Answer the following questions in 2 to 3 paragraphs each. Be specific in your answers, and give examples from the pieces you discuss. However, I do not expect you to cite specific moments in each piece (no need to use time-stamps).Compare the relationship between text and music in THREE of the following works: 1) Hildegard of Bingen’s "In Principio Omnes" from Ordo Virtutum, 2) Il bianco e dolce cigno by Arcadelt 3) Cruda Amarilli by Monteverdi and 4) Strozzi’s Lagrime mie What is the nature of each composer’s approach to text-setting? What is the overall musical texture? Does the composer of each work employ any techniques for text-depiction or text-expression? (Check the class glossary on Canvas for a specific definition of the highlighted terms. Translations of the text for each are available under the “files” tab on our Canvas site.) (10 points)Discuss the relationship between the following works and the cultural/religious/political context in which they were written: 1) the “Agnus Dei” movement from Palestrina’s Pope Marcellus Mass and the Council of Trent 2) Haydn’s Symphony No. 100 “Military” (second movement) and the decline of the Ottoman Empire. In what way does the music of each composer reflect these contexts? Discuss specific characteristics of the music. (10 points)Drawing on the assigned reading, discuss THREE of the following: 1) the development of notation, 2) the development of the printing press and the popularity of amateur-music making during the Renaissance (ex. madrigals), 3) the role of publishing in the career and legacy of Barbara Strozzi and 4) the role of publishing in the “Bach Revival.” Cite the ideas, and any quotes, that you have drawn from the assigned reading. (10 points)

Minimum 750 words. You are required to fully identify , date and describe details in the works of art to make your argument. You do not need to add illustrations. If you use any sources from the internet, you must list them at the end of the paper. I am looking for your own descriptions, observations and opinions, not cut-and-paste from webpages. I will check key words so use extreme caution and be honest by directly quoting sources. Close Looking- A Comparative analysis of Masaccio vs. CampinMasaccio’s Holy Trinity and Rogier Campin’s triptych of the Merode Altarpeice were painted at about the same time. Compare and contrast them from the point of view of: 1) scale ( intimate private devotion versus life-sized scale for public viewing); 2) handling of the medium ( tempera vs. fresco) ; 3) treatment of space ( domestic versus monumental, intuitive vs. measured space) and; 4) “contemporary ” references that would affect the viewer’s experienceWhat is inconsistent about Campin’s definition of space, and points of view? Explain how Masaccio’s use of vanishing point perspective makes his painting more of an “event” from the point of view of the person standing right in front of it. How do the two works reflect the different concerns of Italian and northern European artists? ( obsession with textures, miniature details, and lighting effects, vs. complex and precise definition of a plausible space that appears to project in front and behind the figures)Look at the symbolic references in each painting. Identify the “disguised” symbols in the everyday objects in the Merode altarpiece. Where are the patrons located in each work and how do their how similar poses reflect upon the sacredness of the scene? What is the Virgin Mary doing in each painting? Where is the holy spirit indicated in each painting? How is the sacrifice of Christ portrayed in each painting?In each painting locate the various symbolic references to past, present, and future times, including the immaculate birth of Christ, the defeat of the devil and the inevitability of human death. Identify the various “here and now” details in each work that augment the “reality” of what is being shown to the viewer.Compare and contrast the various references that these artists make to the world beyond the scenesthey depict ? ( city life, continuity with an actual chapel). Why do you think that Campin included ”anachronistic” views outside the windows and doors in the Merode Altarpiece that do not describe ancient Bethleham? Why do you think Masaccio was so concerned with defining an architectural space behind and in front of Christ in the Holy Trinity? How does “illusionism” in each work of art operate to make it seem as if the religious vision is happening in real time and space?