|
|
|
|
|
| Music Theorist, wrote that only music composed in the last 40 years is good. |
|
|
|
| Emphasizes 3rds and 6ths, English Consonance, Dunstable, Panconsonant, homogeneous, 14th C Elnglish polyphony, clear declamation of Latin texts and melodic fluidity |
|
|
|
| English, Names after location found, Contains music of Power & Dunstable, mass parts |
|
|
|
| English, use of isorhythm, contenance Angloise |
|
|
|
| Heavy Weight, Master English composer of Contenance Angloise, Paired mass movements |
|
|
|
Shorter Talea (rhythm)
Longer Color (Pitches) |
|
|
|
| Motet Bases on Isorhythm, Ars Nova/ de Vitry |
|
|
|
| Early 15th C. Monophonic secular |
|
|
|
| 1400-1474, early 15thc. major composer, fauxbourdon; Missa se la face ay pale |
|
|
|
| Song of courtly love, *rondeaux, virelai, ballades |
|
|
|
| Frottola proper, barzelletta, Stamotti, |
|
|
|
|
|
|
| basis of Missa Se la Face ay Pale Mass, first secular cantus firmus |
|
|
|
| adding improvised parallel 4ths & 6ths above melody |
|
|
|
| 1400-1460; 60 sacred pieces, 55 chansons, style of Dufay |
|
|
|
|
|
|
| link between motet and madrigal; popular form by marco Cara |
|
|
|
| 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 |
|
|
|
| Cantus Firmus mass of Ockeghem |
|
|
|
| Double canon, single line written, one performer performs twice as fast |
|
|
|
| Anglican rite of the Church |
|
|
|
| foot washing song from anglican service, used in many CF (once attributed to Dufay, but likely not him) |
|
|
|
| secular tune, basis of many cantus firmus masses by many composers |
|
|
|
| Chansons 3-4 voices; homogeneous texture, V-I cadences, missa l’homme arme; syncopation |
|
|
|
| AbbaA; burgundian, single stanza virelei |
|
|
|
| book/collection of chansons |
|
|
|
|
|
|
| Chansonniers, Duke Sforza assembled Compere, Agricola and Josquin |
|
|
|
| house of d’Este composer, Frottola master |
|
|
|
| house of d’Este composer, Frottola master |
|
|
|
| First Major music publisher/printer, Venice 1504-1514 |
|
|
|
| 1501 first collection printed by petrucci of secular songs |
|
|
|
|
|
|
| Over the alps, 1588, translated collection of latin motet into english |
|
|
|
| Innsbruch; Josquin Contemporary |
|
|
|
| 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. |
|
|
|
| Head motive, unites mass settings |
|
|
|
|
|
|
| compose 1 line, then another, then another |
|
|
|
| compose vertically, thinking of equal importance of parts, harmonically |
|
|
|
| Master composer, form, rhythm, accentuation, text painting, published by petrucci, 20 masses, secular cantus firmus |
|
|
|
| exact copy of 1 line to bass mass on |
|
|
|
| mass based on the name of the patron (single line) |
|
|
|
| approximate copying of single line |
|
|
|
|
|
|
|
|
|
Petrucci = Venice
Susato = Antwerp
Attaingnant = Paris |
|
|
|
| Word Painting, Pervasive imitation, parody / imitaiton mass, studied w/ Josquin |
|
|
|
|
|
|
|
|
|
| 1445-1506, Franco Flemish, successor to Busnoys, elegant courtly music. CF Chanson |
|
|
|
| Old School, did not follow Josquin |
|
|
|
|
|
|
| 2nd phase composer, 1490-1562 |
|
|
|
3 phases:
1 1520-1550 Chordal, brief imitation; limited word painting, 4 voice
2: 1550-1580increased imitation
5-6 voices, greater voice equality
Hire a custom writer who has experience.
It's time for you to submit amazing papers!
order now
3. 1580-1620 5-6 voices, pervasive word painting, chromaticism of text
unusual harmonies, MONTEVERDI |
|
|
|
| instrumental music, leads to fugue of baroque |
|
|
|
| Easter Motet, one of four sequences kept by council of trent |
|
|
|
| published in odhecaton by petrucci |
|
|
|
| 1500-1562 sacred composer, |
|
|
|
| 1500-1562 sacred composer, |
|
|
|
| arrangments of plainchant for keyboard |
|
|
|
| 1470-1447 Florentine Camarda, linguist |
|
|
|
| 1495-1545 Sacred english composer, short melodic statements turned into sequences |
|
|
|
| 1505-1585 40 voice motet english composer |
|
|
|
| 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 |
|
|
|
| Allemande, courante, pavane, galliard, alterello, passamezzo |
|
|
|
| 1517 Luther 99 questions lots of music, Calvin less music, no instruments |
|
|
|
| Catholic response to reformation, 1545-1563, banned secular C.F., all sequences except 5, placed importance on understanding words. |
|
|
|
| C1588 translated collection of Italian motets into English |
|
| List Mass Composition Techniques |
|
Sine Nomine
Head Motive
Soggetto Cavato
Cantus Firmus
Polyphonic = Imitation / Parody |
|
|
|
Crucifix form, Cori Spizzati
1. Willaert
1. Antonio Gabrielli
2. Giovanni Gabrielli
3. Claudio Monteverdi |
|
List composers:
1. English
2.Burgundian
3. Franco-Flemish 1st
4. Franco-Flemish 2nd |
|
1. Dunstable & Power
2. Dufay & Binchois
3. Ockegham & Busnoy
4. Josquin & Obrecht |
|