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