For each piece:

Note the:

​ Genre
​ Century (give a 100-year period)
​ Country of Origin

For each number above, write a few sentences explaining your reasoning and why your answers are
correct. (Saying “because the internet said so” does not count here – you must justify the answer
you give.)

4 points per answer, including the justification, for a total of 36 points for all three examples.

Then, in one paragraph for each bullet point, describe:

​ Things you see and/or hear that are representative of the genre, time period, and/or the
nationality
​ Things you notice that surprise you, given your knowledge of the genre, country, and century
(if nothing seems unusual, you need to explain why – what sorts of things did you look for
and find?)
​ Potential performance context for the piece – how can you tell?

6 points per paragraph, for a total of 54 points for all three examples.

Example #1

1) Genre: Polytextual Motet

●​ This piece is a great example of a polytextual motet, a style defined by the use of
multiple texts sung at the same time by different voices, each with its own distinct theme.
In this case, the tenor presents a cantus firmus—a steady, foundational line drawn from
plainchant—that supports the sacred, liturgical theme. Above this, the triplum and
motetus add more complex and lively melodies, introducing allegorical or romantic
imagery. This creates an interesting blend of religious devotion and poetic language. The
mix of sacred and courtly elements reflects a common trend in 14th-century French
motets, where spiritual and secular themes were often intertwined. The structure of the
piece, with its overlapping texts and multiple layers of meaning, highlights the intricate
complexity of late medieval motets, making it a prime example of this genre.
2) Century: Late 13th or possibly Early 14th Century (1200- early 1300s period)

●​ This motet is firmly placed in the 14th century, specifically the Ars Nova period, based on
its use of isorhythm and the structural role of the tenor cantus firmus. The rhythmic
complexity and use of shifting time signatures are key innovations of the Ars Nova style,
as outlined in Philippe de Vitry’s treatise. Additionally, the text’s blend of courtly and
devotional themes, particularly the romanticized portrayal of Marian devotion, is a
hallmark of 14th-century French compositions. The intellectual depth of the text,
combined with the musical intricacy, points directly to the late medieval fascination with
complex polyphony and the fusion of sacred and secular ideas.

3) Country of Origin: France

France is the most likely origin of this motet, given the distinct characteristics of French Ars
Nova compositions, such as isorhythm and the blending of sacred and secular themes. The
focus on Marian devotion is typical of French religious music of this period, and the courtly
language in the triplum and motetus mirrors the style of Guillaume de Machaut and his
contemporaries. Furthermore, the use of a cantus firmus in the tenor and the focus on both
devotional and poetic themes aligns with the typical French approach to polyphonic composition
in the 14th century.

Paragraph answers:

[Things you see and/or hear that are representative of the genre, time period, or nationality]

The motet "Vos qui admiramini" demonstrates key elements representative of the medieval
motet genre, the 13th century, and its French origins. The characteristic use of polyphony, with
multiple independent vocal lines, showcases the genre’s complexity and aligns with the stylistic
innovations of the Ars Antiqua period, particularly associated with Paris. The chant-derived
tenor, a hallmark of the motet, anchors the composition in liturgical traditions while allowing the
upper voices to carry more rhythmically and melodically intricate material. The sacred Latin
texts, often drawn from or inspired by the Bible or liturgical themes, further situate the piece
within its sacred and ecclesiastical context, reflecting the religious and cultural priorities of
13th-century France. These features are consistent with the high intellectual and musical
sophistication of this period, emphasizing both devotion and artistic innovation.

[Things you notice that surprise you, given your knowledge of the genre, country, and
century]

One surprising feature of this motet is how seamlessly it blends sacred devotion with secular courtly
love imagery. While the fusion of these themes was common in 14th-century French music, this
piece presents them in a particularly refined and nuanced way. The text’s complexity, with its
theological depth and poetic language, suggests that it was intended for an educated, elite
audience—likely clerics or nobility—who could appreciate the symbolic layers. The integration of
Marian devotion with the idealized love of the court contrasts with simpler devotional music of the
time, offering a more sophisticated, intellectually engaging approach to religious devotion. This
elevated complexity is surprising because it reflects an audience with both spiritual and intellectual
aspirations, showing how music was used to convey both piety and artistic sophistication.

[Potential performance context for the piece – how can you tell]

This motet was likely performed in a cathedral or court chapel, especially during a religious
celebration, possibly honoring the Virgin Mary. The focus on Marian devotion and the ceremonial
tone of the piece suggest that it would have been performed during a liturgical event, such as a feast
day for the Virgin or another important religious occasion. Given the complexity of the music, with its
polytextual structure and intricate counterpoint, it would have required skilled performers, likely
clerics or professional musicians. The text's poetic and theological depth implies that the piece was
not meant for a general congregation but for an educated, elite audience capable of understanding
its layers of meaning. The performance would have been part of a broader ceremonial context, both
as an act of devotion and as a demonstration of intellectual and artistic achievement.

EXAMPLE #2

1) Genre: Italian secular song (Madrigal) or Frottola

2) Century: 1500-1600 - (16th century)

The Madrigal “ Mia Benigna fortuna” is a great example of Early Renaissance Music. The madrigal
genre itself reached its peak during the 14th century, especially in Italy, and was used as a way to
explore human emotion and language through music. The stylistic features of this piece, including
the use of dissonance, chromaticism and expressive progressions, are indicative of late
Renaissance music.

3) Country of Origin: Italy

Italy is a guess, because the composer, Cipriano de Rore was born in Flanders but spent much of
his life working in Italy, where he became an influential figure in the Italian madrigal school. Italy’s
style of music in the 16th century was mostly vocal music, and became the model for Western
music. Italian composers and performers were at the forefront of creating new musical forms and
expressive techniques that would influence the rest of Europe.

Paragraph answers:

[Things you see and/or hear that are representative of the genre, time period, or nationality]
In “Mia benigna fortuna”(Norton Anthology of Western Music) , the rhythmic complexity and use of
isorhythm (repeated rhythmic patterns, especially in the tenor) are characteristic of 14th-century
music, particularly the Ars Nova movement. The treatment of the text, with both liturgical and courtly
love elements, reflects the intellectual currents of the time, as scholars and musicians sought to fuse
sacred and secular elements in their compositions. Additionally, the focus on Marian devotion aligns
with the period's religious fervor.

[Things you notice that surprise you, given your knowledge of the genre, country, and
century]

I’m a bit surprised by how smoothly the voice parts interweave. That’s an indication, though, of a
movement away from the more angular lines of Medieval polyphony towards the smoother voice
leading of Renaissance polyphony. I guess I shouldn’t be surprised by that though, because that
makes sense for the time period I’ve selected. I’m also surprised by how short Kyrie is overall.
Earlier mass movements were much longer (like the Kyrie in Ockeghem’s Missa prolationum). The
range across all the parts of this Kyrie is two octaves and a sixth; I would have expected a slightly
larger range here, since each successive generation of Franco-Flemish composers we studied
expanded the range of their compositions, but this is slightly wider of a range than the Ockeghem, so
it does fit the timeline.

[Potential performance context for the piece – how can you tell]

This madrigal was likely performed in a domestic or courtly setting rather than in a public or religious
one. Renaissance madrigals were crafted for small, private audiences, emphasizing intellectual
enjoyment, emotional expression, and poetic imagery. The absence of religious themes and the
focus on personal, poetic content suggest it was intended for educated and musically literate
listeners. Such performances would have been common in aristocratic or intimate domestic
environments, where the artistry of the music and its interplay with text could be fully appreciated.
The intricate polyphony and expressive text setting further point to its function as entertainment or
artistic enrichment in these refined contexts.

Example #3

1) Genre: Trio Sonata

2) Century: Baroque Era 1600-1700 (17th Century) [note: this is still roughly a 100-year period;
"15th or 16th century" is too broad for an answer here and will not receive full credit]

The Baroque Era, spanning from roughly 1600 to 1750, is characterized by its expressive use of
harmony, intricate counterpoint, and elaborate ornamentation. Basso continuo provided a
harmonic foundation for melodic lines, while counterpoint reached new heights with composers
like J.S. Bach mastering the art of combining independent voices. Ornamentation, often
improvised by performers, enhanced emotional expression, reflecting the era's fascination with
theatricality and drama. The trio sonata emerged as a significant genre, featuring two upper
melodic lines supported by a basso continuo, with contributions from renowned composers such
as Antonio Vivaldi. Baroque music explored dramatic contrasts in dynamics and texture, evident
in both vocal forms like opera and instrumental works for the violin, harpsichord, and organ.
Innovations in form, including the fugue and ritornello structure, highlighted the period’s
creativity and set the stage for the stylistic developments of the Classical era. (Norton Anthology
of Western Music 278)

3) Country of Origin: Italy

The Italian Baroque style is well represented here. The Italian school of Baroque music
emphasized lyrical melody, elegant ornamentation, and clear, structured form—all of which are
evident in this piece.The fast tempo and lively character of the movement, along with the clarity
of harmonic progression, show how Italian composers valued both technical prowess and
emotional expression.

Paragraph answers:

[Things you see and/or hear that are representative of the genre, time period, or nationality]

There is a certain playfulness in the rapid alternations between fast and slow phrases in this
piece, which I expected in a Baroque trio sonata, but Corelli's specific use of syncopation in this
movement is notable. The rhythmic agility and sharp contrasts in dynamics make this movement
less predictable than some other works from the genre. It is a reflection of the growing virtuosity
in Baroque music, where composers were experimenting with faster tempos, more intricate
rhythms, and more varied expressions within the framework of the trio sonata. The overall
bright, intricate texture also aligns with the energetic spirit of the Baroque period, especially in
Italy.

[Things you notice that surprise you, given your knowledge of the genre, country, and
century]

While the Trio Sonata genre is typically associated with Baroque chamber music, the Presto
movement in this piece introduces an unexpected energy. The rhythmic vitality and contrast in
dynamics suggest a more virtuosic approach, pushing the boundaries of what was traditionally a
more refined genre. This virtuosity in the upper string parts anticipates later developments in the
Baroque concerto and is somewhat ahead of its time.

Considering this work is from the late 17th century, it’s surprising how forward-looking it feels,
especially in its use of harmonic shifts and dynamic contrasts. Corelli’s writing here feels very
fluid and modern, especially for the time, considering that full harmonic exploration would not
fully take shape until later in the Baroque period.

[Potential performance context for the piece – how can you tell]

Trio Sonata, would have been intended for chamber performance, likely in private salons or
courtly settings, where small ensembles performed for aristocratic patrons. The piece’s trio
sonata format—consisting of two violins and a basso continuo—suggests it was written for more
intimate performance spaces, such as a drawing room or small chamber. The energetic Presto
movement would have been a highlight, captivating an audience attuned to the virtuosity of the
performers, showcasing both technical skill and the expressive potential of the Baroque
ensemble. At the same time, the piece’s more lyrical and refined sections would appeal to
listeners who appreciated the elegance and emotional depth of Baroque music.