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| First to print with movable type |
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| Wrote rules for counterpoint
Leader in movement for ear over math |
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used panconsonance
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believed to live most of life in France
used triads-Quan pulchra
motets and masses |
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| Used contenance angloise in cantilena motet Flos florum
masses based on single cantus firmus
last to use plainchant repertory
wrote mainly in French
-Missa se la face ay pale
-used secualr cantus firmus
-tenor not lowest voice |
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| Missa Prolationum, uses all prolatios and a canon |
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Ave Maria…Virgo Serena
-pervading imitation with points of imitation
-paratactic
-conjunct motion
El grillo
-antiphonal
Missa Fortuna desperta
-inversion and augmentation
Missa Pangelingua
-paraphrase |
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| Wrote 16th Century Madrigals |
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| First female professional composer
Wrote only madrigals |
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| Composed for keyboards
Works published in first ever published collection of songs for keyboard in England |
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| Lute Songs
English Madrigals |
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| Epitome of Renaissance polyphony
Used imitation |
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| Used imitation
Wrte madrigals, masses, chansons, and Lieders
Wrote musica reservata
Used imitation |
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| Music dominated by thirds, fifths, and sixths |
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| Unnotated line that runs parallel to the uppermost of two notated lines, usually a fourth below |
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| Interpolating lines above and below preexisting melody (done in England)
Fourth above and Thirds or Fifths below |
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| Music that uses many triads, limited dissonance, many thirds and fifths |
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Pervading imitation
Points of imitation
Paratactic Form
Conjunct Motion |
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| Series of musical ideas are repeated in all voices throughout an entire work or section of a work |
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| Places where Pervading Imitation is used |
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| All sections unrelated
A B C D E F G |
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| a cycle of all movements of the Mass Ordinary integrated by a common cantus firmus or other musical device |
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| a thematic idea in multiple voices placed prominently at the beginning of a movement or section of a movement |
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| Written by Ockeghem
Used all prolatios |
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| Cantus Firmus in atleast one voice at all times |
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| Mass built around a common cantus firums
Ostinato, Strict, and Free |
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| At least one of every notated voice generates a second |
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| Incorporate all voices of an existing work into fabric of new work or at least in the beginning |
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| Secular Italian vocal genre of the late 15th and 16th centuries. The texture tends to be chordal and the texts are often lighthearted, comic, or ironic. |
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| Brief passage of duple-meter rhythms within an otherwise triple-meter context |
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| Type of dance popular in the 15th and early 16th centuries. The notated sources preserve only a series of long notes, around which other instruments were expected to improvise their own contrapuntal lines. Letters represented dance moves. |
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| Term coined by 20th century scholars to describe a type of song that emerged in the French capital during the 1520s, featuring predominantly chordal textures |
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| Secular song cultivated in Germany in the 16th century in which the principal melody appears in the tenor voice with three contrapuntal voices surrounding it |
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| Principal genre of Spanish song in the Renaissance. Equivalent to French virelai AbbaA |
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| General term used to describe a variety of Italian song types of the 16th and early 17th centuries. These songs were often to bawdy texts and featured predominantly chordal textures. |
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| A hymn, either in its harmonized form or as a melody alone. Chorales are associated particularly with the congregational music of the Protestant Reformation. |
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| Designation given to many motet-like works on English texts from the 16th century onward. The full anthem is for chorus throughout. The verse anthem alternates choral passage with passages for solo voice and instrumental accompaniment. |
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| Arrangement for keyboard or for a plucked stringed instrument-lute, guitar, vihuela, cittern, pandora-of a work originally writeen for voices |
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| A freely composed work that is improvisatory and preludial in character, often for lute or keyboard. By mid 16th century was identified with polyphonic works for keyboard or for instrumental ensembles. |
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| Speeding u of note values within a theme that has already been presented |
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| Music written for connoisseurs and not intended for wide distribution. Hard for listeners and players; involved unconventional elements of notation, chromaticism, and the use of ancient Greek genera. |
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| A style that emphasized extreme dissonance, unusual harmonic progressions, and exaggerated word-painting. |
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| Tonic to Dominant progression |
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| Dominant to Tonic progression |
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| Unit of music to be repeated in performance immediately after it has been first presented. Two reprises are binary form. |
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| Opposite of Paratactic
One or more ideas unifies all sections |
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| Liturgical, Occasional, Devotional |
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| Much was Rondeau
More homogenous texture, unified rhythm, much pervading imitation |
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| for in home use
player played and worked bellows |
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| Came from monochord
Portable, quite, and capable of being played solo
Operator could control note from beginning to end |
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| Smaller harpsichord
Strings ran at right angles to keys |
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| Viol played between legs or held upright on lap |
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| Sloped shoulder, flat back, fretted fringerboards, six strings tuned in fourths except maj 3rd between middle strings |
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| Often played in groups of 3 for dances and processions
Double reed |
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| Like trombone of today, brass instrument |
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| Through composed
Easy to play
Word painting
Gave way to Villanella |
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| Types of Instrumental Music |
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Intabulations
Abstract works/Freely Composed-toccata, ricercar, fantasia, prelude
Variations-embellished idea in different ways
Dance Music |
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pavane
passamezzo
bouree
saltarello
galliarde
volta
branle
moresca
rondo |
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| modular units of equal length |
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