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Binchois Rondeau 1400-1460 F: 1.hemiola 2.lots of syncopation 3.Trouvere/ Troubadour like text 4.Tenor line up then down |
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Missa De plus en plus: Agnus De
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nawm 37 |
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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) |
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Innsburck, ich muss dich lassen
nawm 38 |
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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 |
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Ave Maria…virgo serena
nawm 39 |
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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. |
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Missa Pange Lingua: Kyrie and part of Credo
nawm 40 |
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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 |
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Pope Marcellus Mass: Credo and Agnus Dei I
nawm 45 |
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Giovanni Pierluigi da Palestrina (104 masses) Mass 1560 F: 1. Created Hymn model 2. Six voices 3. Conter reformation: reaction to reformation |
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O Magnum Mysterium (motet)
nawm 46 |
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Tomas Luis de Victoria Motet 1570 |
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Missa O Magnum Mysterium (mass)
nawm 46 |
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Tomas Luis de Victoria Mass 1580 |
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Io non compro piu speranza
nawm 49 |
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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 |
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Claudin de Sermisy Chanson 1550 F: 1. Happy love 2. Strophic 3. lute ornament in background 4. modern harmony 5. 3 4measue phrases |
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Il bianco e dolce cigno
nawm 50 |
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Jacques Arcadelt Madrigal 1538 F: 1. Moray/ Dissonance 2. round table singing |
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Luca Marenzio Madrigal 1590’s F: Text is expressed through music |
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“Io parto” e non piu diss
nawm 53 |
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Carlo Gesualdo Madrigal 1600 F: |
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My bonny lass she smileth
nawm 56 |
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Thomas Morley (started intrest in Madrigals) Ballett 1595 F: Fa lalalala |
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Thomas Weelkes Madrigal 1601 F: 1. Madrigalisms 2. Descending lines when music descends 3. Ascending lines when music ascends |
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John Dowland (songs, accomp. with lute) Air or Lute song 1600 F: 1.Lute accompaiment 2. echo between lute and solo singer |
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Se la face ay pale
nawm 36 |
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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 |
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Missa Se la face ay pale: Gloria |
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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. |
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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 |
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Conditor alme siderum
nawm 35 |
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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 |
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Martin Luther Chorale 1524-1529 F: 1. Melody reinforces this image of strength |
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Johann Walter Chorales 1524-1529 F: 1. four voices setting 2. backing horns |
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