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| achievement of personal fulfillment |
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| English concentration on the imperfect consonances and avoidance of dissonance |
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| Northern France. Guillaume DuFay. |
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| Perfect art. Josquin des Prez |
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| head motive. to begin all the movements of the mass w/ the same opening idea. (DuFay) |
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| a purely man-made order. (DuFay) |
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| phrases set homorhythmically |
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| sensitivity to the relation between words and music |
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| subject carved out. could produce musical readings of any words by matching the vowels w/ those of the hexachord syllables |
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| 4, 5, to 6 voices and accapella |
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| nonchalance. Baldassare Castiglione. |
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| somewhat artificial plan that can sometimes produce a stilted result quite unlike the natural french language. |
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| a special notation which was developed, particularly for lute and vihuela players |
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| a set of matched instruments usually constructed in SATB voice ranges. -(family) |
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| a performance group of similar instruments |
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| german Mass modeled on the gregorian liturgy and music, but was simplified and translated into the vernacular. |
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| when chorale melody was placed in the topmost voice and the other voices matched it in familiar style. |
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| collection of psalms and their music that were published. |
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| personal success and honor achieved through the cultivation of one’s own talents and personal fulfillment in this life |
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| improvisatory and virtuasic meant to be played by the lute, keyboard, or string instruments |
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| a work traditionally for keyboard which represented fast fingers |
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| highly improvisatory piece which might preface some other work |
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| another name for a prefatory work |
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| likely grew from the practice of singing poetry to accompaniment improvisatory. Syllabic, familiar, top voice. |
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| advocated by luther, singable, everyone could participate |
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| imitate the motet in instrumental style |
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| still used bar form. commonly relied on a preexisting tune in the tenor voice, presented in slow moving note values |
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| more vigorous french version of the saltarello |
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| the instrumental equivalent of the french chanson. Instrumental. |
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-corruption of chant by embellishment
-use of certain instruments in religious services
-incorporation of popular music in masses
-secularization of music
-irreverent attitude of church musicians
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sophisticated vocal chamber music
-polyphonic chanson style
-demand for music in social contents
-cultivation of excellent poetry
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went to the netherlands to Italy and followed Josquin’s trail
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| swiss music theorist who seuggested that there were 12 modes instead of 8 |
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| Willaert’s pupil who codified the practice of Josquin in “Le Instituioni Harmonique”, which became the classic composition text of the century. Emphasize the importance of relating music to the words. |
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| began the reformation posting his 95 thesis on the door for the church at Wittenberg. The chorale. |
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| flemish composer who led the papal choir of rome provides good examples of simple madrigals. |
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| used canons. began the abadonment of preexisting material and started using four or five voices in his compositions. |
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| next generation of franco-netherlands composers after ockeghem textures are more transparent. sections shorter and more easily grasped, imitation. |
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| leading composer of Italian Madrigal |
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| Music theorist, french but spent a lot of time in Itay. Wrote 8 rules on composition dictating theory rules for cantus firmus composition. |
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| declared spiritual independence from rome in the act of supremecy when the pope would not declare his divorce. Quickly fragmented the church. |
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| follower of luther in Germany and Scandinavia. Reformer. |
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| published “Harmonicae musices odhecaton A” which was the first publication from movable type. |
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