De plus en plus

nawm 33

Binchois
Rondeau
1400-1460
F: 1.hemiola
2.lots of syncopation
3.Trouvere/ Troubadour like text
4.Tenor line up then down
Missa De plus en plus: Agnus De

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nawm 37

Jean de Ockeghem
Mass
1450-1500
F: 1.Tenor line from Binchois de plus en plus (cantus firmus)
2.Cantus firmus slightly slower than other voices
3.Voices(juxtaposed)
Innsburck, ich muss dich lassen

nawm 38

Henricus Issac
Lied
1500
F: 1.melody in saprano
2.homophonic texture
3.soloist (voice) instrumental backup (chello)
4. Tsxt about leaving Innsbruck Austria
5. Cadencial phrase is stated twice
6. Form ABC ABDD
Ave Maria…virgo serena

nawm 39

Josquin des Prez
Motet
1484-1485
F: 1. Points of imitation: 3 points of imitation. Brand new way of generating music
2. Texture: 4 voices. at 4th point tighter creating greater drive to cadence
3. latin is rhythmical and rhyming
4. melodic sequence
5. Repeated duets.
Missa Pange Lingua: Kyrie and part of Credo

nawm 40

Josquin des Prez
Mass (multipule movements
1515-1520
F: 1. Hymn of 6 phrases
a) Kyrie: Turgent tight texture driving to cadence
2. Imitation
3. Christe hemblas
Pope Marcellus Mass: Credo and Agnus Dei I

nawm 45

Giovanni Pierluigi da Palestrina (104 masses)
Mass
1560
F: 1. Created Hymn model
2. Six voices
3. Conter reformation: reaction to reformation
O Magnum Mysterium (motet)

nawm 46

Tomas Luis de Victoria
Motet
1570
Missa O Magnum Mysterium (mass)

nawm 46

Tomas Luis de Victoria
Mass
1580
Io non compro piu speranza

nawm 49

Marco Cara
Frottola
1500
F: 1. Strophic Music
2. Lighter texture
3. Melody deminated
4. Music for a general audience
5. Baroque music is dance music
Tant que vivray

nawm 54

Claudin de Sermisy
Chanson
1550
F: 1. Happy love
2. Strophic
3. lute ornament in background
4. modern harmony
5. 3 4measue phrases
Il bianco e dolce cigno

nawm 50

Jacques Arcadelt
Madrigal
1538
F: 1. Moray/ Dissonance
2. round table singing
Sole e pensoso

nawm 52

Luca Marenzio
Madrigal
1590’s
F: Text is expressed through music
“Io parto” e non piu diss

nawm 53

Carlo Gesualdo
Madrigal
1600
F:
My bonny lass she smileth

nawm 56

Thomas Morley (started intrest in Madrigals)
Ballett
1595
F: Fa lalalala
As Vesta was

nawm 57

Thomas Weelkes
Madrigal
1601
F: 1. Madrigalisms
2. Descending lines when music descends
3. Ascending lines when music ascends
Flow, my tears

nawm 58

John Dowland (songs, accomp. with lute)
Air or Lute song
1600
F: 1.Lute accompaiment
2. echo between lute and solo singer
Se la face ay pale

nawm 36

Guillaume Du Fay (begins all masses with a duet)
Ballade
1430’s
F: 1.Irregular, but clear phrasing
2. homorhythmic settings
3. heliolas
4. syncopation on melismas
5. Music composed freely to fit each line of text
Missa Se la face ay pale: Gloria
Guillaume Du Fay (Begins all masses with duet)
Cantus-firmus mass
1450
F: 1. cantus firmus is heard at different speeds in various movements and sections
2. 3sections: 1. Gloria tenor 3xas long 2. “qui tollis” 2xas long 3. “Cum sancto spiritu” tenor moves at its original pace, and the beats and measures in all four voices correspond equally.
Quan pulchra es

nawm 32

John Dunstable
motet or cantilena
1400-1450
F: 1. no strong difference in character between the tenor and the other voices
2. homophonic texture with short melismas at the ends of both main sections
3. many musical phrases are molded to the rhythm of the words
4. frequent use of melodic thirds and the occasional outlining of a triad
Conditor alme siderum

nawm 35

gullaume Du Fay
Hymn in fauxbourdon style
1430
F: 1. hymn in cantus is paraphrased
2. placed chant slightly decorated in the cantus
3. Tenor written octave lower than cantus. moved mostly in sixths against chant. spread to octave at cadences
4. 3/6 sonorities produced by third voice 4th under cantus
5. Fauxbourdon emphasis on consonant sonorities
Ein feste Burg

nawm 42

Martin Luther
Chorale
1524-1529
F: 1. Melody reinforces this image of strength
Ein feste Burg

nawm 42

Johann Walter
Chorales
1524-1529
F: 1. four voices setting
2. backing horns