baroque
    • French Opera (1685)
    • Jean-Baptiste Lully (1632-1697)
    • Uses Simple Recitatif, Sound Effects
    • Notes Inegales, Tonality
  42. Wie schon leuchtet der Morgenstern
    • Baroque
    • Organ Preludes (not imitative)
    • Dieterich Buxtehude (1637-1707)

    • Wrote Vocal Music, and Bach-like Organ Music
  43. Concerto Grosso in G minor (continuous),
    No. 8 (Christmas), (Baroque Dance Suite)
    • Baroque
    • Arcangelo Corelli (1653-1713)
    • Wrote trio sonatas, concerti - with an emphasis on soloists, and suites- (not cohesive)
    • Uses Suspensions
  44. Dance Suites
    • Baroque
    • Italian
    • Froberger
    • Written for Harpsichord
  45. Dido and Aenes, Come Ye Sons of Art
    • Baroque
    • Opera
    • Henry Purcell (1659-1695)
    • Only English "Opera" Composer,
    • Uses Ground Bass, Affective Arias
  46. L'Arlequin, Elizabeth de La'Guerre
    • Baroque
    • (1700)
    • Francois Couperin (1668-1738)
    • Wrote for Harpsichord; descriptive, tonally organized; inegal (always uneven- going to be one of those two), constantly ornamented
  47. Concerto in A Minor, Op. 3 no. 6
    • Baroque
    • Concerto
    • Antonio Vivaldi (1678-1741)
    • Uses Idiomatic Violin Writing (ritornello/solo)
  48. Concertos and Suites,
    Cantatas (for different combinations)
    (French Overtures but German)
    • Baroque
    • Georg Philipp Telemann (1681-1767)
    • Prolific Composer; Wrote for Lots of Different Instruments and Ensembles
  49. Keyboard works;
    Hippolyte et Aricie,
    Hunting Music
    • Baroque
    • Jean Philippe Rameau (1683-1764)
    • Writes More Affective, Tonally Complex Opera Music; uses "sound effects" in French opera (storm scenes); Trills in Overtures
  50. Brandenburg Concerti,
    Wachet Auf,
    The Well Tempered Klavier,
    Passions,
    Cantatas (German)
    • Baroque
    • Johann Sebastian Bach (1685-1750)
    • Also wrote Preludes and Fugues
    • Used Chorale Style Counterpoint and Thick Orchestration
  51. Sonata in D Major
    • Baroque
    • Domenico Scarlatti (1685-1757)
    • Wrote Keyboard Music;
    • Used Crazy Tonal Schemes, and Tone Clusters
  52. Saul (oratorio),
    Messiah (oratorio),
    Giulio Cesare (secco, accompanied recitative),
    Renaldo
    • Baroque
    • George Frideric Handel (1685-1759)
    • Concentrated Use of Motives, Simple Harmonies, Recognizable Melodies, Opera
    • Cosmopolitan, Not as Much Counterpoint as Bach,
    • (Italian, de capo aria, going to be Handel)
  53. La Serva Padrona
    • Baroque
    • Pergolesi
  54. Orfeo ed Euridce ("Che Faro Senza Euridice")
    • Classical
    • Opera Reform (often in french)
    • Christoph Willibald Gluck (1714-1787)
  55. Sonatas,
    Fantasias (a minor)
    • Classical
    • Carl Philipp Emanuel Bach (1714-1788)
    • Emfindsamkeit;
    • End of the Baroque period, early beginnings of the Classical Period:
    • Simple Melodies, Emphasis on Melody/Accompaniment rather than on Counterpoint and Dense Textures
  56. Sinfonias
    • Classical
    • Early Symphonies
    • Giovanni Battista Sammartini (1701-1775)

    • Uses Italianate Melody, and Galant Style
  57. Symphony in D
    • Classical
    • Early Symphonies
    • Johann Stamitz (1717-1757)
    • Manheim Rocket
  58. The Creation, Symphony no. 92 ("Surprise")
    • Classical
    • Joseph Haydn (1732-1809)
    • Monothematic, uses Wit
  59. Sonatas, Quartets, (Typical Genres of the Classical Period)
    • Classical
    • Johann Christian Bach (1735-1782)
    • * Piano Sonatas
  60. Don Giovanni,
    Symphony no. 41"Jupiter",
    Requiem,
    Magic Flute (in German),
    Marriage of Figaro
    • Classical
    • Wolfgang Amadeus Mozart (1756-1791)
  61. Late String Quartets (op. 130. 131),
    Symphonies (all),
    Piano (Waldstein, op. 53, 1804; Tempest, op. 31, 1802; les Adieux, op. 81,
    1809; Pathetique, op. 13, 1798; moonlight, op. 27, 1802; Apassionata, op. 57, 1803)
    • Classical
    • Ludwig van Beethoven (1770-1827)
    • Expressionism
  62. Capriccios
    • Romantic
    • Virtuoso Violin
    • Niccolo Paganini (1782-1840)
  63. Der Freischutz
    • Romantic
    • Carl Maria von Weber (1796-1826)
    • Uses Homophonic Instrumental Writing, Counterpoint Saved for Developmental Passages, Uses Sudden Harmonic Changes (pivot chords - dim 7s and aug 6ths)
  64. The Barber of Seville
    • Romantic
    • Opera
    • Gioacchino Rossini (1792-1868)
    • Set Numbers (cantabile, cabaletta)
  65. L'elisir d'amore
    • Romantic
    • Opera?
    • Gaetano Donizetti (1797-1848)
    • * 19th Century Opera Aesthetic
  66. Erlkönig,
    Symphony no. 8
    • Romantic
    • Franz Schubert (1797-1828)
    • * Lieder
  67. Norma
    • Romantic
    • 1831
    • Vincenzo Bellini (1801-1835)
    • Long, Sweeping Melodies
  68. Symphonie Fantastique
    • Romantic
    • Symphony
    • Hector Berlioz (1803-1869)
    • *Orchestration
  69. Symphony no. 4, 3 (Italian, Scottish?),
    Songs Without Words,
    Violin Concerto,
    Elijah (oratorio)
    • Romantic
    • Felix Mendelssohn (1809-1847)
    • Bachian revival
  70. Mazurkas,
    Nocturnes,
    Preludes (op. 28),
    Etudes (op. 25),
    Concerto no 2 in F# minor
    • Romantic
    • Frederic Chopin (1810-1849)
    • * Character Pieces
  71. Symphonies 1-4,
    Song Cycles,
    Piano Works
    • Romantic
    • Robert Schumann (1810-1856)
    • *Davidsbund; Character pieces
  72. Hungarian Rhapsody
    • Romantic
    • Franz Liszt (1811-1886)
    • * virtuoso
  73. La Traviata,
    Rigoletto,
    Il Trovatore,
    Otello
    • Romantic
    • Continuos Opera
    • Giuseppe Verdi (1813-1901)
  74. The Ring,
    Tristan und Isolde
    • Romantic
    • Opera
    • Richard Wagner (1813-1883)
    • Uses Music Drama, Leitmotifs, Chromaticism, Gesamtkunstwerk
  75. Symphony no. 4, 7, 8;
    Motets
    • Romantic
    • Anton Bruckner (1824-1896)
    • Uses Chorale Writing
  76. String Quartet #1: From My Life
    • Romantic
    • String Quartet
    • Bedrich Smetana (1824-1884)
    • * nationalism
  77. Waltzes
    • Romantic
    • Johann Strauss II (1825-1899)
  78. Symphony no. 2
    • Romantic
    • Symphony
    • Alexander Borodin (1833-1887)
    • * Demonstrates Russian Nationalism, Use of Folk Music
  79. Symphonies (4),
    Lieder,
    Clarinet Quintet,
    String Quartets,
    String Quintets
    • Romantic
    • Johannes Brahms (1833-1897)
    • * Uses Developing Variation Principle
  80. Organ Symphony,
    Carnival of the Animals
    • Romantic
    • Camille Saint-Saens (1835-1921)
  81. Carmen
    • Romantic
    • Opera
    • Georges Bizet (1838-1875)
  82. Pictures at an Exhibition,
    Boris Gudanov
    • Romantic
    • Modest Musorgsky (1839-1881)
    • Uses Juxtaposed Harmonies/forms, deconstructed
  83. Nutcracker Suite,
    Symphonies
    • Romantic
    • Pyotr Ilyich Tchaikovsky (1840-1893)
    • * Westernized Sound
  84. Symphonies,
    String Quartet (American)
    • Romantic
    • Antonin Dvorak (1841-1904)
    • *Nationalistic?
  85. Piano concerto
    • Romantic
    • Edvard Grieg (1843-1907)
  86. Scherezade,
    Capriccio Espagnol
    • Romantic
    • Nikolai Rimsky-Korsakov (1844-1908)
    • * Mighty Handful, Orchestration
  87. Requiem
    • Romantic
    • Gabriel Faure (1845-1924)
    • Impressionism, not quite Debussyian, but sounds French
  88. Enigma Variations
    • Romantic
    • Edward Elgar (1857-1934)
    • Uses Chorale Writing
  89. Madama Butterfly
    • Romantic
    • Opera
    • Giacomo Puccini (1858-1924)
    • Emphasizes Dramatic Impulse, Continuity
  90. Gaelic Symphony
    • Romantic
    • Symphony
    • Amy Beach (1867-1944)
    • Second New England School
  91. Indian Suite
    • Romantic
    • Edward MacDowell (1860-1908)
    • Second New England School
  92. Das Knaben Wunderhorn,
    Symphonies,
    Song Cycles
    • 20th Century
    • Gustav Mahler (1860-1911)
    • Uses genre-mixing, plays with orchestration/form
  93. La Mer (1905),
    Nuages (Nocturnes),
    Prelude to an Afternoon in the Faun, Pelleas (1902)
    • 20th Century
    • Claude Debussy (1862-1918)
    • Emphasizes Color, Sensualism of Sound, Parallel Chords
  94. Early Tone Poems,
    Salome,
    Elektra (expressionism, 1907)
    • 20th Century
    • Richard Strauss (1864-1949)
    • Emphasizes Color/Orchestration
  95. Symphonies 1, 2, 5, 7,
    Finlandia
    • 20th Century
    • Jean Sibelius (1865-1957)
    • * nationalism
  96. Variations on a Theme by Thomas Tallis
    • 20th Century
    • Ralph Vaughan Williams (1872-1958)
    • * traditional
  97. Prometheus (Poem of Fire)
    • 20th Century
    • Alexander Scriabin (1872-1915)
    • Uses Mystic Chord, emphasizes 4ths
  98. Rhapsody on a theme by Paganini,
    Symphony no. 2,
    Isle of the Dead,
    Piano Concertos 2 & 3
    • 20th Century
    • Sergei Rachmaninoff (1873-1943)
    • * Colorful, Melodic
  99. The Planets
    • 20th Century
    • Gustav Holst (1874-1934)
    • * Band Inspired
  100. Symphony no. 4,
    Concord Symphony,
    The Unanswered Question
    • 20th Century
    • Charles Ives (1874-1954)

    • Uses Rhythmic/Harmonic Layering
    • * Band-Inspired with Satiristic Commentary
  101. Op. 16 (Farbe),
    Op 25 piano Suite,
    Verklarte Nacht (1899) (clock-like ostinato)
    Pierrot Lunaire (1912),
    String Quartets
    • 20th Century
    • Arnold Schoenberg (1874-1951)
    • Atonal/Twelve-Tone Music
    • Uses Sprechstimme, Emphasizing Motivic Cells
  102. Le Tombeau de Couperin,
    Piano Concerto in G,
    Images
    • 20th Century
    • Maurice Ravel (1875-1937)
    • Highlights color, virtuosity
  103. Concerto for Orchestra,
    Music for Strings, Percussion and Celeste,
    String Quartets (6)
    • 20th Century
    • Béla Bartók (1881-1945)
    • Uses Complex Harmonic System, Folk Melodies, Counterpoint, and Symmetry
  104. Poem Electronique (1957),
    Ionization (percussion) (1929)
    • 20th Century
    • Music Concrete
    • Edgard Varese (1883-1965)
  105. Op. 21 Symphony,
    5 pieces for String Quartet
    • 20th Century
    • Pointillism, 12-tone music
    • Anton Webern (1883-1945)
  106. Violin concerto,
    Wozzeck
    20th Century

    • Romantic/Second Viennese School
    • Alban Berg (1885-1935)
  107. Symphony no. 1 "Classical",
    Piano Sonata,
    Symphony no. 5
    • 20th Century
    • Sergei Prokofiev (1891-1953)
    • * Rhythmic Drive (melodic)
  108. Ballets Ruse,
    Octet
    • 20th Century
    • Igor Stravinsky (1882-1971)
    • * Rhythmic Drive, Color, Instrumentation
  109. Le Boeuf Sur Le Tuit (The Ox on the the Roof)
    • 20th Century
    • Darius Milhaud (1892-1974)
    • Melodic; Demonstrates Jazz Influence and Folk Music Influence
  110. Music for Strings and Brass,
    Mathis der Maler
    • 20th Century
    • Paul Hindemith (1895-1963)
    • Emphasizes 4ths and 5ths, Uses Sectional Approach
  111. Carmina Burana
    • 20th Century
    • Carl Orff (1895-1982)
    • Known for his choral works
  112. Banshee
    • 20th Century
    • Henry Cowell (1897-1965)
    • * ultra-modern, uses prepared piano
  113. Rhapsody in Blue
    • 20th Century
    • George Gershwin (1898-1937)
    • * popular/classical
  114. Figure Humaine;
    les Biches
    • 20th Century
    • Neoclassicism
    • Francis Poulenc (1899-1963);
    • * religious vocal writings (a cappella)
  115. Appalachian Spring,
    Piano Variations,
    Symphony no. 3
    • 20th Century
    • Aaron Copland (1900-1990)
    • Employs both 12 tone system and "American sound"
  116. Violin Concerto,
    Symphonic Essay,
    * Other Vocal Works
    • 20th Century
    • Samuel Barber 1910-1981
  117. Three Penny Opera,
    Ballad of Mack the Knife
    • 20th Century
    • Kurt Weill 1900-1950
    • Uses Acidic Harmonies
  118. Symphony no. 1 and 5 (1945),
    Piano Concertos 1 and 2,
    Cello Concerto
    • 20th Century
    • Dmitri Shostakovich (1906-1975)
    • * Mixed Critique of Socialist Realism,
    • bombastic, nationalistic
  119. String quartets (5),
    Solo Instrumental Pieces (cello, harp, bass clarinet)
    • 20th Century
    • Elliott Carter (b. 1908)
    • Individualistic, uses Metric Modulation
  120. Modes de valeurs et intensities
    • 20th Century
    • Olivier Messiaen (1908-1992)
    • Uses Symbolism, total serialism
  121. Music of Changes
    • 20th Century
    • Aleotoric Music
    • John Cage (1912-1992)
  122. War Requiem,
    Peter Grimes
    • 20th Century
    • Benjamin Britten (1913-1976)
  123. Philomel
    • 20th Century
    • Milton Babbitt (b. 1916)
    • Expressive, employs 12-tone system, technology
  124. West Side Story,
    Jeremiah
    • 20th Century
    • Leonard Bernstein (1918-1990)
    • *Jewish/Popular/Germanic
  125. String Quartets,
    2 Symphonies
    • 20th Century
    • George Rochberg (1918-2005)
    • Tonal
  126. Circles (Singing)
    • 20th Century
    • Vocal Work
    • Luciano Berio (1925-2003)
    • colorful, uses new vocalism
  127. Le Marteau sans Maitre (flute, voice, etc)
    • 20th Century
    • Pierre Boulez (b. 1925)
    • Uses Integral Serialism
  128. Elektronische Studie I
    • 20th Century
    • Karlheinz Stockhausen (1928-2007)
    • Uses technology, Darmstadt Style
  129. Ancient Voices,
    Black Angel String Quartet
    • 20th Century
    • George Crumb (b. 1929)
  130. Threnody for the Victims of Hiroshima
    • 20th Century
    • Sound Mass Music
    • Krzysztof Penderecki
  131. * Choral Music (Masses)
    • 20th Century
    • Neoclassical/Renaissance
    • Arvo Part (b. 1935)
  132. Clapping Music,
    Desert Music
    • 20th Century
    • minimalism
    • Steve Reich (b. 1936)
  133. Einstein on the Beach
    • 20th Century
    • Philip Glass (b. 1937)
  134. Ma bergere non legere
    • Air de Cour (CA. 1613)
    • Gabriel Bataille (CA. 1575 - 1630)
    • * In transforming polyphonic songs into solos with lute accompaniment, Bataille preserved the melody, rhythmically simplified the bass line, and reduced the inner parts to their essential harmonies. The result was a fully notated piece akin to an English lute song like Dowland's Flow, My Tears.
    • * The melodic style of Airs de Cour is also distinctive, almost entirely syllabic and diatonic, without the decorative embellishments, expressive melismas, and chromatic touches that are typical of Italian song and evident in Caccini's madrigal and Strozzi's cantata.
    • *Binary form, featured in this and many other airs de cour, was also used in balletts and some sixteenth century dances, and it became the most common form for dances in the seventeenth century.
    • * Bataille was a composer and lutenist best known for his six collections of Airs de differents autheurs, mis en tablature du luth par Gabriel Bataille.
  135. In Ecclesiis
    • Sacred Concerto (Motet) (CA. 1610)
    • Giovanni Gabrieli (CA. 1557 - 1612)
    • * In Ecclesiis is a spectacular example of the large-scale sacred concerto, combining solo singers with vocal and instrumental ensembles and including a wide variety of strongly contrasting textures and styles.
    • * The vocal solos alternate slow passages that sometimes suggest Renaissance polyphony (as in the imitation between voice and organ bass line with faster phrases in modern aria-like style, marked by a repeating bass figure or sequences.)
    • * Published in Symphoniae Sacrae
  136. O Quam Tu Pulchra Es
    • Solo Motet (Sacred Concerto) (CA. 1625)
    • Alessandro Grandi (1586 - 1630)
    • * Grandi's solo motet is a religious composition that incorporates elements from dramatic recitative, solo madrigal, and aria. The sections alternate between styles in the same manner as in a cantata or in an operatic scene, demonstrating the structure of the motet had changed fundamentally from that of its polyphonic predecessors.
Author
sarezesu
ID
27917
Card Set
Music History Prelim
Description
Composer/Works Cards
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