Chapter 17 Quiz

CH 17 OUTLINE I. Social Music-Making in the Renaissance A. Music-making expanded through secular genres 1. professional musicians: court and civic festivities 2. amateurs: music-making in the home 3. vocal and instrumental music 4. prosperous homes: lute or keyboard instrument B. Women in music 1. music education: well-bred women 2. women achieved fame as professional singers (later 16th century) C. Union of poetry and music 1. French chanson 2. Italian madrigal 3. poetry shaped musical forms II. The Madrigal: Linking Music and Poetry A. Madrigal most important secular genre of the era 1. secular vocal composition for three to eight voices 2. aristocratic form, poetry and music 3. flourished at Italian courts 4. favorite diversion of cultivated amateurs 5. sung from part books, chamber music 6. text: short poems, lyric or reflective character a. emotional words for weeping, sighing, trembling, dying; set suggestively 7. topics: love, unrequited love, humor and satire, politics, scenes of city and country life 8. word-painting: madrigalisms a. music directly reflects meaning of words b. e.g., harsh dissonance “death,” ascending line “heaven,” “stars” c. expressive device, enhanced emotional content B. Early madrigal (c. 1525–50) 1. pleasure to amateur performers 2. grew in complexity 3. expanded to five or six voices C. Later madrigal (1580–1620) 1. extends into Baroque era 2. Claudio Monteverdi: influential, Renaissance-to-Baroque transitional composer III. Monteverdi and Vocal Rhetoric A. Claudio Monteverdi (1567–1643) 1. born in Cremona, Italy 2. court position to duke of Mantua 3. choirmaster at St. Mark’s in Venice, thirty years 4. wrote madrigals throughout his lifetime, nine books a. transformed the genre to emotionally charged soloistic style b. highlighted text through unprepared dissonances, speechlike melodies c. rich chromatic harmony, dramatic declamation, vocal virtuosity, vivid depiction of emotional words, new emotional intensity 5. output: nine books of madrigals, sacred music, operas, other dramatic music B. Si ch’io vorrei morire (Truly I want to die) 1. from Monteverdi’s Fourth Book of Madrigals 2. music serves expressive power of text; words conveyed clearly, passionately 3. reference to death: conceit for sexual climax 4. references to kissing, bodily interaction C. LG 5: Monteverdi: Si ch’io vorrei morire (Truly I want to die) (published 1603) 1. 5-voice, a cappella, Italian madrigal 2. through-composed, return of opening phrase 3. modal, with affective dissonances 4. alternates homophony and polyphony 5. words repeated for rhetorical effect 6. madrigralisms: a. dissonances on “Ahi/ah” b. descending lines “expiring” c. downward and upward contour, “perish/climax” IV. The Madrigal in England A. Flourished during Elizabethan era (1558–1603) 1. developed Italian madrigals into native form 2. simpler texts, lighter in style 3. refrain syllables: “fa la la” B. John Farmer (c. 1570–1603) 1. English composer, organist 2. active in Dublin, Ireland; moved to London 3. published collection of four-voice madrigals 4. clever word-painting, lighthearted works C. Farmer’s Fair Phyllis 1. lighthearted, pastoral English text 2. shepherdess (Phyllis) pursued by her lover, Amyntas 3. happy conclusion D. LG 6: Farmer: Fair Phyllis (published 1599) 1. 4-voice, a cappella, English madrigal 2. dancelike, lively rhythms 3. varied textures; shifts in meter 4. word-painting: “all alone,” “up and down” CH 17 QUIZ QUESTION 1 In regards to typical English madrigals, which statement is true? a. They often have lively rhythms. b. They often have pastoral texts. c. The texts are often humorous. d. All statements are true. QUESTION 2 The chief concern of the early madrigalists was to give pleasure to the amateur performer. True False QUESTION 3 Monteverdi’s Si ch’io vorrei morire is sung in a. French. b. English. c. Latin. d. Italian. QUESTION 4 In which of the following ways did Renaissance composers enhance the emotional content of madrigals? a.through the use of madrigalisms b.through the use of loud instruments c.through the use of masks and costumes d.through the use of a narrator QUESTION 5 Who of the following composers was influential in the later Italian madrigal tradition? a. Hildegard of Bingen b. Guillaume de Machaut c. Claudio Monteverdi d. John Farmer QUESTION 6 In addition to the Italian madrigal, what other genre arose from the union of poetry and music during the Renaissance? a. organum b. French chanson c. Gregorian chant d. motets QUESTION 7 Monteverdi uses word-painting to portray the images found in the poetry for his madrigal Si ch’io vorrei morire. True False QUESTION 8 The mood of Farmer’s madrigal Fair Phyllis is a. quiet and mysterious. b. sad and melancholy. c. light and pastoral. d. serious and courtly. QUESTION 9 Which of the following instruments was likely found in prosperous homes during the Renaissance? a. b. c. d. Trumpet Lute Organ French horn QUESTION 10 Where did the madrigal first emerge as an important genre? a. Italian courts at the beginning of the 1500s b. French courts at the beginning of the 1500s c. Italian courts at the end of the 1600s d. French courts at the end of the 1600s QUESTION 11 In which country did Monteverdi live and work? a. France b. England c. Ireland d. Italy QUESTION 12 Sometimes humorous madrigals would have a refrain of syllables such as "fa la la." True False QUESTION 13 _______ claimed "the text should be the master of the music, not the servant." a. Claudio Monteverdi b. John Farmer c. Jacque Arcadelt d. Guillaume de Machaut QUESTION 14 Which of the following relate(s) to the genre of madrigal? a. most important secular genre of the Renaissance b. direct expression of a composer’s musical personality c. All possible answers. d. aristocratic form of poetry and music QUESTION 15 Farmer "paints" the first line of the text, "Fair Phyllis I saw sitting all alone," through the use of a. monophony. b. homorhythm. c. polyphony. d. imitation. QUESTION 16 In madrigal poetry, references to death a. did not occur. b. were depressing. c. were erotic. d. were references to Catholicism. QUESTION 17 Which musical trait does NOT apply to Monteverdi’s madrigals? a. b. c. d. vivid depiction of emotional words rich chromatic harmony simple vocal style All possible answers. QUESTION 18 The English madrigal preceded the development of the Italian madrigal by some one hundred years. True False QUESTION 19 Monteverdi emphasizes the last line of the poem in the madrigal Si ch’io vorrei morire by not repeating it. True False QUESTION 20 An unexpected harsh dissonance coinciding with the word "death" is an example of a. word-painting. b. a cappella singing. c. organum. d. polyphony. QUESTION 21 At which point in the text of Fair Phyllis does the work change to an imitative texture? a. "The shepherds knew not whither she was gone" b. "Up and down he wandered" c. "O then they fell a-kissing" d. "Fair Phyllis I saw sitting all alone" QUESTION 22 Which describes the performing forces of Monteverdi’s Si ch’io vorrei morire? a. b. c. d. 4-voice a cappella group 5-voice a cappella group 4-voice group with instrumental accompaniment 5-voice group with instrumental accompaniment QUESTION 23 Both Italian and English madrigals often feature word-painting. True False QUESTION 24 The text of John Farmer’s Fair Phyllis refers to real historical figures. True False QUESTION 25 Farmer’s Fair Phyllis is written for _____ voices. a. three b. four c. five d. six