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| written by Henricus Issac, 3 volume cycle of the music for the Proper of the Church Year |
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| Publisher of music. Printed 3 books of Josquin's Masses |
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| Bohemian Reformation. Spoke out against the sale of Indulgences. Tried/Condemned/burned for beliefs. First to introduce hymn-singing |
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| First official hymnbook of Luther's Reformation. Contained 35 melodies. |
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| Secular tunes with an added sacred text |
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| Strophic hymn in the Lutheran tradition, intended to be sung by the congregation |
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| Followed Luther's musical work. Musae Zionae - collection of 1400 chorale settings |
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| What Calvin feared. Power of the arts |
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| First complete set of metricized Psalms, needed 110 poetic meters |
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| A published collection of metrical psalms |
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| A setting of Anglican service music, encompassing specific portion of Matins, Holy Communion, and Evensong. A Great Service is a melismatic, contrapuntal setting of these text. A Short service sets the same text in syllabic, choral style. |
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| A polyphonic sacred work in English for Anglican religious services. Two forms: full and verse |
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| Thomas Sternhold reduced the Swiss meters to common meter - 8.6.8.6 |
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| Contrapuntal through out for chorus. (Anthem for unaccompanied choir in contrapuntal style) |
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| Anthem in which passages for solo voices with accompaniment alternate with passages for full choir doubled by instruments. |
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| Called by Pope Paul III in 1545 |
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| Written by Palestrina. Allegedly saved counterpoint. Written for Pope marcellus |
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| Oratory of St. Philip Neri |
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| Tomas Luis de Victoria - a group of catholic men held together by chastity. |
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| Secular, polyphonic work for 3 or more voices. |
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| English song form, light, homophonic, strophic song, recognized by the Fa-la-la-la-la |
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| Secular song with French words; used especially for polyphonic songs of the fourteenth through sixteenth centuries. |
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| Late-16C French style of text-setting, especially in chansons, in which stressed syllables are given longer notes than unstressed syllables (usually twice as long) |
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| Printed more than 50 collections of French Chanson (1500 in all) |
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| S system of notation used for lute or other pluched string instrument that tells the player which strings to pluch and where to place the fingers on the strings, rather than indicating which notes will result. |
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| Group of unlike instruments |
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| Group of like instruments |
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| Type of instrumental piece, developed into the sonata da chiesa, adopted from a chanson or composed in a similar style |
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| 1) Early-mid 16C a prelude in the style of an improv 2) From late 16C on, an instrumental piece that treats one or more subjects in imitation |
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| Keyboard instrument popular between the 15-18C. The loudness, which depends on the force with which a brass blade strikes the strings, is under the direct control of the player. |
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| Distinguished from the clavichord and the piano by the fact that its strings were plucked, not struck |
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| Fitzwilliam Virginal Book |
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| Collection of music for the Harpsichord |
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| Alternating bodies of sound |
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| By Giovanni Gabrieli. Contains motets and instrumental pieces |
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