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From Josquin’s Ave Maria Virgo Serena.
Polyphonic, sacred, vocal piece on Latin text, not Mass Ordinary.
Bold Experimentation.
Greater variety of texts than Mass Ordinary. More personal expression.
Lots of experimentation with forms, textures/ Counterpoints and points of imitation. |
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| From Josquin’s Ave Maria. A passage in which each of the voices imitates a melody once in turn. |
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| Found in Claude de Sermisy’s Tant Que Vivray. Main secular voical piece in French national style. A new style of poetry freed from form fixe. Poetic, more popular. Very syllabic. Lots of homophony, some imitation. Most chords in root position. Not very complex harmony. Light rhythms; stressed syllables falled on stressed beats. Dactyllic rhythm (strong weak weak). Clear division into sections, some of which repeat. |
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| Found in Claude de Sermisy’s Tant que Vivray. Strong weak weak strong metric voicing. Emphasis placed on beats in music as well. |
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| Found in Claude le Jeune’s Revecy Venir du Printans. Coming back to the A theme constantly. Principal recurring theme with contrasting episodes. Themes usually developed contrasted by A theme. |
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Found in Claude le Jenune’s Revecy venir du Printans. Poetry in music according to the Ancients. Were writing what they thought was ancient greek music, ESPECIALLY IN TERMS OF RHYTHM. BECAUSE THEY THOUGHT THAT
GREEKS ACCENTED SYLLABLES BY *LENGTH* NOT BY *STRENGTH*. SO IN MUSIQUE
MESUREE THEY GAVE ACCENTED SYLLABLES LONG RHYTHM [LIKE HALF-NOTE] AND
UNACCENTED SYLLABLES SHORT RHYTHM [LIKE QUARTER NOTE]. IN OUR PIECE THAT
CAUSED *HEMIOLA* RHYTHMS. |
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| Found in Claude le Jeune’s Revecy Venir du Printans. Altering of the rhythm to another meter. In this case, 2 alternating quick bars, followed by two longer bars of triple. Gives rhythmic ambiguity. |
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| Found in Casulana’s Morir non puo il mio cuore. Became most famous form of secular vocal music in later Renaissance, with all sorts of innovative experimentation. Used irregular free poetry; through composed. Opposite of Parisan chanson. CLose relation between words and music, so music expressed poem. Italian madrigals used serious high quality poetry, shifted from. Vocal chamber music. Great musical texture variety. |
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| Comes from Casulana’s Morir non puo il mio cuore. Not having a form, each stanza/strophe is different form. Popular among baroque/romantic composers. Depicts heartbreak as not having structure and free form. |
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| Found in Casulana’s Morir non puo il mio cuore. Uses musical techniques to depict heartbreak. Through composed as portraying pure emotion. |
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| Found in Monteverdi’s Vi Ricorda. Piece for a solo singer with accompaniment. Music is equal to words: opposite of a recitative. Defined rhythm and melody. Tuneful, with a clear form. |
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| Found in Monteverdi’s Vi Ricorda. Light, popular song style. Strophic and lyrical. |
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| Comes from Monteverdi’s Mira deh Mira. Solo vocal piece with melodic line and basso continuo. Specialized music poetry that laments anothers death, in this case Euridice. |
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| Comes from Monteverdi’s Mira deh Mira. Baroque accompaniment trait: composer writes the bassline and the performer improvises above, usually chords. Unique to each performer. Related to figured bass. |
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| Found in Monteverdi’s The Messenger Scene. Composer writes numbers underneath the chords and expects performer to improvise above (6/4, natural sign, etc.). Very popular in Baroque, especially Bach. |
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| Found in Monteverdi’s The Messenger Scene. Opposite of an Ariaa; a type of musical setting in which the singer’s wordsd are given more attention than the music itself. Free rhythms and meter follow accents of the words. Angular melodic lines. Through composed form, with no repetition of large sections of music. Sometimes employs dissonances to show emotion (example of tone painting). |
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| Found in Schutz’s Saul, was verfolgst du mich. When a musical force (chorus) is divided up into sections and put against each other with independent and equal melodies. Can be used with call and response or other melodies going against each other. Antiphonal parts can serve as uniting force in otherwise hectic work. |
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