What two theorist supported the consonance of the triad?
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Johannes Tinctoris (1435-1511)
Romas de Pareja (c.1440- c.91)
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2 types of parallel first inversions.
Explain.
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English discant/faburden- original melodic material in midle voices
French/Flemish Fauxborden (false harmony)- original melodic material in lower voices
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Mode is determined by what?
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Finalis & range of the tenor
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False music- notes outside of hexichord
(derived from hexichord system (Guidonian Hand))
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Notes in hexichord are called
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Musica Versa/ Musica Recta
(ut, re, mi, fa, sol, la)
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-When necessary
-avoid augmented fourth & other dissonance
-avoid cross relations
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-for beauty
-3rd to unison made minor
-6th to 8ve made major
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- cantus/superior, highes voice (italian term is soprano)
- contratenor altus, high agains tenor (italian term is alto)
- tenor, “holds” melody
- contratenor bassus, low against tenor (bassus)
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John Dunstable (c. 1390- 1453)
Guillaume Dufay (c. 1397- 1475)
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service of English duke of Bedford
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-isorythmic motets
-sections of the Mass Ordinary
-secular song
-3part settings of miscellaneous litergical texts
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Dunstables style was refered as this
-chords included thirds
-passages in faburden
-polyphonic lines in consonance w/ other polyphonic lines
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-born around Burgundy; choir boy in Cambria
-important techer of succeeding composers
-established Franco-Flemish style
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-secular music
-motets, Magnificats, hymns
-chansons;
-7 compleate Masses; 28 individual Mass movements;
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“Nuper rosarum flores”
-Dufay
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-resembled minature Masses in technique and scope;
-dedication to dome of Santa Maria del Fiore Cathedral in Florence;
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Second generation of Burgundian Composers
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-Johannes Ockeghem
;-Jacob Obrecht;
-Gilles de Binchois
-Antoine de Busnois
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Sacred in early Renaissance
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-camtus firmus
-cannon
-soggetto cavato
-paraphase;
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-tenor Mass, cantus firmus int he tenor
-Missa Choralis, cantus firmus in plainchant;
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melodic materials derived from the solmization of a name or textual phrase
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ornamented plainsong or secular melody in imitation;
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sacred middle and late Renaissance;
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-parody
-motto
-freely-composed;
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freely composed
(missa sine nomine);
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text not part of the Ordinar
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3 principal functions of motets;
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-liturgical, based on text or plainchant;
-devotional, non-liturgical text;
-special occasions;
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3 developments in French chansons;
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-rhythmcic equality of voices
-pervasive imitation; successive points of imitation;
-abandonment of forms fixes, except rondeau
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-mostly three-four part
-syllabic setting with homorhythmic texture
-melody in top voice;
-lively dance rhythms
-lighter poetry
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earliest composers with music remaining in performane repertoire;
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-born in France
-singer at Milan Cathedral
-singer for Duke of Galeazzo Sforza (Milan)
-provest of Notre Dame in Conde-sur-l’escaut
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-specific text underlay rather than left to judgment of singer
-word painting
-para-tactic construction
-perfect consonances on final cadences
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music portrays scene or action suggested by word
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-(changes in texture & mensuration with succeeding phrase of text)
-overlaping points of imitation
-homorhythmic texture on important lines in text
–changes from imperfect (2) to perfect (3) subdivision of the tactus
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-18 Masses ; 6 Mass movements
-95 motets;
-70 chansons
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Franko-Flemish Contemporaries;
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-Heinrich Issac
-Pierre de al Rue
-Jean Mouton
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Heinrich
(biography)
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-service to Medici family in Florence;
-court composer to Maximilian 1 in Vienna and Innsbruck
-return to Florence
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-30 settings of the Mass Ordinary
-Choralis Constantinus
-secular Lied
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Choralis Constantinus
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polyphonic setting of the Propers for the entire church year
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-four voices
-3 overlapping points of immitation transitioning to a final homorhythmic phrase
-note ficta accidentals indicated above the staff;
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-famous setting of the Requiem
-similar to Josquin in work and style;
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-first complete polyphonic setting
-substitutes “Sicut cervus” for the Sequence “Dies irae”
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-service for the French Royal Chapel
-Masses transition from earlier cantus firmus techniques to paraphrase and parody
-teacher of Willaert
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instrument classification |
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whistle or reed
lip buzz
string instruments
percussion instruments
solo instruments
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insttruments in families or consorts
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-whole consort, ensemble of all one consort (homogenous)
-briken consort, ensemble of more than one consort (contrast)
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recorder
transverse flute
krumhorns
shawms
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cornetts/ zink
trumpets
trombones or sacbuts
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viols
lute
clvicord
harpsicord
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metallic
drums
snare drum
nakers
kettle drums
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tone produced metal tangent striking string
&
tone produced by feather quill plucking string
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–pear/avocado shape
-fretted
-pegbox turned at right angle to fingerboard
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