What two theorist supported the consonance of the triad?

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Johannes Tinctoris (1435-1511)

Romas de Pareja (c.1440- c.91)  

 

2 types of parallel first inversions.

Explain.


English discant/faburden- original melodic material in midle voices

 

French/Flemish Fauxborden (false harmony)- original melodic material in lower voices

 


Mode is determined by what?



Finalis & range of the tenor

 

 

Musica Ficta

 

False music- notes outside of hexichord

 

(derived from hexichord system (Guidonian Hand))

 

Notes in hexichord are called

 

Musica Versa/ Musica Recta

(ut, re, mi, fa, sol, la)

 


Causa Necessitates 


-When necessary


-avoid augmented fourth & other dissonance 


-avoid cross relations 

 


Casa pulchritudinis 


-for beauty 


-3rd to unison made minor


-6th to 8ve made major

 

 

Voice Parts 

  • 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)

 

Two primary composers 

 

John Dunstable (c. 1390- 1453)

 

Guillaume Dufay (c. 1397- 1475)

 


John Dunstable info


 

service of English duke of Bedford

 

John Dunstable work

 

 

-isorythmic motets 

-sections of the Mass Ordinary 

-secular song

-3part settings of miscellaneous litergical texts

 

countenance Angloise 

Dunstables style was refered as this


-chords included thirds

-passages in faburden 

-polyphonic lines in consonance w/ other polyphonic lines 

 




Dufay info.


-born around Burgundy; choir boy in Cambria

-important techer of succeeding composers

-established Franco-Flemish style

 




Dufay’s work

;

-secular music

-motets, Magnificats, hymns

-chansons;

-7 compleate Masses; 28 individual Mass movements;

;

“Nuper rosarum flores”

-Dufay

;

;

-resembled minature Masses in technique and scope;

-dedication to dome of Santa Maria del Fiore Cathedral in Florence;

;

;

;

Second generation of Burgundian Composers

;

-Johannes Ockeghem

;-Jacob Obrecht;

-Gilles de Binchois

-Antoine de Busnois

;

Sacred in early Renaissance

;

;

;

;

-camtus firmus

-cannon

-soggetto cavato

-paraphase;

;

cantus firmus;

;

-tenor Mass, cantus firmus int he tenor

-Missa Choralis, cantus firmus in plainchant;

;

;

Soggetto cavato

;

;

melodic materials derived from the solmization of a name or textual phrase

;

;

paraphrase;

;

;

ornamented plainsong or secular melody in imitation;

;

;

sacred middle and late Renaissance;

;

;

-parody

-motto

-freely-composed;

;

freely composed

(missa sine nomine);

;

;

without a name;

;

;

motets

;

;

;

text not part of the Ordinar

;

;

3 principal functions of motets;

;

;

-liturgical, based on text or plainchant;

-devotional, non-liturgical text;

-special occasions;

;

3 developments in French chansons;

;

;

-rhythmcic equality of voices

-pervasive imitation; successive points of imitation;

-abandonment of forms fixes, except rondeau

;

;

Italian fottola;

;

;

-mostly three-four part

-syllabic setting with homorhythmic texture

-melody in top voice;

-lively dance rhythms

-lighter poetry

;

;

;

Josquin des Prez

;

;

;

earliest composers with music remaining in performane repertoire;

;

;

Perez’s biography


-born in France 

-singer at Milan Cathedral

-singer for Duke of Galeazzo Sforza (Milan)

-provest of Notre Dame in Conde-sur-l’escaut

;

;

Prez’s style

 

 

-specific text underlay rather than left to judgment of singer

-word painting

-para-tactic construction 

-perfect consonances on final cadences

 

 

word painting

 

 

 

 

 

music portrays scene or action suggested by word

 

 

paratactic construction   

 

 



-(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

 

 

Prez’s work

;


-18 Masses ; 6 Mass movements

-95 motets;

-70 chansons

;

;

Franko-Flemish Contemporaries;

;

;

-Heinrich Issac

-Pierre de al Rue

-Jean Mouton

;

;

Heinrich

(biography)

;

;


-service to Medici family in Florence;

-court composer to Maximilian 1 in Vienna and Innsbruck

-return to Florence

;

Heinrich

(work)

;


-30 settings of the Mass Ordinary

-Choralis Constantinus

-secular Lied

;

;

Choralis Constantinus

;

;

;

;

;

polyphonic setting of the Propers for the entire church year

;

;

secular Lied;

;

;

-four voices

-3 overlapping points of immitation transitioning to a final homorhythmic phrase

-note ficta accidentals indicated above the staff;

;

;

Pierre de al Rue

;

;

-famous setting of the Requiem

-similar to Josquin in work and style;

;

;

Rue’s Requiem

 

 

-first complete polyphonic setting 

-substitutes “Sicut cervus” for the Sequence “Dies irae”

 

 

Jean Mouton

 

-service for the French Royal Chapel

-Masses transition from earlier cantus firmus techniques to paraphrase and parody

-teacher of Willaert

instrument classification

whistle or reed

lip buzz

string instruments

percussion instruments 

solo instruments

insttruments in families or consorts

 

-whole consort, ensemble of all one consort (homogenous)

-briken consort, ensemble of more than one consort (contrast)

whistle or reed

recorder

transverse flute

krumhorns

shawms

lip buzz

cornetts/ zink

trumpets

trombones or sacbuts

string instruments

viols

lute

clvicord

harpsicord

percussion instruments

metallic

drums

snare drum

nakers

kettle drums

 

 

solo instruments

 

-organ 

-clavier

-lute

 

 

 

clavichord 

&

harpsichord

 

 

tone produced metal tangent striking string

&

tone produced by feather quill plucking string 

 

 

lute

 

 

 

pear/avocado shape

-fretted

-pegbox turned at right angle to fingerboard