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| keep secular tune, replace lyrics with sacred text |
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| worked for Duke Albrecht in Munich. "Master of motet", negotiated between catholic and protestant opinions |
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| "savior of church music", italian, used parody technique in works |
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| straight forward rhythms, controlled dissonance, less imitation than previously--got rid of confusion in text |
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| taking piece of composed melody and putting it in another piece. |
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| becomes dominant texture in England c. 1600, rather than previous equal voice counterpoint |
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| solo voice+lute accompaniment, England c. 1600. Flow My Tears was greatest hit of this. |
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| 1600-1750, "irregularly shaped pearl", discussed as grand, strong contrasts, intesne ornamentation, emphasis on outer voices |
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| Stile concerto/the concerted style |
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| opposing sonic forces, Greek cross style, pieces used in St. Mark's Basilica in Venice |
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| 1. melodic instrument plays bass line, 2. Lute/harpsichord fill in rest of chord |
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| (prima practica), equal voice polyphony, strict counterpoint, usually sung a capella (PALESTRINA) |
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| One of 2 main subgenres of Indian classical music. Usually performed by small ensemble, (vocalist, melodic accompaniment, rhythmic, and drone (tambura)) |
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| 1 instrument melody+basso continuo=3 total |
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| 2 melodic instruments + basso continuo=4 total |
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| genre, 17th century, 4 movements (slow, fast, slow, fast). Fast=binary AB. A=tonic -> close key and B=close key -> tonic |
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| 3 movements, (fast, slow, fast), solo instrument + orchestra |
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| small group of instruments + orchestra |
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| aka rondo form, ABACADA played by orchestra in a concerto. |
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| Indian princess who composed hundreds of Bhajan. Devoted to Lord Krisna, and revered as a saint of her time |
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| ecstatic love songs/prayers in India |
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| Second part of Indian classical music. Uses raga and tala and contains much improvisation |
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| Developed basso continuo, highlighted importance of text in music rather than harmonies. Said words should be the most important aspect, before harmonies (opposed Artusi) |
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| used castrati for high parts. Women were not allowed to sing. |
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| German composer during the baroque. Famous for inventions, fugues and incredible counterpoint |
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| Teacher, and "father of karnatic music". Created exercises to train students in raga and tala. |
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| pitch organization. indian solfege (sa, ri, ga, ma, pa, dha, ni, sa). ascending/descending raga, can depict them by timbre and microtones. only 50-100 used today |
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| rhythm. Metrical cycles that repeat in karnatic and hindustani music. Waves, claps, and finger gestures important. Audience knows tala. |
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| Indian note that can be ornamented upon with gamaka |
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| Court musician employed by Akbar the Great. Great figure in North India, wrote many raga and invented the dhrupad. |
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| Vocal performance of indian music. centered around sacred text to a hindu/muslim deity, with drum and drone (tambura). Usually syllabic with clear enunciation |
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| motet with text praising God on behalf of a monarch. (sacred choral composition) Big in Elizabethan England |
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| also called plagal cadence, IV -> I, used in anthems in Elizabethan England |
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| Amazing composer in France, employed by Duke of Ferrara. Not sociable, humble, quick to compose, and wanted lots of money for work. But incredible at composing music. |
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| Protestants trying to break away from catholics (martin luther). Also aimed to simplify music in church. religious revolution |
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| Catholics, aimed to make sung text in church less confusing and more understandable. (got rid of a lot of imitation). --Palestrina came to the rescue |
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| Verses of the chant alternate between organ and monophonic singing. |
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| replace chant with newly composed melody. |
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| Monophonic, folk-like tune with sacred (not necessarily biblical) words. used in protestant churches in place of Gloria to engage entire congregation. Changed form of the mass |
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