UNIVERSITY

OF WISCONSIN-WHITEWATER
MUSC 245: Music History I
Dr. Erin Bauer

Study Guide #6 (Religious and Secular Music of the Sixteenth Century)

Listening (indicate year, genre, and three musical characteristics):

1. Anth I, 53: Johann Walther, Christ lag in Todesbanden
2. Anth I, 54: Giovanni Gabrieli, In ecclesiis
3. Anth I, 57b: Orlando di Lasso, Matona mia cara
4. Anth I, 57c: Orlando di Lasso, Audite nova
5. Anth I, 57d: Orlando di Lasso, Prophetiae Sibyllarum
6. Anth I, 58: Jacques Arcadelt, Il bianco e dolce cigno
7. Anth I, 60: Luca Marenzio, Solo e pensoso
8. Anth I, 61: Claudio Monteverdi, Cruda Amarilli
9. Anth I, 62: Carlo Gesualdo, Moro, lasso
10. Anth I, 63: John Dowland, Flow My Tears

Vocabulary:

11. Chorale 14. Basso continuo 18. Chanson
12. Chorale prelude 15. Ritornello 19. Madrigal
13. Counter- 16. Concertato style 20. Madrigalisms
Reformation 17. Frottola 21. Augenmusik

People:

4. Martin Luther 10. Philippe Verdelot 15. Carlo Gesualdo
5. Andrea Gabrieli 11. Jacques Arcadelt 16. John Dowland
6. Giovanni Gabrieli 12. Luca Marenzio 17. Thomas Tomkins
7. Pierre Attaingnant 13. Claudio 18. John Ward
8. Claudin de Monteverdi 19. John Wilbye
Sermisy 14. Giovanni Maria 20. Thomas Weelkes
9. Clément Janequin Artusi

Questions:

21. Explain the impact of Protestant Reformation on sacred music. What were the
underlying theological reasons that many reformers preferred congregational
hymns and chorales to complex polyphony?
22. Discuss music publishing and the resulting consumer culture of music. Who were
the primary musical publishers in the sixteenth century? How did they impact the
production and consumption of music?
23. Describe the new genres of popular music in Italy and France during the sixteenth
century. What are their salient traits, and how are they reflected in the works of
Marco Cara, Claudin de Sermisy, and Clément Janequin?
24. In what ways was Orlando di Lasso a cosmopolitan composer? How is this reflected
in the different types of music he composed?
25. What were the central features of the Italian madrigal? How do the works of
Jacques Arcadelt and Cipriano de Rore reflect new relationships between music and
text?
26. In what ways did the madrigals of Luca Marenzio, Claudio Monteverdi, and Carlo
Gesualdo violate the norms of ars perfecta?
27. What criticisms were leveled against the new style by the critic Giovanni Maria
Artusi? How do Monteverdi and Artusi represent contrasting musical values, and
how are similar debates played out in our own time?