|
|
A bba A
Refrain (A) Stanza (bba) Refrain (A)
typically has 3 stanzas
“Foy porter”–Machaut |
|
|
|
aab C
Stanza (aab) Refrain (C)
“Se la face ay pale”–DuFay |
|
|
|
AB a A ab AB
Refrain (AB) Half Refrain (A) Refrain (AB)
“De plus en plus”–Binchois
“Rose, liz”–Machaut |
|
|
|
tradition that exists in West from ~300-1963
entire rep memorized (Catholic)
unison unaccompanied song |
|
|
|
every syllable of text set to a note
“Dixit Dominus” from Vespers for Christmas Day–Anon. |
|
|
|
2-6 notes per syllable
Agnus Dei from Mass for Christmas Day–Anon. |
|
|
|
a chant that contains lots of melismas
Alleluia, “Pascha Nostrum”, Mass for Easter Day–Anon. |
|
|
|
HUGE melisma on a single syllable
contained in Alleluia, “Pascha Nostrum” from Mass for Easter Day–Anon. |
|
|
|
ritual of Catholic Church that celebrates Christ’s death and resurrection
most important service of the Catholic Church
contains ordinary and proper
Mass for Christmas Day–Anon. |
|
|
|
series of prayers that mark times of the day
many chants sung at these rituals
“Tecum principum/Dixit Dominus” from Mass for Christmas Day–Anon. |
|
|
|
single tone around which chant focuses
“Dixit Dominus” from Vespers for Christmas Day–Anon.
formula for how to sing long bits of text and come to punctuation |
|
|
|
two choirs alternate singing verses
“Dixit Dominus” from Vespers for Christmas Day–Anon. |
|
|
|
cantor (soloist) sings, choir responds
Alleluia, “Pascha Nostrum”, Mass for Easter Day–Anon. |
|
|
|
days which commemorate days in the life of Christ
Mass for Easter Day–Anon.
Vespers for Christmas Day–Anon. |
|
|
|
| fixed days which honor specific saints |
|
|
|
new info added to preexisting text/composition, often to comment upon it
organum complex Alleluia, “Pascha Nostrum”–Leonin, Perotin, and others |
|
|
|
“dawn song”
what the lookout sings while his friend is having a romantic affair
“Reis Glorios”–Giraut de Borneil |
|
|
|
poet-composers in the S of France, 12th century
texts tended to talk about courtly love
Giraut de Borneil |
|
|
|
homophonic, voices moving in parallel intervals (usually 5th)
organum from book Musica Enchiriadis |
|
|
|
intervals not entirely parallel
start and end each phrase in unison
Alleluia, “Justus ed palma” |
|
|
|
drone underneath and new music/melismas over the top
notes in drone=orignial part of chant
Alleluia, “Pascha Nostrum” by Leonin, Perotin, and others |
|
|
|
style of organum (12th-13th cent.) that includes rhythm in the upper and lower voice
lower voice still original chant
Alleluia, “Pascha Nostrum”–Leonin, Perotin, and others |
|
|
|
discant without additional text
Alleluia, “Pascha Nostrum”–Leonin, Perotin, and others |
|
|
|
discant with words added that are a gloss/commentary on original text
Alelluia, “Pascha Nostrum”–Leonin, Perotin, and others |
|
|
|
a type of isorhythm that contains a repeating rhythmic unit
Kyrie from Messe de Nostre Dame–Machaut |
|
|
|
a type of isorhythm that contains a repeating series of pitches
Kyrie from Messe de Nostre Dame–Machaut |
|
|
|
Medieval and Renaissance “retirement plan”
often held in absentia
Leonin and Perotin held these in Paris vicinity
Machaut, DuFay, and Josquin also held them |
|
|
|
basically the staff of an important Medieval/Renaissance person (king, duke, pope…)
included musicians/priests, instrumentalists, learned people, and courtiers
chapel took care of sacred things
entourage took care of secular things
Machaut, Dunstable, DuFay, Josquin, Palestrina, Monteverdi |
|
|
|
French vs. English
English chapels present in France, lots of music trading going on
Dunstable’s “sweetness of the English style” quickly disseminated (less than 10 years!)
“Quam Pulchra Es”–Dunstable |
|
|
|
Catholic council called to decide on one pope
brought together ecclesiastical officials from all over
many singers/composers first heard English music
“Quam Pulchra Es” |
|
|
|
composers who received training in N France and came down to work in Italian courts
15th century
Josquin and DuFay |
|
|
|
pre-existing melody drawn from chant or secular source
used as basis for polyphonic setting of mass cycle
15th cent.-mostly in tenor in prolonged notes
16th cent.-distributed to all voices equally
in Kyrie from Missa Pange Lingua–Josquin |
|
|
|
polyphonic setting of ordinary of mass organized around single concept/scaffold/idea
Missa Se La Face Ay Pale–DuFay (every movement has cantus firmus from ballade of same name) |
|
|
|
only the tenor has the cantus firmus in this mass
usually tenor has longer note values than other voices
Kryie from Missa Se La Face Ay Pale–DuFay |
|
|
|
phrase/motto repeated in all voices within texture
“Ave Maria…Virgo Serena”–Josquin |
|
|
|
first fully printed book of music
published by Petrucci 1501
secular vocal/instrumental music of Josquin (“Adieu, mes amours”) and other composers |
|
|
|
simple religious song sung by congregation in Protestant service (aka hymn)
originally monophonic, later polyphonic, simple forms
“Ein Feste Burg”–Luther |
|
|
|
Counter-Reformation reforms carried out here
abolished absentee benefices–>composers began to stay in their own countries
sacred music became “more intelligible”–>words drawn out into longer statements, turned to composers like Palestrina
abolished “seductive/impure” sources from sacred music (eliminated secular cantus firmus from mass and motet) |
|
|
|
mass cycle that spreads cantus firmus through all voices
chant bit used at beginning of phrase, then free composition
Missa Pange Lingua–Josquin |
|
|
|
mass in which each movement is based on same polyphonic model (chanson or motet)
Missa O Magnum Mysterium–Victoria |
|
|
|
secular polyphonic composition
16th cent. Italy or England
includes text painting
love, lust, nature
“As Vesta Was”–Weelkes |
|
|
|
madrigal composers especially used this
music create sonic representation of words for effect
“As Vesta Was”–Weelkes |
|
|
|
harmony more important than words
rules must be followed
Josquin’s masses/motets
Pope Marcellus Mass–Palestrina |
|
|
|
words more important than harmony
composer could break rules where words required it
“A un giro sol”–Monteverdi |
|
|
|
vocal style w/ single voice over basso-continuo-like accompaniment
patterned after Greek style, Galilei promoted this
“Amarilla mia Bella”–Caccini |
|
|
|
characteristics of both aria and recitative
possibly melisma, melodic repetition
can be emotional yet also deliver imp. plot points
Pastore speeches from L’Orfeo–Monteverdi |
|
|
|
collection of members of nobility in Mantua
discussed books/music/poetry b/c wanted to be cultured and knowledgeable
partially responsible for production of Monteverdi’s L’Orfeo |
|
|
|
ensemble of instruments or voices w/ 1+ instruments, or a work for such an ensemble
generally has basso continuo support
“In Ecclesiis”–Gabrieli |
|
|
|
composition uses different divided groups and puts them in differing spaces
Vespro della Beate Virgina–Monteverdi |
|
|
|
used in 15th and 16th century
choir freeform chanting while sitting on one chord
comes to a cadence
“Dixit Dominus” from Vespro della Beate Virgine–Monteverdi |
|