Johannes Tinctoris
Music Theorist, wrote that only music composed in the last 40 years is good.
Contenance Angloise
Emphasizes 3rds and 6ths, English Consonance, Dunstable, Panconsonant, homogeneous, 14th C Elnglish polyphony, clear declamation of Latin texts and melodic fluidity
Old Hall Manuscript
English, Names after location found, Contains music of Power & Dunstable, mass parts
Leonel Power
English, use of isorhythm, contenance Angloise
John Dunstable
Heavy Weight, Master English composer of Contenance Angloise, Paired mass movements
Shorter Talea (rhythm)
Longer Color (Pitches)
Isorhythmic Motet
Motet Bases on Isorhythm, Ars Nova/ de Vitry
English Carol
Early 15th C. Monophonic secular
Guillaume Dufay
1400-1474, early 15thc. major composer, fauxbourdon; Missa se la face ay pale
Song of courtly love, *rondeaux, virelai, ballades
Fixed Formes
Frottola proper, barzelletta, Stamotti,
Se la Face ay Pale
basis of Missa Se la Face ay Pale Mass, first secular cantus firmus
adding improvised parallel 4ths & 6ths above melody
Gilles Binshois
1400-1460; 60 sacred pieces, 55 chansons, style of Dufay
Treble Dominated
emphasis on top voice
link between motet and madrigal; popular form by marco Cara
Dukes of Burgundy
Dufay, Binchois, Oeckeghem, Busnoys, Josquin, Isaac all worked for them. “Philip the BOld”, “John the Fearles”, “Philip the Good” “Charles the Bold”
1420-1497; 4 cantus firmus masses; 4-5 voice motets, tenor dominated
Missa de Plus en Plus
Cantus Firmus mass of Ockeghem
Prolation Mass
Double canon, single line written, one performer performs twice as fast
Sarum Rite
Anglican rite of the Church
Caput melisma
foot washing song from anglican service, used in many CF (once attributed to Dufay, but likely not him)
L’homme arme tune
secular tune, basis of many cantus firmus masses by many composers
Antoine Busnoys
Chansons 3-4 voices; homogeneous texture, V-I cadences, missa l’homme arme; syncopation
AbbaA; burgundian, single stanza virelei
book/collection of chansons
Italian Ballata
Chansonniers, Duke Sforza assembled Compere, Agricola and Josquin
house of d’Este composer, Frottola master
Marco Caro
house of d’Este composer, Frottola master
Ottaviano Petrucci
First Major music publisher/printer, Venice 1504-1514
1501 first collection printed by petrucci of secular songs
Carnival Songs
simple strophic songs
Over the alps, 1588, translated collection of latin motet into english
Heinrich Isaac
Innsbruch; Josquin Contemporary
Choralis Constantinus
Chant based polyphonic Motets for the mass proper by Isaac
Istututumina Harmonic Treatise of Zarlino on how he liked 1st practice better
Italian Sacred songs of praise, based off of strambotti, etc.
use of motives
Head motive, unites mass settings
Gravity toward tonality
intro of figured bass
successive composition
compose 1 line, then another, then another
simultaneous composition
compose vertically, thinking of equal importance of parts, harmonically
Josquin des Prez
Master composer, form, rhythm, accentuation, text painting, published by petrucci, 20 masses, secular cantus firmus
Cantus Firmus Mass
exact copy of 1 line to bass mass on
Soggetto Cavato
mass based on the name of the patron (single line)
Paraphrase Mass
approximate copying of single line
Imitation / Parody
Polyphone mass borrowing
new text
Music Printing
Petrucci = Venice
Susato = Antwerp
Attaingnant = Paris
Word Painting, Pervasive imitation, parody / imitaiton mass, studied w/ Josquin
Clemens non Papa
Secret Chromatisism
Pierre Attaingnat
Paris Printer
Alexander Agricola
1445-1506, Franco Flemish, successor to Busnoys, elegant courtly music. CF Chanson
Old School, did not follow Josquin
Tylman Susato
Publisher Antwerp
Adrain Willaert
2nd phase composer, 1490-1562
Italian Madrigal
3 phases:
1 1520-1550 Chordal, brief imitation; limited word painting, 4 voice

2: 1550-1580increased imitation
5-6 voices, greater voice equality

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3. 1580-1620 5-6 voices, pervasive word painting, chromaticism of text
unusual harmonies, MONTEVERDI

instrumental music, leads to fugue of baroque
Victimae paschali laudes
Easter Motet, one of four sequences kept by council of trent
Parisian Chanson
published in odhecaton by petrucci
de Sermisy
1500-1562 sacred composer,
1500-1562 sacred composer,
Setting types
arrangments of plainchant for keyboard
Pietro Bembo
1470-1447 Florentine Camarda, linguist
John Taverner
1495-1545 Sacred english composer, short melodic statements turned into sequences
Thomas Tallis
1505-1585 40 voice motet english composer
Musica Transalpina
Yonge 1588 intalian madrigals translated into english
Morley, Weelkes English Madrigal
late 16th C. 3-6 voices, copies of italian madrigals
to touch, instrumental keyboard work
insturmental direct imitation of the French Chansons “long- short-short”
ground bass, recurring chord prgressions, ex. pucell’s Dido’s Lament
Dance Types
Allemande, courante, pavane, galliard, alterello, passamezzo
1517 Luther 99 questions lots of music, Calvin less music, no instruments
council of trent
Catholic response to reformation, 1545-1563, banned secular C.F., all sequences except 5, placed importance on understanding words.
Describe Transalpine
C1588 translated collection of Italian motets into English
List Mass Composition Techniques
Sine Nomine
Head Motive
Soggetto Cavato
Cantus Firmus
Polyphonic = Imitation / Parody
San Marco
Crucifix form, Cori Spizzati
1. Willaert
1. Antonio Gabrielli
2. Giovanni Gabrielli
3. Claudio Monteverdi
List composers:
1. English
3. Franco-Flemish 1st
4. Franco-Flemish 2nd
1. Dunstable & Power
2. Dufay & Binchois
3. Ockegham & Busnoy
4. Josquin & Obrecht