| Cyclic Mass – what was it, who wrote them, approximately when were they written, what features characterize a Cyclic mass? |
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What? All movements of the Mass Ordinary unified by a common cantus firmus.
Who? Du Fay
When? 1450s
Example: Se la face ay pale by Du Fay |
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| by Du Fay. 1st mass by any composer to use a secular piece for the cantus firmus. Also, a lower like than tenor for once. |
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| thematic idea in multiple voices at beginning of a movement or section |
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| one voice generates a second voice generates a third. Example: Missa prolationum by Ockegehem. |
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| Missa prolationum by Ockegehem |
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only two voices are notated, the other two are in canon of the first.
In each movement each voice has its own mensuration. (upper two in imperfect [2], lower in perfect [3].) |
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1. Liturgical
2. Devotional
3. Occasional |
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| Motets that were suitable for the Mass Proper |
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| Motets that were religious but not sung during the Mass. Nonliturgical. |
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| Motets that were written for specific occasions, such as a dedication to a cathedral, or on the death of nobility. |
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| L’homme arme Mass written by…. |
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| Wrote remarkable polyphony |
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| mathematicin, astronomer, and musician. wrote lots of motets and mass movements |
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| CF in tenor at all times, but may appear in other voices as well |
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| adhere to the principle of strict canon |
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the CF is incorporated into the new work in
1. all the voices, not just one OR
2. in the opening sections of important movements.
-by the 1550s, this is most dominant type of Mass structure |
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| borrows existing melodic idea from one work and freely imitates it in all voices of a new work |
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Can be based on a secular piece or melody
1. strict
2. ostinato
3. free |
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| CF appears in at least one voice at all times. Ostinato: theme repeated without interruption many times throughout work. |
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| CF moves from voice to voice or may drop out altogether occasionally |
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| What happened in 1501? Who was Petrucci? |
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| He was the first one to use movable metal type to print music. He did so first in 1501. |
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-homogeneous texture
-equal rhythm
-pervading imitation
-text: courtly love
-paratactic form
-use of hemiola
-combined with rondo form
-Composers include Sermisy and Janequin |
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-texts less serious
-no imitation/counterpoint
-chordal structure
-strophic
-syncopation/hemiola
-I-IV-V-I harmonic patterns
Notable composer: Petrucci |
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| large viol-like instrument held on the shoulder |
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| keyboard instrument in renaissance |
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| popular dance in 15th and 16th centuries. the notated sources perserve only a series of long notes, around which other instruments were expected to improvise their own contrapuntal lines. |
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| important musical changes that happened in rennaissance |
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-standard sonority moved from a layered texture to a homogeneous texture.
-cantus firmus technique replaced isorhythm as the predominant structural principle in large-scale works
-pervading imitation had become a standard feature in almost all generes of music |
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| example of occasional motet by josquin de prez |
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| A piece by Josquin which is antiphonal and predominately chordal. different than his other works, more similar to frottolas. |
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| the back and forth between singers or groups of singers |
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