Any meaningful attempt to appreciate a piece of vocal music must begin with its text‚ if it has one.2 Listener‚ analyst‚ critic and performer must all take the text as their starting point for the simple and obvious reason that that was where the composer almost invariably began. This dictum applies with equal force to solo and choral compositions‚ old music and new‚ nothing diminished by a few notable exceptions. It is now taken for granted that the analysis of a vocal work ought to take at least
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(Hilleviones) Old Norse or Old Scandinavian (2-3c. AD) Futhark Old Icelandic (12c.AD) Old Norwegian (13c.AD) Old Danish(13c.AD) Old Swedish (13c.AD) 3. West G.( Ingvaeones‚ Istaevones‚ Herminones): Anglian Frisian Langobardian Jutish Saxon Franconian High German: -Alemanic -Thüringian -Swabian -Bavarian OE (7c. AD) Old Saxon (9c. AD) OHG (8c. AD) Old Dutch (12c. AD) II- Modern Lang. 1.West Germ. English German Dutch Flamish Frisian Yiddish Afrikaans 2. North G. L. Icelandic
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instruments accompanied by an orchestra mainly. Large scale. | Mass | Musical work setting the texts of the ordinary of the mass. | Fugue* | Imitative section that is based on a single subject beginning with successive statements of the subject. | Motet* | Polyphonic vocal composition. Sacred/secular text in Latin or French. | Canzona | Instrumental work adapted from a chanson/several contrasting sections often in imitative counterpoint. | Ricercar | Elaborate instrumental composition in fugal
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Outline Mackenzie perales E block A: the renaissance ideals were mostly in the art‚ music‚ and writing. B: the ideals in the renaissance art are: 1. During the fourteenth century Italy witnessed notable changes‚ which throughout the next couple of centuries extended towards northern Europe. 2. The artist wanted to show more emotion in the art than they have ever before. 3. The Renaissance ideals of humanism are expressed in the Italian art of the period‚ through the works of various
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Like other oratorios sacred vocal music is borrowed from opera and Messiah is without the acting but all the vocal fluctuation to depict a scene. There are two traditional factors for all Baroque Era music‚ oratorio and passion‚ Mass‚ cantata and motet. One factor being
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MIDTERM REVIEW SHEET Music 15 – Fall 2013 Date: Thursday‚ October 31 Time: 11:00 am – 12:15 pm (Please be early‚ if possible‚ Value: 40 points (20% of total grade) Format: The exam will consist of listening identification and general knowledge questions‚ definitions‚ and one short answer question. Please bring a black or blue pen. Section One – Listening Identification (15 points) Identification of listening examples from the syllabus (title‚ composer‚ time period‚ genre‚ other elements
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On 1st September‚ 1725‚ I attended a performance of “The Four Seasons”‚ a concerto by the Italian composer Antonio Vivaldi at the Pieta. The composer‚ often known locally as the “Red priest” (Heller‚ 1997) for his ostensibly red hair and ordainment‚ wrote the piece in 1723 in Mantua; Italy’s music sure seems to be increasing in its grandeur. However‚ I would doubt the sincerity of Vivaldi’s concertos; ever since Corelli these instrumental pieces are pumped out massively for the aristocracy (Michalik
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Select 3 musical examples of Renaissance music‚ and describe their musical form. How do these pieces differ in texture from the Medieval period? In “Greensleves”‚ the musical form would be binary with two parts that both relate to each other such as a statement and a counterstatement also known as the AB form. “Country jig” also has a binary musical form with part A being repeated after part B. “ La girometta” has a ternary form with a statement‚ contrast‚ and return or ABA’. These pieces each
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C H A P T E R • • • • 12 Trends and developments Introduction This chapter sets out to highlight a range of current trends affecting the food and beverage manager. It is naturally selective and provides only an initial insight into some of the emerging issues facing the industry. The importance of these issues to different industry sectors and in different countries will vary‚ but the chapter will help you to understand the basics and provide you with a foundation and further details of
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CHAPTER I INTRODUCTION Music of any period reflects‚ in its own way‚ some of the same influences‚ tendencies‚ and generative impulses that are found in the other arts of that time (Donna‚ 2005). Thus the word "baroque‚" usually used despairingly by eighteenth-century art critics to describe the art and architecture of the seventeenth and early eighteenth centuries‚ came to be applied also to the music of the seventeenth and early eighteenth centuries. After some years after the death of Johann
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