Composers

• Il bianco e dolce cigno
• early Italian madrigal
• early 16th c.
• text painting
• chordal

• Tant que vivray
• Parisian chanson
• early 16th c
• 4 voices
• syllabic
• strophic

• T'amo mia vita
• Late Italian Madrigal
• Musica Reservata
• late 16th century
• virtuosic
• composed for 3 women of Ferrara
• Instrumental accomp.

• Now is the Month of Maying
• Early English Madrigal
• late 16th c.
• light character
• strophic
• 5 voices
• double meanings
• pastoral
• fa la la refrain

• Chant des Oyleaulx
• mid 16th c.
• Parisian chanson
• About flight of birds
• onomatopia

• Zwischen Berg und tiefem Tal
• early 16th c.
• tenorlied
• secular text/genre
• bar form
• cantus firmus in tenor

• Ein Feste berg ist unser Gott
• mid 16th c.
• Harmonized chorale
• original monophonic chorale by Luther
• 4 parts
• form of tenorlied
• cf in tenor
• simple, for congregational singing (2 melismas)

• Come, Heavy Sleep
• late 16th c
• lute song
• txt painting
• similar to strophic madrigal
• fatigue shown in long languid melodic line, measured rhythms, repeated descending passages

• Pope Marcellus Mass
• late 16th c.
• Polyphonic, prima prattica
• Great late Renn. Mass
• 6 voices
• non-imitative
• pan-consonant
• High Rennaissance sound
• follows mandates of Council of Trent

• Preophetiae Sibyllarun
• Carmina Chromatico (prologue)
• mid-16th
• musica reservata
• mannerism
• chromatic
• extreme word painting
• strange harmonic progressions

• Ordo Virtutum
• mid-12th c.
• morality play
• non-Biblical text
• good vs. evil
• characters

Antiphon

Proper Mass, added Introit, Collect, Epistle, Gradual, Alleluia, Sequence, Gospel, Prefus, Pater Noster, Communion

psalm 112

• Hymn
• late 13th c.

• A Chantar
• early 13th
• Troubaritz
• lament, woman's perspective

• Palastinlied
• early 13th c.
• minnesinger

• Silberweise
• early 16th
• Meistersinger

• Haec Dies
• mid-late-12th c.
• Organum

• Clausula
• late 12th c.

• lonc tens ai mon cuer/In seculum
• early 13th c.

• huic main/Hec dies
• early 13th c.

• a paris/On parole/Frese nouvele
• late 13th c.

• Garrit gallus/ In nova fert/Neuma
• from Roman de Fauvel
• early 14th c.
• Isorhythmic motet: A: Color 1: Talea

• Messe de Notre Dame
• mid-14th c.
• Je puis trop bien ma dame comparer (formes fixes - ballade)
• mid-14th c.
• Douce dame jolie
• mid-14th Virelai
• Ma fin est ma commencement
• mid-14th rondeau

• Ecco la primavera
• late 14th c.
• Italian ballata (similar to French virelai)
• syllabic, which is unusual for ballate

• Non al suo amante
• late 14th c.
• Italian madrigal (late)
• strophic 3 line verses (duple) with 2-line ritornello (triple)
• melismatic at the end

• A poste messe
• late 14th c.
• caccia - chase

• La quinte estampie real
• late 13th c.
• type of medieval dance
• short repeated sections

• "Quam Pulchra Es"
• early 15th c.
• Renaissance motet, no c.f.

• "Flos Florum"
• early 15th
• Renaissance motet
• mix of old and new style
• "Conditor alme siderum"
• hymn in alternatum
• "Se la face ay pale"
• ballade, tenor of which is used as c.f. of later mass
• "Missa se la face ay pale" - MID - 15th c
• Isorythmic motet, tenor is tripled, doubled, then original
• Adeui ces bons vins de Lannoysearly/mid 15th c.Rondeau

• "Ave Maria...virgo serena"
• late 15th c.
• motet
• points of imitation
• paired imitation
• canons
• 4 pt harmony
• "Missa Pange Lingua"paraphrase mass based on early hymn
• early 16th c.
• "Missa fortuna desperata"
• Parody mass based on Busnois Italian Chanson
• "El Grillo"
• frottola

• Fortuna desperata
• late 15th c.
• Italian chanson

• Missa Prolationem
• late 15th c.
• kyrie is mensuration canon

• Hor venduto ho la speranza
• early 16th c.
• frottola

• late 16th-early 17th
• Dunque fra torbid 'onde
• Euridice (first opera)

• Sfogava con le stelle
• late 16th

• late 16th
• Cruda Amarilla
• Orfeo
• L'incoronazione di Poppea

• early 17th c.
• Singet dem Herren ein neues Lied
• Saul, was verfolgst du mich?

• Armide
• mid-17th

• Julius Caesar
• early 18th c
• Zadok the Priest
• early 18th

• Dido and Aeneas
• late 17th c

• The Beggar's Opera
• early 18th

• Jephte
• late 17th

• Concerto in A minor
• early 18th

• Pieces de clavecin
• early 18th

• Toccata IX
• from Il Secondo Libro di Toccate
• early 17th

• Praeludium in G Minor
• late 17th

• chorale prelude on Magnificat peregrini toni
• late 17th c

musical work (3 mvt) for alternating soloist and orchestra includes virtuosic material, including cadenza at the end of the recap. 1st mvt is sonata-concerto form (mix of sonata and Baroque ritornello)

indicates material that acts as a refrain; it returns throughout a piece; also indicates a Baroque musical form; includes tutti and solo sections; mixes with sonata form for mvt 1 of classical concerto

• a virtuosic solo section found at the end of the recapitulation in mvt one of classical concerto
• written out, starting with Beethoven
• used to be improvised
• ex. beethoven piano concerto in G no. 4 Op 58 mvt 1

precurser to modern clarinet. Mozart's cl concerto in A originally for basset horn (not many keys on the instrument)