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| "Rebirth" / Historical period after the middle ages, characterized by art, culture, music, and humanism |
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| Territory in northern France ruled by a duke. Also a cosmopolitain center for music in the 1500s. |
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| French poet who wrote about DuFay, Binchois, and Dunstable. He coined the term "contenance angloise." |
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| "English guise/quality" (16 c). Characterized by pervasive consonance and parallel thirds and sixths |
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| 15 c. English composer famous for his 3-part sacred pieces, but he also wrote all principal types of polyphony. He influenced Binchois and DuFay |
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| Most famous early 15 c. Burgundian composer; traveled and had a wide variety of influences; combined contrasting styles; wrote chansons, motets, and chant settings; and used fauxbourden. |
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| Burgundian composer esteemed for his chansons; used hemiola and syncopation; wrote syllabically; used harmonic thirds and sixths. |
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| A group of salaried musicians and clerics who officiate at and furnish music for religious services (employed by a ruler, nobleman, church official, or patron). |
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| Polyphonic song not based on a cantus firmus, used for polyphonic songs by English composers of the early 15 c. |
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| Melody is given a rhythm and ornamented by adding notes around those of the chant (a reworking of a chant melody), usually polyphonic. |
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| 3 duple units substituted for 2 tripple units (such as 3 quarter notes in 6/8 time). |
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| 2 voices (cantus and tenor) written in parallel sixths, ending in an octave. A third unwritten voice moved a parallel fourth below the cantus, and ended on the fifth. |
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| A song of praise sung to God. |
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| A rule for performing music where several voices sing the same melody entering at different intervals of time or singing at different speeds simultaneously. |
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| Oltremontano/Oltremontani |
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| Those of the Franco-Flemish School of composers who dominated the musical landscape of Northern Italy during the middle of the sixteenth Century. |
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| Flemish composer and music theorist of the Renaissance; stated 8 rules of composition; wrote the first dictionary of musical terms; said that no music over 40 years old was valued. |
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| The repetition of a melody in a polyphonic texture shortly after its first appearance in a different voice, usually at a different pitch. |
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| A musical working setting all the texts of the Mass Ordinary |
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| Initial passage/motive of a piece/movement |
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| A polyphonic mass where each movement contains the same cantus firmus in the tenor. |
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| A compositional device where a melody, theme or motif is presented in longer note-values than were previously used. |
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| A part that lies higher than the tenor and lower than the cantus (alto) |
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| A part that lies lower than the tenor (bass) |
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| Franco-Flemish composer; most prolific chanson composer of his time |
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| 15 c. composer serving French kings, esteemed for his masses. |
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| A canon in which the voices move at varying speeds by using different mensuration signs (time signatures). A verbal canon. |
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| The point at which at least 2 parts enter in imitation. |
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| Widely renown 15/16 c. Franco-Flemish composer of masses, motets, and chansons; most influential composer of the 15/16 c. |
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| Pan-European composer of mostly sacred music (motets and masses); also wrote chanson |
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| A polyphonic mass in which each movement is based on the same monophonic melody (usually from chant), which is paraphrased in most or all other voices (not just one voice). |
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| The instigator of the Reformation; published the 95 theses; organized the Lutheran church, which separated Germany from Roman control. |
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| A strophic hymn to be sung by the Lutheran congregation. |
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| When music is sung by all those present, not just the choir. |
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| The practice of replacing the text of a vocal work with a new text, while the music remains the same. |
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| Chorale setting in the style of a 16 c. motet |
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| Manner of setting chorales in chordal homophony, with the melody in the highest voice. |
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| Protestant leader from Geneva; spread Calvinism to Switzerland, the Netherlands, Scotland, England, and France; banned polyphony from Calvinist worship. |
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| Metric/rhythm-ed/strophic/vernacular translation of a psalm, sung to a relatively simple melody that repeats for each strophe. |
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| The most important mid-16 c. English composer of Latin Masses and hymns with a speech-like melodic curve. |
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| The leading English composer of the late 16 and early 17 c.; a catholic who served in the church of England; wrote secular vocal/instrumental music, Anglican service music, and Latin masses/motets. |
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| Refers to churches with historical connections to the Church of England, started by King Henry VIII. Also relating to England or the English nation. |
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| Anglican/polyphonic/sacred song for contrapuntal unaccompanied choir. |
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| Anglican/polyphonic/sacred song in which accompanied solo passages alternate with passages for full choir and instruments. |
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| A swiss theorist who wrote the Dodekachordon, and added four new modes (Aeolian/Hypoaeolian/Ionian/Hypoionian) |
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| The leading Italian composer of church music in the 16 c.; is said to have saved polyphony; employed a pure diatonic style with varied rhythm/melody/texture/sonority and imitation that was acutely sensitive to text; the model of restrained church style and strict counterpoint. |
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| The Catholic church's response to the Reformation; reformed church practices; created a uniform liturgy and eliminated most tropes and sequences. |
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| A pope during the Reformation with a reputation for integrity, tact and ability. He desired to reform many of the inner workings of the church. He was the inspiration for Palestrina's Pope Marcellus Mass. |
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| A 16 c. polyphonic figure where a voice skips down from a dissonance to a consonance, in stead of resolving by step, then moves to the note of resolution. |
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| The most famous 16 c. Spanish composer; wrote sacred Catholic music. |
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| Great 16 c. German composer of sacred (and some secular) music; model of emotional expression and depiction of text through music. |
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| The attribution of human characteristics to other animals, non-living things, phenomena, material states, objects or abstract concepts. |
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| Manuscripts/printed books containing the music for one voice or instrumental part of a polyphonic composition (come in sets). |
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| An Italian printer who wrote the "Harmonice Musices Odhecaton", a collection of chansons printed in 1501, and the first collection of polyphonic music printed entirely from movable type. |
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| Courtier/ambassador/poet; wrote "The Book of the Courtier," a manual on proper behavior at court which praised the ability to sing and play from notation (read music). |
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| 16 c. Italian polyphonic genre (mock-popular style); with the melody in the top voice; syllabic/homophonic/diatonic; rhythmic patterns |
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| Italian composer, lutenist and singer of the Renaissance, known for his frottole. |
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| 16 c. Italian poem set polyphonically/concertato; non-repetitive verse form. |
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| Composed throughout, with each section being set to new music. |
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| Franco-Flemish composer of the Renaissance (Italy and France); principally known as a composer of secular vocal music (madrigals). Style mixed homophony with occasional imitation. |
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| Word Painting/Madrigalism |
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| Using musical gestures to reinforce/suggest images in a text (such as rising on the word ascend) |
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| Careful treatment of dissonance/voice equality/typically 5 or 6 voices/greater variety of contrasting combinations/clearly defined mode/usually duple meter/imitative polyphony with varied motives/overlapping phrases/ |
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| Flemish composer of the Renaissance and founder of the Venetian School; moved to Italy and transplanted the polyphonic Franco-Flemish style there. Prime example of the post-Josquin generation. |
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| Leading madrigal composer of the mid-16 c; student of Willaert; tried to capture the sounds/emotions/images of his texts. |
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| Leading 16 c. madrigalist. Depicted contrasting feelings and visual details with the utmost artistry and wrote some of the most famous examples of the madrigal in its late stage of development, prior to its early Baroque transformation. |
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| French composer of Parisian chanson, (also composed sacred music). |
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| Light/fast/strongly rhythmic song for 4 voices, favoring pleasant/amorous situations. Syllabic/repetitive/duple meter/mostly homophonic/some imitation/strophic. |
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| Famous 16 c. English poet and composer of madrigals; used lots of word-painting. |
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