Music Content Knowledge (5113) Praxis II Exam With 100% Correct Answers U
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Music Content Knowledge 5113 Praxis
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Music Content Knowledge 5113 Praxis
Music Content Knowledge (5113) Praxis II Exam With 100% Correct Answers UPDATE
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 flow...
Music Content Knowledge (5113) Praxis II
Exam With 100% Correct Answers UPDATE
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
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