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MUS111H1 (1)

All listening material (MUS111H1)

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Greg Johnston

1) Hildegard of Bingen: Alleluia, O virga mediatrix d. Basis: Chant to Virgin Mary, heard at a. Date: Medieval, late 12 century beginning only. Most of the motet is b. Genre: Plainchant freely composed c. Medium: A cappella choir, alternating e. Rhythm: Duple, with shift to triple, soloist and chorus then back d. Melody: Unaccompanied, conjunct line f. Melody: High vs low voices, singing in with some expressive leaps and pairs; opening phrase with rising 4 th melismas quotes chant e. Texture: Monophonic (single line) g. Harmony: consonant; hollow-sounding f. Form: 3-part structure (Alleluia-verse- cadences Alleluia), performed responsorially h. Texture: imitative 4-voice polyphony g. Context: A movement from the Mass and homophony Proper, sung on feast days for the i. Medium: 4 voices, SATB Virgin Mary j. Text: Rhymed poem to the Virgin Mary h. Text: Prayer to the Virgin Mary (text by 5) Giovanni Pierluigi da Palestrina: Pope Marcellus Hildegard of Bingen) Mass, Gloria 2) Anonymous (from the Notre Dame School): a. Date : Published 1567, late Gaude Maria virgo th Renaissance a. In the syle of Protin (French, 13 b. Genre : Sacred choral work, movement century) from the Ordinary of the Mass b. Date: Early 13 century, medieval c. Style: clear text declamation, a c. Genre: Organum for three voices cappella d. Performance style: A cappella (soloists d. Rhythm: slow duple, weak pulse sing Organum; choir sings chant) e. Melody: Shifts between high- and low- e. Rhythm/Meter: simple pattern of long- range voices short-long-short in upper voices over f. Harmony: full, consonant harmony slow-moving bottom voice (tenor) g. Texture: mixed, (homorhythmic and f. Texture: monophonic chant alternates imitative polyphonic), monophonic with three-part polyphony opening g. Context: for feasts of the Blessed h. Medium: 6-part choir (SATTBB), Virgin Mary originally all male h. Rhythm: repetitive long-short patterns i. Form: through-composed in two parts in the upper voices, slow-moving chant j. Text: Gloria, from the Ordinary of the in the bottom voice Mass i. Text: prayer in praise of Virgin Mary\ 6) Henry Purcell: Come Away, Fellow Sailors from 3) Guillaume de Machaut: Puis quen oubli the opera Dido and Aeneas, Act 3 a. Date : Mid-14th century (medieval) a. Date: 1689 Baroque b. Genre: Polyphonic chanson b. Genre: English opera c. Form: 2 sections (A and B) repeated: c. Context: presented at a London ABaAabAB. Capital letter= refrain boarding school for girls (same music, same text). Lowercase d. Medium: solo voice and mens chorus letter = verse (new text). with small orchestra and continuo d. Texture: 3-part polyphony (Baroque period instruments) e. Rhythm: Slow triple meter, with subtle e. Rhythm/Meter: Sprightly tempo, in syncopations triple meter; use of Scotch snap dotted f. Melody: Conjunct, low range; wavelike figures lines, with few melismas f. Characters: Dido, Queen of Carthage; g. Harmony: Open, hollow cadences at Aeneas, adventuring hero; Sailors, phrase endings members of Aeneas crew h. Text: Poetic rondeau by Machaut g. Form: Strophic, with orchestral prelude, i. Medium: Three voices (instruments solo verse, and chorus may substitute for voices) h. Text: Libretto by Nathum Tate 4) Josquin: Ave Maria virgo serena i. Basis: Virgils Aeneid a. Date: 1480s? (Renaissance) 7) Henry Purcell: Didos Lament from the opera b. Genre: Latin motet Dido and Aeneas, Act 3 c. Context: For devotional services a. Date: 1689, Baroque b. Genre: English operac. Context: presented at a London h. Melody: Tenors sing chorale melody in boarding school for girls unison, set against moving d. Medium: Soprano and small orchestra countermelody in strings with continuo (Baroque period i. Harmony: Bright, major key (E flat) instruments) 10) George Frideric Handel: Messiah No. 18, Aria, e. Characters: Dido, Queen of Carthage; Rejoice greatly Aeneas, adventuring hero; Belinda, a. Date: 1742, Baroque Didos maid b. Genre: Oratorio, in 3 parts. Part 1 is f. Rhythm/Meter: Free recitative the Christmas section; part 2 is the followed by a slow aria in triple meter Easter section, and part 3 tell of the g. Form: Recitative (secco) and aria in 2 redemption of the world through faith parts (AB, each repeated) over a c. Context: Handel composed Messiah as ground bass an Entertainment, to recoup a Dublin h. Melody: Recitative with half-step concert halls financial losses. Now, movement; aria more lyrical Messiah is performed often during the i. Harmony: Based on repeated Christmas and Easter seasons chromatic ground bass, stated 11 d. Medium: soprano vocal solo and times orchestra (strings and continuo) j. Text: Libretto by Nathum Tate e. Text: compilation of biblical verses k. Basis: Virgils Aeneid from Old and New Testaments. The 8) Johann Sebastian Bach: Cantata No. 140, Wachet text for rejoice greatly is from the auf (Sleepers, Awake), No. 1 Choral Fugue New Testament a. Date: 1731, Baroque f. Form: da capo aria (ABA, with the b. Genre: Chorale fantasia second A written out and abridged) c. Texture: Polyphonic and imitative 11) George Frideric Handel: Messiah No. 44 Chorus, d. Medium: 4-part choir (SATB), with Hallelujah strings, double reeds, horn, bassoon, a. Date: 1742, Baroque organ, violin, and piccolo
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