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| 1300’s in Italy, 14th century madrigals |
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| dance genres: ballade, rondeau, virelai, |
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| New French style, innovations in notation and rhythm Phillipe de Vitry |
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| Mass ordinary settings, primary source of fifteenth-century English polyphony |
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| cantus firmus tenor is the same as basis for all five mass movements |
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| two voices notated but sung by four voices in mensuration canon |
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| quick successive imitative entrances |
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| Martin Luther created devotional songs from secular melodies, wholesome music |
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| 1545-1563 Eliminated tropes and all but four sequences |
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| Only the cantus and tenor were written out, unwritten third voice sang a parallel fourth below |
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| voices sing at different rates |
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| all four voices sing cantus firmus at some point |
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| English equivalent of motet, solo alternates with choir |
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| unaccompanied, contrapuntal |
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| Verse anthem: for solo voice(s) with organ or viol accompaniment, alternating with passages for full choir |
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| Josquin expressive technique to reflect meaning in words |
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| each mass movement based on existing chant |
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| Grouping Ordinary music into cycles, including Plainsong and Motto |
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| beginning each mass movement with the same musical motive |
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| borrowed material makes it sound “churchy” |
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| Burgundian chanson (Dufay, BInchois) |
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| 15th C any polyphonic setting of French secular poem |
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| Franco Flemish chanson (Ockegam, Busynoys) |
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Three-voice texture in treble-dominated style
Use the formes fixes, especially rondeau |
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| New Generation chanson (Josquin) |
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Strophic texts, with virtually no use of the formes fixes
Four- or five-voice texture, all voices meant to be sung
All parts equal |
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| Italian secular 4-part late 15th-early 16th C, forerunner of madrigal |
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| secular text setting 5+ voices, Italy to England, through-composed |
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| chorale setting with melody in tenor |
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| works for two or more choirs |
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