Music Content Knowledge (5113) Praxis II Exam Already Passed

Music Content Knowledge (5113) Praxis II Exam Already Passed Characteristics of Medieval Era Dominated by vocal music. Sacred Music: Gregorian Chant and Masses. Secular Music: for dance and entertainment (Troubadours/Trouvères) Gregorian Chant melodies that were free flowing with no distinct meter, melismatic, largely monophonic, and sung by unaccompanied voice or choir Organum an early form of polyphony in which voices are sung in parallel motion Masses important religious ritual and featured non-imitative polyphony Motet polyphonic music that was both sacred and secular; major musical form of the Medieval and Renaissance periods taht emerged from medieval organum and clausulae. Secular Music (Troubadours and Trouvères) drone accompaniment, regular meter, syncopations, polyphony, and harmony; by the end of Medieval era became the driving force of musical development Musical Importance of the Mass one of the most important services of the Roman Catholic Church; driving force of musical development in the Medieval and Renaissance eras. The liturgy of the Ordinary was most often set to music. By the Renaissance era; polyphony was common, musical notation had been refined, and complete masses were written by a single composer (e.g. Machaut's Mess de Notre Dame). By the twentieth century the genre declined. The Sections within the Ordinary of a Mass Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Dei Medieval Motet featured a tenor line derived from plainchant with one or more upper voices in French or Latin. The tenor vocal line usually had a short, repeated rhythmic pattern, while the upper voices had contrasting, lively upper voices. The texts of the upper voices were sometimes independent and in a different language from the tenor line Renaissance Motet Referred more to a genre of music than a certain form or structure; by 15th century the motet was known as a polyphonic setting of any sacred Latin text, not restricted to the liturgy. Composers of the Renaissance introduced imitation homophony, and four-part harmony to the motet. polyphony texture of music in which all voices or parts hold similar musical prominence or interest, several distinct melodic lines occurring at the same time; rhythm of each line moves independently of each other homophony several voices or parts, but melodic interest is reduced to a single voice or part, all other voices or parts support the main melody as an accompaniment and mover together in rhythmic likeness; any form of melody and accompaniment texture monophony centers on a single melodic line, does not have supplemental accompaniment parts; a single line of melody embodies the entire work itself e.g. plainchant Characteristics of the Baroque Period music stylistically ornate and heavily ornamented; during this period tonality was established, counterpoint was invented, and the size, range, and complexity of orchestrations were expanded; linear bass line; musical pieces with one affect/or general sound idea Characteristics of the Classical Period prominence of homophony, featured a slower harmonic rhythm than the ornate Baroque music that featured a linear bass line; emphasized a natural melody above textural complexity, music had clear phrases and period structure; pieces now stylistically contrasted within themselves, rather than having one general sound idea Nationalism the movement that was a facet of the Romantic era during the late 19th and early 20th centuries in which music evoked national or regional character of a place; composers used folk music in their compositions either as a direct quote or as a framework for the composition of melodies and rhythms that resemble folk music of the area Nationalistic Composers of Russia Glinka, Borodin, Balakirev, Mussorgsky, Rimsky- Korsakov Nationalistic Composers of Czechoslovakia Smetana, Dvorák, Janáček Nationalistic Composers of Scandinavian Countries Grieg, Sibelius Nationalistic Composers of England Elgar, Vaughan Williams, Holst Nationalistic Composers of Spain Albéniz, Granados, de Falla