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| “new art” created in 14th century |
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| New Musical Things of 14th Century |
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| Time signature, rhythm, duple metor |
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| “old art” of the 13th century |
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| Babylonian Captivity of Pope |
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| 1305-1378, Vatican was dangerous, Pope moved over France border |
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| Church importance of 14th c |
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| Less important than 13th century |
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| Official resolution of Multiple papcy |
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| 1338-1453 between English and French, fought in France |
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| Bubonic Plague- 1348-1450 |
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| Canterbury Tales- beginnings of realism, 3-D characterizations |
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| perspective visual art, realism, humanism |
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| Ars. Nova was in France during 14th c. and Trecento was in Italy during 14th c. |
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| Philippe de Vitry (d 1361) |
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| Ars nova Treatise (1325)- French |
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| French- rhythm, and tempus perfectum/imperfectum and prolatio perfecta/imperfecta |
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| one measure worth of beats |
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| Division of brevis (measure) |
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| refers to division of brevis |
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| refers to division of semi-brevis |
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| Tempus perfectum, prolatio perfecta |
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| 3 minima per semi brevis, 3 semi brevis per brevis (modern 9/8) (.) |
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| Tempus perfectum, prolatio imperfecta |
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| 2 minima per semi brevis, 3 semi brevis per brevis (modern 3/4) () |
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| Tempus imperfectum, prolatio perfecta |
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| 3 minima per semi brevis, 2 semi brevis per brevis (modern 6/8) (. |
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| Tempus imperfectum, prolatio imperfecta |
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| 2 minima per semi brevis, 2 semi brevis per brevis (modern 2/4) ( |
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| Italian Treatus pomerium (quternaria, senaria perfecta, senaria imperfecta, octonaria, novenaria, and duodenaria) |
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| quaternaria (same as Fr. tempus imperfectum, prolatio imperfecta) 2 minima per semi, 2 semi per brevis (2/4) |
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| Senaria Perfecta (same as Fr. tempus perfectum, prolatio imperfecta) 2 minima per semi, 3 semi per brevis (3/4) |
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| Senaria imperfecta (same a Fr. tempus imperfectum, prolatio perfecta) 3 minima per semi, 2 semi per brevis (6/8) |
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| Novenaria (same as Fr. tempus perfectum prolatio perfecta) 3 minima per semi, 3 semi per brevis (9/8) |
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| Octonaria, similar to 4/4, two sets of semi brevis. 4 minima per 2 semi, 2 semi per every 1 semi, 2 semi per 1 brevis |
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| duodenaria, like 6/4. two sets of semi brevis. 4 minima per 2 semi, 2 semi per 1 semi, 3 semi per 1 brevis |
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| French, ABbaA (same as Ballata) |
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| French, AaB- Analog of German bar form |
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| French, AbaAa’bAB- not like modern rondo |
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| Italian, ABbaA (same as Virelai). Ripresa-A, piedi-Bb, Volta-a |
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| Italian, AB, not same as Renaissance. Meter change. Subject: Unicorns, white peacocks, fanciful fantasy |
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| canon 2 voice. plus instrumental tenor. Rough, outdoorsy, hunting scenes, yelling, other effects, often AB w meter change |
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| Double leading tone cadence |
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| Scale degree 2->1, sharp4->5, 7->8 (harmonic cadence) |
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| (melodic cadence) scale degree 8-7-7-6-8 |
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| Just in tenor part. Tune element applied to unequal rhythm element (rhythm of Row Your Boat, tune of Frere Jaques) |
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| Rhythm element (in Tenor) |
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| In all voices there is isorhythm. |
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| Catch in breath, like a hiccup. Syncopation, voice exchange. |
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| Messe de Notre Dame-First unified polyphonic mass setting of the ordinaries (all 5 composed by same guy) |
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| Poet and composer, idea of music that enthralls animals (Orpheus myth) |
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| Musician who crosses over enemy line after 100 yr war to play for French- Suspension, English Discant, and insipient |
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| 3rds, 6ths, first inversion chords repeated |
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| 15th Century English Discant vs French faux bourdon |
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| Discant- first inversion chord with melody in middle note, French bourdon- First inversion chord with melody on top voice |
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| long line of Bugundian Dukes, King John (the good)->Philip (the bold)->John(the fearless)->Philip (the good)->Charles (the bold)–> Created a group of artists, called “chapel” |
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| Dufay (d1474) and Binchois (d1460) |
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| Triplum duplum tenor–> Discantus contratenor tenor–>Discantus (superius->soprano) contratenor altus tenor contratenor bassus |
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| Missa Choralis, Cantus Firmus Mass, Motto Mass, Parody Mass, Missa sine nomine |
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| mass based on set chant melodies (pre-existing chant melodies), different melody on each part |
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| All parts based on same melody, melody not necessarily from chant |
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| Each section begins with same musical idea |
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| Specific melody and applies it to a situation (happy birthday in minor elaborated) |
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| No-name mass, generally a “naughty” topic not accepted by church or completely new material |
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| missa Hercules dux Ferrariae- written to honor famous person |
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| Missa Hercules dux Ferrariae |
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| Written by Josqui, worked in Ferrariae (re ut re ut re fa mi re) |
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| Joannes Ocheghem, pupil of Dufay–> connected to Burgundian |
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| Ocheghem taught… Obrecht (d1505), Joaquin des Prez (very greates, d 1521), Pierre de la Rue (d1518), Heinrich Isaac (d1517), Antoine Brumel (d1520), Compere (d 1518) |
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| Ocheghem, Mass using progressive canon throughout movements. New, different, modern! Imperfect intervals used |
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| frottola, madrigal, Parisian chanson, German polyphonic Lied |
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| Italian, simple texture, precursor to Renaissance madrigal, unrequited love Cara (d1525) Tromboncino (d1535) |
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| Festa (d1545) Arcadelt (d1560), what we know as Madrigal now |
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| France- Duple meter (1 2+ 1 2+, or quarter eighth eighth) Onomatopoeia, bird calls. Fevin (d1512) Mouton (d1522) Clement Jannequin (d1560, important) |
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| Polyphonic Lied of Germany |
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| Nature fetish, Isaac (d1517) and Senfl (d1543, friend of Martin Luther) |
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| Lasso (d1594) and Palestrina (d1594)- Late century developments |
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| Important counterpoint composers, preference from 4 voice-> 5 voice-> 6 voice |
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| Chromaticism and Vernacular Language |
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| Gesualdo (d1613) and Marenzio (d1599) |
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| Chromaticism and Gesualdo was CRAZY! |
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| Venetian Polychoral School |
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| Architecturally driven, text important, obsessed with Ancient Greek music, MOTET, chori spezzati (antiphonal), intonazione, concertato, canzona, etc. |
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| divided choir (antiphonal, choir v. choir) |
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| introductory passage before choral piece |
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| Contrast! (loud vs. soft, men v. women, instrument vs. voice) |
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| Italian chanson- (1 2+ 1 2+, quarter eighth eighth) |
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| Either busy fingers piece or fanfare |
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| Where everything went down in da’ venetian hood, oh yeah! |
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| Group that produced all the Venetian stuff |
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| Florentine Poet of Camarata |
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| Venetian Scientist (uncle of Gallileo), in Florentine Camarata |
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| Daphne (1597) and Euridice (1600) |
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Daphne- 1st opera, was lost, written by Peri
Euridice- 1st surviving opera, written by Caccini and Peri |
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| Collection of music (solo, voice) by Caccini, starts Baroque style (recognizing chord as unit, intro unprepared dissonance, figured bass as system and new ornaments) |
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| society of men, Bardi and Corsi- aristocrats, Rinnuccini- poet, Galilei- scientist, Peri and Caccini- musicians–> came up with the chord, figured bass, ornaments |
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| Peri- Daphne, Both- Euridice |
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| Caccinis treatise (1602)- figured bass, chord as unit, new ornaments (Florentine Camarata, particularily Caccini and Peri) |
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| Very important, both Florentine and Venician styles. Wrote Orfeo (1607) and Arianna (1608, lost except for Lament), Il ritorno d’Ulisse (1641) and Coronazinoe di Poppea (1642) |
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| Roman wrote Il Sant’Alessio |
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| Characteristics of Roman opera |
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| Chorus, sacred subject, comic interludes, recitative melts into the aria |
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| Overture : slow/fast (fast section is imitative). stage effects, spectacle, duet arias, vocal ensembles, integrated comedy. |
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| First public opera house (1637) |
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| Il ritorno d’Ulisse (1641) and Coronazinoe di Poppea (1642) |
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| Venitian wrote Giasone, Calisto |
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| Venitian, wrote Il pomo d’oro |
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| opera seria vs. opera buffa, new musical elements, N6, viio7, sinfonia (overture for opera seria, fast slow fast), siciliano (dotted eighth sixteenth eighth rhythm) |
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| Opera seria vs. opera buffa |
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| Seria is tragic (3 acts, comedy between each), buffa is funny (2 or 4 acts) |
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| Neapolitan wrote Griselda and La Rosaura |
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| 5 acts, happy beginning and ending, sad middles. Arch form. Invented baroque style 100 yrs before baroque style. |
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| Happy Orfeo with new lover |
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| Death of Euridice by snake, messenger tells Orfeo |
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| Confrontation, Orfeo goes to underworld and confronts Hades |
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| Hades relents, lovers leave, Orfeo looks back, Euridice dies |
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| Orfeo and Euridice become constellations |
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| Any musical or artistic palindrome |
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| 2 acts, more “weighty”, overture is slow fast (french baroque overture), belcanto. Recitative style aria. Recit and Aria were connected. |
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| Wasteland, Ruse, Lovers, Mashers |
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| Sleeping Endmyon, Jove and Discomfort, Curse on Calisto into Bear, Lovers Rescue, Constellation |
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