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| Music Theorist, wrote that only music composed in the last 40 years is good. |
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| Emphasizes 3rds and 6ths, English Consonance, Dunstable, Panconsonant, homogeneous, 14th C Elnglish polyphony, clear declamation of Latin texts and melodic fluidity |
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| English, Names after location found, Contains music of Power & Dunstable, mass parts |
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| English, use of isorhythm, contenance Angloise |
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| Heavy Weight, Master English composer of Contenance Angloise, Paired mass movements |
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Shorter Talea (rhythm)
Longer Color (Pitches) |
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| Motet Bases on Isorhythm, Ars Nova/ de Vitry |
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| Early 15th C. Monophonic secular |
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| 1400-1474, early 15thc. major composer, fauxbourdon; Missa se la face ay pale |
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| Song of courtly love, *rondeaux, virelai, ballades |
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| Frottola proper, barzelletta, Stamotti, |
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| basis of Missa Se la Face ay Pale Mass, first secular cantus firmus |
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| adding improvised parallel 4ths & 6ths above melody |
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| 1400-1460; 60 sacred pieces, 55 chansons, style of Dufay |
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| link between motet and madrigal; popular form by marco Cara |
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| Dufay, Binchois, Oeckeghem, Busnoys, Josquin, Isaac all worked for them. "Philip the BOld", "John the Fearles", "Philip the Good" "Charles the Bold" |
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| 1420-1497; 4 cantus firmus masses; 4-5 voice motets, tenor dominated |
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| Cantus Firmus mass of Ockeghem |
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| Double canon, single line written, one performer performs twice as fast |
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| Anglican rite of the Church |
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| foot washing song from anglican service, used in many CF (once attributed to Dufay, but likely not him) |
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| secular tune, basis of many cantus firmus masses by many composers |
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| Chansons 3-4 voices; homogeneous texture, V-I cadences, missa l'homme arme; syncopation |
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| AbbaA; burgundian, single stanza virelei |
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| book/collection of chansons |
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| Chansonniers, Duke Sforza assembled Compere, Agricola and Josquin |
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| house of d'Este composer, Frottola master |
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| house of d'Este composer, Frottola master |
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| First Major music publisher/printer, Venice 1504-1514 |
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| 1501 first collection printed by petrucci of secular songs |
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| Over the alps, 1588, translated collection of latin motet into english |
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| Innsbruch; Josquin Contemporary |
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| Chant based polyphonic Motets for the mass proper by Isaac |
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| Istututumina Harmonic Treatise of Zarlino on how he liked 1st practice better |
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| Italian Sacred songs of praise, based off of strambotti, etc. |
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| Head motive, unites mass settings |
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| compose 1 line, then another, then another |
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| compose vertically, thinking of equal importance of parts, harmonically |
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| Master composer, form, rhythm, accentuation, text painting, published by petrucci, 20 masses, secular cantus firmus |
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| exact copy of 1 line to bass mass on |
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| mass based on the name of the patron (single line) |
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| approximate copying of single line |
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Petrucci = Venice
Susato = Antwerp
Attaingnant = Paris |
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| Word Painting, Pervasive imitation, parody / imitaiton mass, studied w/ Josquin |
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| 1445-1506, Franco Flemish, successor to Busnoys, elegant courtly music. CF Chanson |
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| Old School, did not follow Josquin |
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| 2nd phase composer, 1490-1562 |
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3 phases:
1 1520-1550 Chordal, brief imitation; limited word painting, 4 voice
2: 1550-1580increased imitation
5-6 voices, greater voice equality
3. 1580-1620 5-6 voices, pervasive word painting, chromaticism of text
unusual harmonies, MONTEVERDI |
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| instrumental music, leads to fugue of baroque |
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| Easter Motet, one of four sequences kept by council of trent |
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| published in odhecaton by petrucci |
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| 1500-1562 sacred composer, |
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| 1500-1562 sacred composer, |
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| arrangments of plainchant for keyboard |
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| 1470-1447 Florentine Camarda, linguist |
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| 1495-1545 Sacred english composer, short melodic statements turned into sequences |
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| 1505-1585 40 voice motet english composer |
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| Yonge 1588 intalian madrigals translated into english |
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| Morley, Weelkes English Madrigal |
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| late 16th C. 3-6 voices, copies of italian madrigals |
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| to touch, instrumental keyboard work |
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| insturmental direct imitation of the French Chansons "long- short-short" |
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| ground bass, recurring chord prgressions, ex. pucell's Dido's Lament |
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| Allemande, courante, pavane, galliard, alterello, passamezzo |
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| 1517 Luther 99 questions lots of music, Calvin less music, no instruments |
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| Catholic response to reformation, 1545-1563, banned secular C.F., all sequences except 5, placed importance on understanding words. |
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| C1588 translated collection of Italian motets into English |
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| List Mass Composition Techniques |
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Sine Nomine
Head Motive
Soggetto Cavato
Cantus Firmus
Polyphonic = Imitation / Parody |
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Crucifix form, Cori Spizzati
1. Willaert
1. Antonio Gabrielli
2. Giovanni Gabrielli
3. Claudio Monteverdi |
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List composers:
1. English
2.Burgundian
3. Franco-Flemish 1st
4. Franco-Flemish 2nd |
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1. Dunstable & Power
2. Dufay & Binchois
3. Ockegham & Busnoy
4. Josquin & Obrecht |
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