MUSC 311 Exam 2: Terms

Terms/Concepts/Key Players
(Polyphonic) Chanson
Formes fixes
Virelai
Rondeau
Ballade
Endings
Ouvert
Clos
Guillaume de Machaut (1300-1377)
Cadences
Double leading tone
Phrygian
Voicing
Cantus
Contratenor
Tenor

Trecento
Francesco Landini (1325-97)
Madrigal
Ballata
Caccia
“Landini cadence”

Ars subtilior

Papal schism (1378-1417)

Council of Constance (1414-1418)
Battle of Agincourt (1415)
Renaissance
Humanism

Faburden
Fauxbourdon
Contenance Angloise
John Dunstable (d. 1453)
Motet
The Burgundian School/Style (International/Cosmopolitan Style)
Binchois (ca. 1400-1460)
Guillaume Du Fay (ca. 1397-1474)
Jean de Ockeghem (ca. 1420-1497)

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The Mass Ordinary Cycle
Cantus-Firmus Mass
Canon Mass
Mensuration canon
Paraphrase Mass
Parody/Imitation Mass
Missa sine nomine

Voicing
Superius
Altus
Tenor
Bassus

Harmonices Musices Odhecaton (1501)

Ottaviano Petrucci (1466-1539)

Imitative polyphony
Successive vs. simultaneous way of composing
Josquin Desprez (ca. 1450-1521)
Heinrich Glareanus (1488-1563)
Point of imitation
Dodecachordon (1547)
Twelve-mode system
New Modes
Ionian Hypoionian
Aeolian Hypoaeolian
Music as Rhetoric
Soggetto cavato

Reformation
Protestantism
Martin Luther (1483-1546)
“95 Theses”
Lutheranism
Chorale
Meistersinger
Bar form
Jean Calvin (1509-1564)
Calvinism
Henry VIII (1491-1547)
Church of England
“Act of Supremacy” (1534)
Anthem
William Byrd (1543-1623)
Counterreformation

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Ignatius Loyola (1491-1556)
Council of Trent (1545-1563)
1562 “Canon on Music to be Used in the Mass”
“The Palestrina Style”
Giovanni Pierluigi da Palestrina (1524-1594)
Tomas Luis de Victoria (1558-1611)