AGO Sacred Music Composition & Arranging Flashcards

Which historical hymn-tune meter is indicated by the designation '8.7.8.7.D' (e.g., 'Hymn to Joy')?

Answer: Two stanzas of alternating 8- and 7-syllable lines (doubled)

The 'D' suffix stands for 'double,' meaning the basic 8.7.8.7 pattern is repeated, resulting in an 8-line stanza that doubles the original 4-line unit.

In organ composition, a 'plein jeu' texture refers to:

Answer: A full-plenum texture featuring principals and mixtures for ceremonial or climactic passages

Plein jeu (French, 'full play') designates the classical French plenum of principals and mixtures without reeds, used for opening toccatas, preludes, and climactic liturgical moments.

What does the term 'fauxbourdon' describe in sacred choral composition?

Answer: A 15th-century technique of harmonizing a chant melody in parallel sixth and third intervals with the tenor

Fauxbourdon is a Renaissance technique in which a chant melody (in the upper voice) is accompanied by voices moving in parallel sixths and thirds, creating a characteristic sweet, triadic texture.

When composing an organ introit for a Sunday service, which form is most appropriate to the liturgical function?

Answer: A brief, tonally stable piece (1–2 minutes) that establishes the key and character of the service

An introit functions to gather the congregation and establish the service's character, so brevity, tonal clarity, and liturgical appropriateness are the primary compositional goals.

A 'chaconne' differs from a 'passacaglia' primarily in that:

Answer: A chaconne is traditionally based on a repeating harmonic progression rather than a strictly repeating bass line

While both use a repeating ostinato, a chaconne is more strictly defined by a recurring harmonic progression, whereas a passacaglia emphasizes a repeating bass melody, though the terms have historically overlapped.

In contemporary sacred music composition in the US, the term 'praise and worship' style generally implies:

Answer: Guitar-influenced harmonic language, accessible melodic writing, and verse-chorus song form suitable for congregational participation

Contemporary praise and worship music uses pop/rock-influenced harmonies and forms (verse-chorus), accessible melodies, and straightforward rhythms designed for broad congregational participation.