Parisian chanson, melody competes between cantus and tenor, lute and piano arrangements also |
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French dance pair the performers would ornament |
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Much like the ricercar, this particular piece was in minor and had a major third at the end |
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Instrumental, imitative, a French genre has a similar name |
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First ever arrangement was a tenorlied. Strophic, about his hometown |
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Chant incorporated as cantus firmus, alternation btw instrument and choir. 1510 |
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Easy to sing, AAB, militant tone, another composer made it into a tenorlied |
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Uses points of imitation, dissonance, prima practica |
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Six part motet, changing voice combinations, alterations btw homophonic and polyphonic |
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Parody mass on his earlier motet |
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Anthem representative of type of music performed in England cathedrals |
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Variations based on folk song, virginal |
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English madrigal, ABCDCBA form based on contrast of texture |
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Lute ayre, descending tetrachord, AABBCC, through composed |
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Much dissonace, exaggerates text interpretation, madrigal |
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Weird like another piece, but Artusi spoke out against this one |
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One of first compositions indicating embellishment in score, an educational piece |
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Opera, example of new Stile Representativo, monody |
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First truly successful opera, chromatic shapes indicate sadness |
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Considered greatest 17th C opera, contains Dur ti miro duet |
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Concerted motet, simple harmonies, engaging rhythms, short melodies draw attention to text. Singers in different parts of church |
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Concerted motet, textual recall expands this into full motet |
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Chant used as cantus firmus, alternate choir with instrument. 1635 |
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Story taken from book of judges, has Nbii6, oratorio |
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Trio sonata, variation form, 2 violins, basso continuo |
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Has binary form and beginnings of functional tonality |
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Used a technique called scordatura, programmatic sonata |
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