LISTENING LIST for the FINAL EXAM

HWM8, Chapters 7-12

[Numbers refer to the NAWM numbers]

Chapter 8

32 Alleluia: A newë work

Recognize this a 15th-century English carol with burdens (refrains) and verses and the sound of faburden

33 John Dunstable, Quam pulchra es

Recognize this as an early 15th-century motet by Dunstable with the sound of faburden

34 Gilles Binchois, De plus en plus

Recognize this as a 15th-century chanson from the court of Burgundy

36 Guillaume Du Fay, Christe, redemptor omnium

Recognize this as a 15th-century Burgundian setting of a hymn that uses fauxbourdon

37b Guillaume Du Fay, Gloria from Missa Se la face ay pale

Recognize this as being part of a 15th-century Burgundian cantus-firmus mass by Du Fay

Chapter 9

39 Jean de Ockeghem, Kyrie from Missa prolationum

Recognize this as late 15th-century mass by the Franco-Flemish composer Ockeghem and a double mensuration

canon

40 Henricus Isaac, Innsbruck, ich muss dich lassen

Recognize this as a late 15th-century Lied by Isaac that was later used to create the contrafact “O Welt, ich muss

dich lassen”

41 Josquin des Prez, Ave Maria . . . virgo serena

Recognize this as a late 15th-century motet by Franco-Flemish composer Josquin

42a Josquin des Prez, Kyrie from Missa Pange lingua

Recognize this as an early 16th-century paraphrase mass by Franco-Flemish composer Josquin based on the hymn

Pange lingua gloriosi

43 Josquin des Prez, Mille regretz

Recognize this as an early 16th-century chanson by Franco-Flemish composer Josquin

Chapter 10

44b Martin Luther, Nun komm, der Heiden Heiland

Recognize this as a chorale by Luther created by adapting the Roman Catholic hymn Veni redemptor gentium

44c Martin Luther, Ein feste Burg

Recognize this as newly-composed chorale by Luther (and the most famous of all Lutheran chorales)

44d Johann Walter, Ein feste Burg

Recognize this as a four-part setting of Luther’s famous hymn in Lied style, with the tune in the tenor

45a Loys Bourgeois, Psalm 134: Or sus, serviteurs du Seigneur

Recognize this as an early metrical psalm in French by Bourgeois for the Calvinist churches

45b William Kethe, Psalm 100: All people that on earth do dwell

Recognize this as a metrical psalm of Psalm 100 in English, using Bourgeois’s tune

46 William Byrd, Sing joyfully unto God

Recognize this as a late 16th-century full anthem for the Church of England

47 Giovanni Pierluigi da Palestrina, Credo from the Pope Marcellus Mass

Recognize this as a Council of Trent-era example of the masses of Palestrina and that it incorporates no pre-

existing tune.

Chapter 11

52 Jacques Arcadelt, Il bianco e dolce cigno

Recognize this as a first-generation, 16th-century Italian madrigal, with music by the Franco-Flemish composer

Arcadelt, in which death is employed as an analogy for sexual orgasm.

55 Carlo Gesualdo, “Io parto” e non più dissi

Recognize this as a late-16th-century Italian madrigal by the Italian composer Gesualdo, who gave great attention

to the text and explored the limits of chromaticism.

56 Claudin de Sermisy, Tant que vivray

Recognize this as a 16th-century chanson, specifically an early-16th-century “Parisian” sort of chanson

59 Thomas Morley, My bonny lass she smileth

Recognize this as a late-16th-century English “madrigal” (it’s actually called a “ballet”), written in emulation of

Italian part-songs of the more-popular type – in this case, the balletto

61 John Dowland, Flow, my tears

Recognize this as a late-16th-century English air or lute song, created by adding words to a pre-existing

(instrumental) pavane, with the standard pavane structure of AABBCC

Chapter 12

62a Tielman Susato, Basse danse La morisque,

Recognize this as a multi-part 16th-century dance in binary dance form

63a Luis de Narváez, an intabulation of Josquin des Prez’s Mille regretz

Recognize this as an arrangement for a plucked string instrument (a vihuela) of a popular vocal work—in this case,

a chanson

63b Luis de Narváez, Cuatro diferencias sobre “Guádame las vacas”

Recognize this as a set of variations on a repeated, commonly-known melody-bass pattern.

65 Giovanni Gabrieli’s Canzon septimi toni a 8, from Sacrae symphoniae

Recognize this as an early example of a polychoral instrumental composition (in this case, an ensemble canzona)

written for St. Mark’s Basilica in Venice.