Music 543: Music of the Middle Ages and Renaissance Study Guide for Examination I: 125 Points Purpose

of Examination is to promote a synthesis and consolidation of information pertaining to European art music taken up in this class since the first class meeting. Ideally, I hope you will gain what one might call a big picture understanding of the information at hand and that such information will contribute to your larger understanding of history and musics larger place within that history. Inasmuch as this is an upper-level music history class, I believe it important to articulate the differences I perceive in a class such as this one and, say, the junior-level music history classes here at MSU (MUS 345 and 346). In the former, I tend to think of what happens as me the teacher taking apart, metaphorically speaking, a Swiss watch and then reassembling it. At the 500 and 600 levels, I am more than happy to take apart that watch. However, in a class such as ours, I think it is more rewarding and educationally beneficial for you to reassemble the watch. Part I (30 points): Will feature 15 names or musical terms. I will include more than ten of these so that you may select only the ten you feel best equipped to answer (2 points each). Please read the following information in italics carefully. To earn full credit for an answer, I expect you to provide a brief definition of the name, term, or title and, in so doing state its significance. Also, please be able to relate a concept or term to an actual piece of music we have considered in class: being able to connect a concept to something beyond the merely abstract always is a good idea. Please avoid one-word or perfunctory answers. In order to earn the total number of points for any given question, I expect a persuasive demonstration that you know what you are talking about. I derive all of the technical terms from the music we have studied so far. Part II (95 points): Short essays including perhaps some musical examples and recorded excerpts of musical works studied in class where I ask you to comment as to the general musical stylistic features, form, and compositional procedure. Conceivably, I could reproduce the first page of one of those works and ask you to offer comments as to musical style. If the listing of names, concepts, and musical works given below does not strike a familiar chord, please look the name or term up in the index of your textbook. If that doesnt help, try The New Grove Dictionary of Music and Musicians or on-line version of The New Grove Dictionary of Music and Musicians available at Oxford Music Online: http://proxy.missouristate.edu/login?url=http://www.oxfordmusiconline.com/subscriber/ Helpful, too, is the on-line music dictionary at: http://www.music.vt.edu/musicdictionary/ * * * * *

Renaissance art history DVD viewed in class (questions asked in accompanying handout) Troping Egidius of Murino, Tratatus cantus mensurabilis Johannes de Grocheo, De musica Franco of Cologne, c1260, Ars cantus mensurabilis Successive composition The Ordinary of the Mass The Proper of the Mass High Mass & Low Mass (see pertinent handout) Harmonic consonance in Medieval polyphony Melismatic, syllabic The Church Modes

Johannes Ciconia Hocket Renaissance timeline (see class notes from Week 4) a cappella Symbolism of Romanesque and Gothic Church Romanesque, Gothic architecture: general differences and differences Guillaume Dufay The English Guise (contenance angloise) John Dunstable Dunstable Quam pulchra es Homorhythm Josquins Missa Hercules Dux Ferrariae

Francesco Zabarella Ciconia, Doctorum principem Motet characteristics as typified in Ciconia motet in Freedman anthology: polytextuality, dense, interweaving polyphony, stratification of each individual music line (symbolic of Gothc cathedral?) Cantus firmus Mass Canon (two definitions thereof) exemplified in Dufays Missa Lhomme arm 3 in Middle Ages considered perfect Johannes Obrecht Obrecht, Missa de Sancto Donatiano, (portion in Freedman anthology)* Adriane de Vos Dutch secular song Gefft den armen gefangen Musical means by which Obrecht attains contrast within Kyrie I/Christie/Kyrie II of his Missa de Sancto Donatiano Thomas Morley canzonette Morley, Miraculous loves wounding Tuscan dialect of Italian: music history significance Sannazaro Ariosto Typical subject matter, Italian madrigal text Papal schism (sometimes called Great Schism) Nicolaus Copernicus Heliocentric Luthers 95 Theses, Wittenberg Church door Filippo Brunelleschi Burnelleschi, 1436 Florence Cathedral dome Dufay, Florence Cathedral dome and Nuper rosarum flores

Soggetto cavato Du Fay, Missa Lhomme arm (see Blackboard handout) Purpose of wordless flourishes in Ciconia Doctorum pincipem hemiola retrograde Luca Marenzio Marenzio, Liquide perle Francesco Petrarch Petrarch, Il Canzoniere Rise of secularism in the Renaissance Donaes de Moor St. Donatian Bruges Plainchantmonophonic music, symbolic of Christian monotheism? DuFay, Supremum est mortalibus Sixteenth-Century Italian Madrigal Cardinal Pietro Bembo Tasso Guarini Geocentric Martin Luther Florence, Italy, as birthday of Renaissance Filippo Brunelleschi, rediscovery of linear perspective Johannes Gutenberg and invention of printing Ottaviano Petrucci Petrucci, Harmonice musices odhecaton, 1501 Martin Le Franc Le Champion des dames (The Defender of Women) la contenance Angloise

For a thorough discussion of this work in support of that found in textbook and anthology, please visit: http://obrechtmass.com/home.php * * * Examination date: Wednesday, 2 October 2013

MUS 543/683 Exam 1 Study Guide, page 2