TERM2

11 | France *Musique mesurée* 1. Musique mesurée(measured music) 2. Jean-Antoine de Bäif, co-founder of the Académie

1. imitates rhythm of Greek poetry Académie de Poésie et de Musique (Academy of Poetry and Music), 1570 sought to unite poetry and music, revive ethical effects of ancient Greek music hoped to improve society 2. wrote strophic French verses in ancient Greek and Latin meters: vers measures l'antique assigned French vowels durations, roughly equating stress accent and length •Le Jeune's Revecy venir du printans(NAWM 62) verse patterns correspond with musical rhythms duple and triple groups alternate freely •too artificial to become popular •introduced irregular rhythms into air de cour(court air) dominant genre after ca. 1580

11 | The Italian Madrigal *Early madrigal composers* 1. Philippe Verdelot (ca. 1480/85-?1530), most important early madrigalist 2. Jacques Arcadelt (ca. 1507-1568)

1. French composer active in Rome and Florence 4-voice madrigals, mostly homophonic 5-or 6-voice madrigals more motetlike 2. Franco-Flemish composer, worked in Rome and Florence Il bianco e dolce cigno(1538) (NAWM 56) among most famous of early madrigals text alludes to sexual climax, "a little death" "death that in dying fills me full with joy and desire" death depicted with plaintive rising and falling half step

11 | The Italian Madrigal *Later madrigalists* 1. Orlande de Lassus and Philippe de Monte (1521-1603), northerners 2. Luca Marenzio (1553-1599) 3. Carlo Gesualdo, prince of Venosa (ca. 1561-1613)

1. both wrote madrigals while in Italy continued to write madrigals at northern courts Lassus's madrigal collections published in Antwerp, Nuremberg, Munich, Rome, and Venice leading madrigalists were native Italians 2. depicted contrasting feelings and visual details Solo e pensoso(1599) (NAWM 58), based on Petrarch sonnet image of pensive poet walking alone: top voice, slow chromatic ascent "flee and escape": quickly moving figures, close imitation madrigalisms: striking musical images evoke text almost literally 3. aristocrat and murderer preferred modern poems, strong images sharp contrasts: diatonic and chromatic passages, dissonance and consonance, chordal and imitative textures, slow-moving and active rhythms breaks up poetic lines to isolate striking words "Io parto" e non più dissi(1611) (NAWM 59) slow, chromatic, mostly chordal dissonance portrays laments

11 | England *Henry VIII and Anne Boleyn: musicians and composers* 1. Manuscripts from his reign (1509-47): variety of songs, instrumental pieces - Which aspects in there? 2. consort song: distinctively English genre

1. reflect facets of court life 2. voice accompanied by consort of viols William Byrd: master of the consort song Psalmes, Sonets and Songs (1588), reprinted four times "Lulla lullabye" remained his most famous piece for over a century consort songs written into the seventeenth century

11 | England *Lute songs* 1. Early 1600s, lute song (or air) became prominent 2. Alternate forms

1. solo song with accompaniment John Dowland (1563-1626) and Thomas Campion(1567-1620), leading composers personal genre, more serious literary texts, lessword-painting lute accompaniments: rhythmic and melodic independence 2. appeared in books rather than partbooks voice and lute parts vertically aligned; singers accompany themselves lute part written in tablature •Dowland's Flow, my tears(NAWM 65), from Second Book of Ayres(1600) best known to his contemporaries spawned series of variations and arrangements form of a pavane, aabbCC minimal depiction of individual words; music matches dark mood of the poetry •madrigals and lute songs lasted into the 1620s

10 | Catholic Church Music *Catholic response to the Reformation* Counter-Reformation or Catholic Reformation

1. •Pope Paul III (r. 1534-49): modesty and asceticism to church hierarchy •Society of Jesus (Jesuits) 1534 organized by Saint Ignatius Loyola (1491-1556) founded schools and proselytized among Protestants reconverted Poland, large areas of France and Germany

11 | The Italian Madrigal *The Petrarchan movement* 1. Describe - What, Where, When, Leader 2. Adrian Willaert

1. •development of madrigal linked to currents in Italian poetry •movement influential in Venice •led by Cardinal Pietro Bembo (1470-1547), poet and scholar 1501, edited Petrach's Canzoniere identified opposing qualities: piacevolezza(pleasingness) and gravità(severity) 2. Aspro core e selvaggio, Petrarch sonnet "harsh and savage heart" Petrarch: severe line, double consonants Willaert: harsh intervals in melody and harmony, major 3rds and 6ths "sweet, humble, angelic face" Petrarch: pleasing line, liquid, resonant, sweet sounds Willaert: semitones and m3rds in melody, minor 3rds and 6ths in harmonies

11 | The Italian Madrigal *Women as composers and performers* 1. general situation 2. Maddalena Casulana (ca. 1544-ca. 1590s) 3. Women's vocal ensembles

1. •poets and composers were mostly male •professional opportunities closed to most women 2. first woman whose music was published, regarded herself as professional composer First Book of Madrigals(1568) madrigals show inventive use of midcentury devices 3. daughters, wives of nobility: sang in private concerts, some professionals Concerto delle donne, established by Duke Alfonso d'Este group of trained singers performed at court, alone or with male singers attracted attention and praise rival ensembles established at other courts •madrigal transformed from social to concert music

11 | Germany *German polyphonic Lied* 1. What was it? 2. Importance and leading figures

1. •popular song or melody in tenor or cantus, free counterpoint in other voices Innsbruck, ich muss dich lassen(NAWM 41) 2. •after 1550, Lied declined in importance •Lassus: leading figure composed seven collections of German Lieder

11 | The Madrigal and Its Impact 1. Madrigal and its off shoots reflect growing influence of humanism on music 2. Vogue for social singing declined after 1600

1. •text and its dramatic expression through music led directly into opera, 1600 •madrigalsintroducedideaof music as a dramaticart •over next two centuries, concept broad ene dto include instrumental music 2. •nineteenth century, growth of amateur choral societies helped revival of madrigal singing

11 | The First Market for Music 1.Development of music printing, 1501 2.Amateur music-making and musical literacy 3.Printing and demand creates market

1. •wider distribution •changed economics of music- music sold as a commodity 2. •amateurs: growing demand for notated music •sixteenth century: first among upper classes - ability to read notation, perform from printed music: expected social grace Baldassarre Castiglione's influential Book of Courtier(1528) paintings show singers, instrumentalists, reading from published music 3. •elite to more popular genres •professional musicians for own use •music for amateur performance sold well -vocal music: amateurs sing in vernacular; trend toward diverse national genres and styles

8 | The Polyphonic Mass *Musical links in mass cycles* 1. What were the variety of means to link separate pieces: 1.1 Stylistic coherence? 1.2 Plainsong mass? 1.3 Motto mass?

1. 1.1 Pieces were composed in same general style 1.2 Composers based each movement on existing chant for that text - Each chant was liturgically appropriate but not related musically 1.3 When each movement begins with same melodic motive (head motive) - in this way thyere's a more noticeable connection

11 | The Italian Madrigal *Villanella, canzonetta, and balletto* 1. Villanella 2. Canzonetta (little song) and balletto (little dance)

1. lively strophic piece, homophonic style, usually three voices parallel 5ths suggest rustic character mocked more sophisticated madrigals 2. end of sixteenth century, light genres vivacious, homophonic style, simple harmonies balletti: dancing as well as singing or playing dancelike rhythms, "fa-la-la" refrains both genres imitated by German and English composers

11 | England *English madrigals* 1. late sixteenth century: Italian culture brought to England 2. Thomas Morley 3. performance

1. •1560s, Italian madrigals circulated to England •1588, Italian madrigals translated into English; Musica transalpina spurred English to write their own Thomas Morley (1557/8-1602), Thomas Weelkes(ca. 1575-1623), John Wilbye (1574-1638) 2. earliest and most prolific also wrote canzonets and balletts My bonny lass she smileth(NAWM 63) borrowed aspects of Gastoldi balletto sections begin homophonically contrapuntal "fa-la-la" refrain A Plaine and Easie Introduction to Practicall Musicke(1597), Morley treatise aimed at broader public topics: singing from notation, adding a descant, composing in three or more voices The Triumphes of Oriana(1601) collection of twenty-five madrigals by twenty-three composers each madrigal ends with "Long live fair Oriana" referring to Queen Elizabeth •Weelkes's As Vesta was(NAWM 64) most famous from Morley's collection poem by Weelkes, opportunities for musical depiction "ascending" rising scales; "descending" falling scales "Long live fair Oriana" set to motive that enters almost fifty times 3. written primarily for unaccompanied solo voices collections printed, "apt for voices and viols" ideal for informal gatherings, suited for amateurs ability to read a vocal or instrument part, expected of educated persons

11 | France *New type of chansons developed during reign of Francis I (r. 1515-47)* 1. Characteristics 2. Collections

1. •four voices, light, fast, strongly rhythmic •pleasant, amorous situations •syllabic text setting, repeated notes, duple meter •principal melody in highest voice, homophonic •strophic repetitive forms, no word-painting •focus on tuneful melodies, pleasing rhythms •composed for amateurs 2. •published in numerous collections Pierre Attaingnant (ca. 1494-ca. 1551/2), first French music printer: more than fifty collections, 1,500 pieces •Claudin de Sermisy (ca. 1490-1562) and Clément Janequin (ca. 1485-ca. 1560) principal composers in Attaingnant's early chanson collections Sermisy's Tant que vivray(NAWM 60) typical lighthearted text, optimistic love poem melody in top voice, harmony of 3rds, 5ths, occasional 6th above the bass accented dissonances rather than syncopated suspension before a cadence opening long-short-short rhythm common Janequin: lyrical love songs, narrative songs, bawdy songs celebrated for descriptive chansons imitations of bird calls, hunting calls, street cries, sounds of war e.g., La guerre (War), Le chant des oiseaux(The Song of the Birds)

6 | Guillaume de Machaut (ca. 1300-1377) *Messe de Nostre Dame - Polyphonic settings of Ordinary* 1. What has changed in the 14th century as opposed to the 13th century with respect to Mass Proper and Ordinary chants? 2. What were the different styles of the settings? 3. How the piece is related to this tradition? 4. How are the movements linked? 5. What are the different voices?

1. 13th - Mass Proper were set polyphonically much more often than Ordinary. 14th - We see more settings of the Ordinary 2. A) Isorhythmic, with a chant tenor. B) Songlike with decorated chant in upper voice. C) Homophonic, all parts moving together. 3. Machaut's mass builds on this tradition but treats the 6 texts of the Ordinary as one composition and not seperated pieces. 4. By style and approach and by tonal focus on D 5. 4 voices: motetus and triplum above tenor; contratenor, supporting voice - sometimes below and sometimes above

8 | Guillaume Du Fay (ca. 1397-1474) *Motets and chant settings* 1. Du Fay wrote sacred music in variety of styles. Describe general voicing, main melody location, Cantus origin 2. The fauxbourdon - Influence on this technique? What voices are notated? Intervals involved? What it produced? What it was used for? 3. Isorhythmic motets - Frequency of writing? Audience? Example - Nuper rosarum flores, dedicated for? Tenor structure?

1. 3-voice texture resembling chansons, main melody in cantus firmus; The cantus is newly composed or an embellished paraphrase of chant 2. Inspired by English faburden; only cantus and tenor notated; parallel 6ths, phrases end on octave 3rd together with an unwritten voice sang a 4th below the cantus; produced stream of 6-3 sonorities; used for settings of simpler Office chants [Style: Christe, redemptor omnium(NAWM 37)] 3. Occasionally; written for solemn public ceremonies; Nuper rosarum flores dedication of Brunelleschi's dome, Florence, 1436; two isorhythmic tenors both based on the same chant - may imply the foundations of the dome

7 | Music in the Renaissance *New compositional methods and textures* 1. Although rules for consonance and dissonance consistent throughout 15,16 centuries, what were the changes? 1. Equalty of voices 1.1 Mid 15th: When the tenor and cantus were composed? 1.1.1 What was the result? 2. Why did the composers increasingly worked out all parts in relation to each other? 3. What were the two kinds of textures predominantted in the sixteenth century? 3.1 What it has allowed composers?

1. 4-voice replaces 3-voice texture; bass line added below tenor. 16 century composers had 5, 6 or more voices. 1. second half of fifteenth century: equality of voices 1.1 mid-fifteenth century: cantus firmus and tenor composed first - they added voices around that framework. 1.1.1 As they tried to fit the other voices around tenor and cantus it was hard to avoid dissonances, and there were frequent awkward leaps 2. To create a more pleasing and gratifying to sing part. 3. imitation and homophony: In imitative counterpoint: voices imitate, echo phrases in another voice. In homophony: all voices move together. 3.2 More freedom than older approach

10 | Giovanni Pierluigi da Palestrina (1525/1526-1594) *The Palestrina style* 1. His masses 2. Melody - Quality, Pope Marcellus Mass(NAWM 51b), Agnus Dei - Breath, rhythm, motion? 3. Counterpoint and dissonance treatment - Conforms to? meter? Lines conjunction? Cambiata? 4. Sonority - Shading, Harmony 5. Declamation - accents, length, homo/polyphony? style example - text length? texture? 6. Texture - Voice combination, when all of them appear together? text painting? 7. Rhythm - Variety in? What happens to it in each measure? Syncopation for?

1. 51 are imitation masses; 34 paraphrase masses; 8 cantus-firmus masses, a few canonic masses, six free masses: using neither canons nor borrowed material 2. melody - quality almost like plainchant; Pope Marcellus Mass(NAWM 51b), Agnus Dei: Long-breathed, rhythmically varied, easily singable lines; voices move by step, few repeated notes 3. Counterpoint conforms to Zarlino; music almost entirely duple meter; independent lines meet in consonant sonority - except for suspension; cambiata: voice skips down a 3rd from a dissonance to a consonance 4. sonority - subtly different shadings and sonorities, same simple harmonies 5. text declamation - words accentuated correctly, intelligible; movements with longer texts: homophony ; Pope Marcellus Mass(NAWM 51a), Credo -shorter texts: imitative polyphony throughout 6. texture - each new phrase has different combination of voices; full six voices: climaxes, major cadences, significant words; subtle text-painting 7. rhythm - within each voice, great variety in durations; no two successive measures feature same rhythm; syncopation to sustain momentum, link phrases

10 | Catholic Church Music *The generation of 1520 to 1550* 1. Flemish composers remained prominent - best known? 2. Catholic composers shared characteristics - Which?

1. Adrian Willaert (ca. 1490-1562), Nicolas Gombert (ca. 1495-ca. 1560), Jacobus Clemens all born in Flanders, took posts elsewhere 2. careful treatment of dissonance equality of voices; expanded from four to five or six clearly defined mode frequent cadences, melodic profiles in superius and tenor most works in duple meter imitative polyphony: prevailing texture phrases overlap, continuous flow, strong cadences at ends of sections imitation mass most common chant melodies served as subjects for motets and masses •Ave regina caelorum(NAWM 50), 5-voice motet by Gombert based on chant with same words succession of interlocking points of imitation combines continuity with constant variation •Willaert and humanism long career in Italy, most affected by humanist movement accentuation, rhetoric, and punctuation to fit text never allowed a rest to interrupt a word or thought within a vocal line strong cadences only at significant breaks in text insisted syllables be printed precisely under their notes

9 | The Generation of 1480-1520 *Three most eminent Franco-Flemish composers: Jacob Obrecht, Henricus Isaac, Josquin des Prez* 1. Common geography? Traveling? Jobs? What can we learn from their careers? 2. General characteristics: Structure determination? Voicing? Counterpoint style? Melodies' origin? Melodies quality? Harmonies - what has changed from the past, what happened to the bass?

1. All born and trained in the Low Countries; traveled widely; working at courts and churches in different parts of Europe, including Italy; careers illustrate lively interchange between Franco-Flemish and Italian center 2. Structure largely determined by the text; standard 4-voice texture, up to 5 and 6; imitative counterpoint and homophony; borrowed melodies often distributed among the voices; smooth melodies, motivic relationships; Full harmonies: full triadic sonorities predominated which replaced open 5ths and octaves at cadences - The bass replaced tenor as foundation

8 | English Music *Polyphony on Latin texts - Genres* 1. Faburden - Define the term and voicing 1.1 Was it written? 2. Cantilena - Define style, rhythm and basis. 2.1 In comparison to the faburden 3. Motet - Popularity, kind that suprpessed? 4. What was the most popular text genre by the end of the 14th century? 4.1 Which styles were adapted to the text? 5. What was the main source of English poliphony?

1. An improvised polyphony with a plainchant in middle voice that was joined by uppervoice 4th above and a lower voice in parallel 3rds below. 1.1 Some was written but the system used by monks and clerics unable to read polyphonic notation by a set of rules. 2. Freely composed, homorhythmic setting, not based on chant. 2.1 more varied than faburden(NAWM 34) 3. Isorhythmic motet gradually replaced other types. 4. Mass Ordinary - most common types of English polyphony. 4.1 Styles from cantilenas to isorhythmic structures 5. Old Hall Manuscript: principal source of early fifteenth-century English polyphony

7 | Music in the Renaissance *New applications of Greek ideas* 1. How was music used as social accomplishment? 2. Which preference of instrument was in the writings? 3. What was the power of modes by Plato and Aristotle? 3.1 The relation between scale and mood 4. Chromaticism: Define, describe the difference from medieval times

1. Ancient writers from Plato to Quintilian stated that music is oart of citizen's education. This was echoed in Renaissance writings; It was made as a form of entertainment 2. Lyre over aulos: Renaissance courtiers plucked string instrument (lute) over bowed string or wind 3. Plato and Aristotle: each Greek scale type conveyed different ethos: Renaissance composers chose mode based on emotions 3.1. Notion that scales reflect certain moods came to be widely accepted 4. 2 or more successive semitones moving in the same direction; medieval music: direct chromatic motion never used. Ancient Greek chromatic genus music offered model - in the mid-sixteenth century: direct chromatic motion used as an expressive device

7 | Europe from 1400 to 1600 *European economy* 1. When can we see stabilization and growth? 2. What were the aspects of the growth?

1. Around 1400 2. Increased trade, towns and cities prosper; middle class grew in numbers and influence; rulers glorify themselves; impressive palaces and country houses lavish entertainment; maintain chapels of singers, gifted instrumentalists

8 | Guillaume Du Fay (ca. 1397-1474) *Chansons and the international style - Resvellies vous(NAWM 36) (1423)* 1. Early stage of synthesis - What were the French characteristics? 2. What were the Italian elements?

1. Ballade form, long melismas, frequent syncopation, some free dissonance. 2. Relatively smooth vocal melodies, melismas on last accented syllable of each line of text, meter changes, as in Italian madrigal

6 | Italian Trecento Music *Ballata* 1. Popularity time in relation to Caccia and madrigal? 2. Influence by whom? Which voice was affected by this influence 3. Term meaning? 4. Early and later Ballatas 5. Describe the form

1. Became popular later than madrigal and caccia 2. influence of treble-dominated French chanson 3."ballata" (from ballare, "to dance"), originally meant song to accompany dance 4. Early were monophonic with no surviving manuscripts. Although later included some monophonic examples the most were set in 2 to 3 polyphonic voices, [date from after 1365]. AbbaA form, like single stanza of French virelai; Ripresa("refrain") sung before and after stanza ; tanzas consist of two piedi (feet) and the volta; piedicouplets sung to same musical phrase; volta is closing lines of text, same music as ripresa

7 | Europe from 1400 to 1600 *Renaissance denotes period between 1400 and 1600* 1. Why the idea of Renaissance is problematic for music? 2. What was the way it did relate to Renaissance?

1. Because there were no ancient classics to imitate 2. Through rediscovery of ancient Greek writings about music - musicians used ideas as inspiration.

9 | Josquin des Prez [Jossequin Lebloitte dit Desprez] (ca. 1450-1521) *Regarded as the greatest composer of his time* 1. Biography: Born? Employers? Salary? Popularity? Relation to humanism? Major works?

1. Born near Ath, northern France; Italy: served Sforza family, 1484-89; Sistine Chapel, 1489-94. In French and Burgundian courts, 1498-1503, 1503: maestro di cappella to Duke Ercole I d'Este in Ferrara, highest salary in that court's history. 1504: provost at church of Notre Dame; compositions appeared in largest number of manuscripts and collections than any other composer before 1550 - Petrucci, the first printer of polyphonic music published 3 books of him [others<=1]; music expressed emotions: humanist; through late sixteenth century, compositions emulated and reworked; at least eighteen masses, over fifty motets, sixty-five chansons, instrumental works

9 | The Generation of 1480-1520 *Role of imitation* Comparison of imitations: 1. Du fay 2. Busnoys and Ockeghem 3. Obrecht Imitation related to, yet differs from, canon: 4. Similarity or identical voices? 5. What it creates?

1. Brief moments of imitation- short, seldom involve all voices, incidental to fixed forms 2. Busnoys and Ockeghem - more extensive imitation, involves all voices and with longer phrases 3. Obrecht - frequent points of imitation in all voices - series of them were strung together interspersed with other textures. It became a common way to organize pieces 4. Voices are similar but not the same - May be identical for a few notes but then melodies diverge 5. Creates variety: allows cadences, changes of texture

8 | Music in the Burgundian Lands *Duchy of Burgundy* 1. Background: Duke and his residence? Center? 2. Philip the Bold (r. 1363-1404) - What did he established? Importance? Treatment to musicians? Minestrals? 3. When the duchy absorbed by the French king?

1. Burgundy: feudal vassal of the king of France; dukes had no fixed residence; Burgundian court, main center was Brussels 2. Chapel, 1384; One of Europe's largest and most resplendent; recruited musicians from northern France, Flanders, and the Low Countries; In addition he had a band of minstrels: from France, Italy, Germany, Portugal. 3. 1477,

8 | Music in the Burgundian Lands *Cosmopolitan style* 1. How was the cosmopolitan style renewed in the 15th century courts? [Visitors, members, trade, prestige influence]

1. By visitors from foreign musicians; chapel members continually changing; increasing trade across the Continent; prestige of the Burgundiancourt, influenced other musical centers

7 | Music in the Renaissance *Cosmopolitan musicians and the international style* 1. What was the impact of the presence at court of musicians from many lands? 2. The impact of mobility? 3. Describe the concept of international style

1. Composers learn styles and genres from other regions. 2. mobility among musicians caused dissemination of new genres 3. development of international style: synthesis of English, French, and Italian traditions

6 | Guillaume de Machaut (ca. 1300-1377) *Messe de Nostre Dame - Intro* 1. Innovation in settings? 2. Innovation in the composing forces? 3. How long it was popular?

1. Earliest polyphonic setting of Mass Ordinary 2. First written by single composer and conceived as unit 3. Composed in the middle of the 14th century and performed in Reim into fifteenth century

10 | Spain and the New World *Catholic music in Spain* 1. Royal family ties to Low Countries brought Flemish musicians to Spain - Impact? Relation to italy? 2. Cristóbal de Morales (ca. 1500-1553) 3. Francisco Guerrero (1528-1599) 4. Tomás Luis de Victoria (1548-1611) 4.1 Victoria's imitation mass

1. Franco-Flemish tradition deeply influenced Spanish polyphony; also close links to Italy, Pope Alexander VI (1492-1503) was Spaniard 2. most eminent Spanish composer first half of sixteenth century 3. most widely performed Spanish composer 4. most famous Spanish composer of sixteenth century sacred music for Catholic services may have studied with Palestrina works tend to be shorter, less florid melodies, more frequent cadences, more chromatic alterations, more contrasting passages in homophony or triple meter best-known work, O magnum mysterium(NAWM 52a), motet 4.1 imitation masses based on his own motets Missa O magnum mysterium(Kyrie in NAWM 52b) exact quotation from motet, changes to dialogue between two subjects, variants of original reworks material in new ways, high value in variety

7 | Europe from 1400 to 1600 *Renaissance* 1. Term meaning 2. What was their aim? 3. Developments in music? [Style, counterpoint, dissonance, print; notation; churches]

1. French for "rebirth" 2. Restore learning, ideals, and values of ancient Greece and Rome 3. international styles emerge; new rules for counterpoint; controlled dissonance; printing: notated music available to wider public; Reformation: Protestant churches, new forms of religious music

7 | Europe from 1400 to 1600 *History: End of long-standing conflicts and new conflicts emerged* 1. Which long-standing conflict ended? [Church, 100 years war, Byzantine empire] 2. What were the new conflicts?

1. Great Schism: return to single pope in Rome, 1417 Hundred Years' War: expulsion of English from France, 1453; end of Byzantine Empire: Constantinople fell to Turks, 1453. 2. Turks conquered Balkans and Hungary. Roman Church splintered by Reformation.

6 | Guillaume de Machaut (ca. 1300-1377) *Harmony* 1. Which harmonic element of the Ars Nova we can see in the Gloria and Credo? 1.1 Why it was being used? 2. What happened to the parallel motions?

1. Greater prominence of imperfect consonances: Most vertical sonorities included 3rds or 6ths resolving to perfect consonances at the end of a phrase. 1.1 It gave a sweeter sound to modern ears than earlier polyphony. 2. Parallel octaves and 5ths still common.

8 | The Polyphonic Mass *Cantus-firmus mass, or tenor mass - Form and style example* 1. Describe the early masses form 2. What were the compositional problems? 3. What was the solution? Inventor? 4. What was its form? 5. What did it achieve? 6. What were the voice names? 7. Style example: Du Fay's Missa Se la face ay pale(1450s) - Special thing? Tenor origin? Symbolic meaning? Rhythm? Voices function?

1. Had three voices with borrowed melody in tenor 2. Sound ideal of fifteenth century is when the lowest voice functioned as harmonic foundation - letting the lowest voice have a melody limited the harmony options 3. 4-voice texture - innovation by anonymous English composer, Missa Caput(1440s) 4. Cantus firmus in high range making it appropriate to add voice below 5. greater control of the harmony - changed music forever 1. superius ("highest") (soprano); contratenor altus ("high contratenor"), later altus (alto); tenor; contratenor bassus ("low contratenor"), later bassus (bass) 1. first complete mass to use secular tune for cantus firmus; tenor from his own ballade Se la face ay pale; symbolic meaning to choice of song; launched century-long tradition of secular cantus firmus; rhythmic pattern of tenor melody subject to augmentation; each voice has a distinctive function and character

6 | Guillaume de Machaut (ca. 1300-1377) *Style example: Rose, liz, printemps, verdure(NAWM 28), 4-voice rondeau* 1. Special feature? 2. Which of Machaut characteristics can be identified? [ A) Rhythm, B) Melodie, C) Text setting and its goal]

1. Has Triplum - probably added later 2. A) Varied rhythms, syncopations B) Mostly stepwise motion, C) Long melismas near beginnings of poetic lines, D) Melismas are decorative, not to emphasize text

9 | Josquin des Prez [Jossequin Lebloitte dit Desprez] (ca. 1450-1521) *Chansons* 1. Which characteristics can be seen? 2. What happens to the formes fixes? 3. Form - text, lines length, voices - who perform it? melodic interest? 4. Faulte d'argent(NAWM 42) (ca. late 1490s or early 1500s) - Voices? Origin? Atmosphere? Where is the canon? Grouping? How it differs from early styhle? 5. Mille regretz(NAWM 43) (ca. 1520) - Voicing, Author, Texture, Treatment of text within a phrase?

1. He shows characteristics of Obrecht and Isaac 2. formes fixes abandoned 3. strophic texts, simple 4-or 5-line poems, four to six voices, all meant to be sung, equal melodic interest in all parts. 4. 5-voice setting of existing popular monophonic song; brief and humorous text; source melody in canon between tenor and quinta pars( the fifth voice); varied number and grouping of voices - almost constant change of texture; Borrowed melody in all voices (not only cantus firmus) and constant imitation (not partially) 5. 4-voice chanson; authorship questioned by some scholars; texture alternates between homophony and imitation between all four voices; each phrase of text receives its own particular treatment

10 | Church Music in England *Church of England: third major branch of Protestantism* 1. History - Henry 2. History - Church of England, Book of Common Prayer, Anglican Church

1. Henry VIII (r. 1509-47) married to Catherine of Aragon; pope refused annulment; 1543 Parliament separated from Rome; Henry named head of Church of England 2. Church of England - Catholic in doctrine under Henry; Edward VI (r. 1547-53) adopted Protestant doctrines; 1549 Book of Common Prayer, English replaced Latin in the service; Mary (r. 1553-58) restored Catholicism; Elizabeth I (r. 1558-1603) brought back reforms made by Edward; sought to steer a middle course; Anglican Church: blend of Catholic and Protestant elements; Catholics conducted services in private

7 | New Currents in the Sixteenth Century *Reformation, 1517* 1. How was the spirit of the period reflected towards the bible? 2. Who challenged the church doctrines? 3. What was the new division of church? 4. How each branch contributed to music? 5. What was the response of the Catholic church?

1. Humanistic principles applied to Bible 2. Martin Luther challenged church doctrines; 3. Split from Roman Church: Lutheran, Calvinist, Anglican. 4. Each developed music for services and fostered new genres: chorale, metrical psalm, anthem 5. Counter-Reformation - produced some of the most glorious examples of music [one of the composers is Palestrina]

6 | The Ars Subtilior *Later fourteenth-century polyphonic songs* 1. Who was the main patron of secular music? 2. Who coined the term? 3. Which society was in charge of the composers' prosperity? 3.1 What were the popular forms? 3.2 Who was the audeince? 3.2.1 Why did they have such an high esteem of this music? 4. What other aspect (3) matches the elevated qualities of this genre?

1. Ironically, papal court at Avignon were. 2. Term Ars Subtilior (the more subtle manner) coined by Ursula Günther. Phrase derived from Philippus de Caserta (fl. 1370s) treatise, who described the composers of his day more subtle than the aging Ars Nove. 3 Knightly society allowed composers to flourish. 3.1 Polyphonic songs: formes fixes, mostly ballades 3.2 Aristocrats, clerics, courtiers 3.2.1 Because of their fascination with technique and new extremes which made possible by notation. 4. Manuscripts with fanciful decorations, intermingled red and black notes; Ingenious notation; Scores in shapes - love song written in shape of heart, canon in shape of circle

6 | Guillaume de Machaut (ca. 1300-1377) *Polyphonic songs, chansons* 1. What was the importance of the genre in the period? 2. What was the emphasis of the style of the chansons? 2.1 Who is carrying the text? 2.2 What was the setting of the tenor? 2.3 What could be an optional addition regarding voices? 2.4 What voice was firstly written?

1. It was a major innovation of the Ars Nova period. 2. Treble-dominated style. 2.1 Cantus or treble carried the text 2.2 Cantus supported by slower-moving untexted tenor 2.3 One or two untexted voices may be added 2.4 Machaut wrote cantus before the tenor

8 | English Music *Polyphony on Latin texts - Intro* 1. What's special about this English repertoire? 2. Which kind of music? 3. Typical setting of chant? 4. Where the chants came from? 4.1 Embellished?

1. It's the largest surviving repertory of fifteenth-century English music. 2. sacred music on Latin texts 3. chant in middle of 3-voice texture 4. chants from Sarum rite - a distinctive chant dialect used in England 4.1 chants sometimes lightly embellished

6 | Fourteenth-Century Music in Performance *Musica ficta - Intro* 1. Define 2. How it was used? 3. Why was it called like this? 4. How were the accidentals permitted? 5. What is musica recta and how is it related?

1. Just as the choice of instruments left to the performers so was the use of chromatic alteration. 2. Harmony and melody smoothed by avoiding tritones - chromatic alterations left to performers [described by theorist Prosdocimo de'Beldomandi (d. 1428)] 3. Musica ficta ("feigned music"): altered notes lay outside standard gamut {mode/key...} 4. hard, soft, and natural hexachords permitted semitones 5. musica recta or musica vera ("correct" or "true" music) as defined by the hexachord system of Guido of Arezzo -

6 | Fourteenth-Century Music in Performance *Instruments - keyboard* 1. How often were they used? 2. Which types of organ were in use?

1. Keyboard instruments were more practical therefore widely used. 2. Positive organs were added to portative organs and were used for secular music; large unmovable organs installed in many churches [pedal keyboards added to German church organs, late 1300s, stops and second keyboard, early fifteenth century]

8 | English Music *Impact of English music on Continental composers* 1. Historical processes of England [England territories, 100 years war, English nobility] 1.1. Low Countries and France - Musicians import 1.2 Contenance angloise, "English quality": Who termed? Harmonic properties? Melodic properties?

1. Kings of England held territories in northern and southwestern France; Hundred Years' War: England and France fight for control of France; 1453: defeat of the English, expulsion from France; English nobility brought musicians with them. 1.1 .Low Countries and France: pathways for importing English music to the Continent 1.2 Term from Martin Le Franc (ca. 1410-1461), French poet; frequent use of harmonic 3rds and 6ths, often parallel motion; Simple melodies, regular phrasing, syllabic text-setting, homorhythmic

6 | Guillaume de Machaut (ca. 1300-1377) *Messe de Nostre Dame - Isorhythmic movements* 1. Which movements are isorhythmic? 2. What does the tenor voice include? 3. What does the contratenor voice include?

1. Kyrie (NAWM 26a), Sanctus, Angus Dei and Ite, missa est 2. Tenor carries a cantus firmus - melody to chant on same Ordinary text, divided into two or more taleae. 3. Contratenor also is isorhythmic, coordinated with tenor - together they form harmonic foundation.

10 | Church Music in England *New forms created for services in English* 1. Which motets composed under whom? 2. Who is John Taverner (ca. 1490-1545)? 2.1 His style? 3. Who is Thomas Tallis (ca. 1505-1585)? 4. Define Service [for who, Great Service, Short service] and Anthem [similar to, language, texts, types]

1. Latin motets and masses composed under Henry, Mary, and Elizabeth; Latin used in Elizabeth's royal chapel, served political needs 2. leading English composer of sacred music; composed masses and motets 2.1 English style: long melismas, full textures, cantus-firmus structures 3. Thomas Tallis (ca. 1505-1585) - served Chapel Royal for forty years under Henry VIII to Elizabeth I; remained Catholic; composed Latin masses and hymns, English service music 4. •Service: music for Matins, Holy Communion, and Evensong; Great Service: contrapuntal and melismatic setting; Short Service: same texts, syllabic, chordal style •anthem corresponds to Latin motet polyphonic work in English, sung by choir; Matins or Evensong texts from Bible or Book of Common Prayer Elizabeth I: two types of anthems full anthem: unaccompanied choir, contrapuntal style verse anthem: one or more solo voices, organ or viol accompaniment; alternates with full choir doubled by instruments If ye love me, by Tallis (NAWM 48) (1547), early anthem 4-part men's choir simple homophony and four brief points of imitation syllabic setting match spoken rhythm of words

6 | Guillaume de Machaut (ca. 1300-1377) *Biography* 1. Composition style? 2. Education? 3. Employer? 3.1 How he influenced his work? 4. Supporters? 5. Describe two revolutionary aspects of him 5.1 What could those aspects suggest?

1. Leading composer and poet of French Ars nova 2. Educated as cleric in Reims, took holy orders 3. Service of John of Luxembourg, king of Bohemia 3.1 Described travels and military campaigns in his poetry 4. Got strong support from royal patrons 5. A) Among the first composers that compiled their complete works. B) Discussed his working methods. 5.1 He had self-awareness as a creator

10 | The Reformation *Began as theological dispute; three main branches* 1. Lutheran 2. Calvinist 3. Church of England

1. Lutheran: northern Germany and Scandinavia 2. Calvinist: led by Jean Calvin, Switzerland and Low Countries to France and Britain 3. Church of England: organized by Henry VIII Theology and circumstance determined musical choices

9 | Josquin des Prez [Jossequin Lebloitte dit Desprez] (ca. 1450-1521) *Motets* 1. His motets exemplify diversity of his style: Explain 2. Style example: Ave Maria . . . virgo serena(NAWM 44) (ca. 1485) - Popularity and time? words? 2.1 How the music crafted to fit words - Cadences, declamation, texture, points of imitation, paraphrases 2.2 What happens when the hymn text begins? Material, type of phrases, closing prayer?

1. Masses always set to same words but in motets there is a variety of texts: Mass Proper or other sources which invited a variety of treatment. 2. earliest and most popular; words drawn from three different texts, all addressed to Virgin Mary: opening lines of a sequence, hymn in five stanzas hailing five major feasts for Mary, prayer asking for her aid 2.1 Each segment given unique musical treatment and concluding cadence, sensitive declamation and projection of text, constantly changing texture; several overlapping points of imitation, presence of paraphrases of source melody in all voices, suffusing the texture 2.1 No more borrowed matiriel, homophonic phrases, diversity even in style of homophony; closing prayer: plainest chordal homophony in long notes

9 | Ockeghem and Busnoys *Masses* 1. Voicing? Range of the voicing? 2. Both had highly individual cantus-firmus masses: Tenor of which composer Ockeghem uses in his Missa De plus en plus? 2.1 Where does he locate the cantus firmus? Does he uses it strictly? 3. What kind were Ockeghem's other masses? 4. Ockeghem's Missa cuiusvis toni and Missa prolationum - What does it shows about the composer? 4.1 Missa cuiusvis toni (Mass in any mode) - Which modes it can be sung in? 4.2 Missa prolationum - How it's notated and how it's sung?

1. Most are four voices; voice parts cover wider ranges, extend 12th or more but mostly into lower ranges 2. takes the cantus firmus tenor of Binchois's chanson De plus en plus (NAWM 35) 2.1 cantus firmus in tenor, freely paraphrases it 3. Most are motto masses, one plainsong mass; his Requiem also based plainsong 4. Exceptional compositional virtuosity 4.1 Can be sung in mode 1, 3, 5, or 7 by reading music according to one of four different clef combinations using musica ficta for avoiding tritons 4.2 Notated for two voices but sung in four while he uses four prolations of mensural notation (Kyrie NAWM 40) - so the two added voice are essentially a rhythmic augmentation

6 | Fourteenth-Century Music in Performance *Manuscripts* 1. Were the manuscripts extremely detailed? 1.1 What it causes? more reasons? 2. What was the debate among scholars? Current knowledge claim? Church vs. Secular

1. No, many left much unspecified 1.1 Reconstruction of performing practices difficult; no living tradition; evidence are hard to find 2. 14th century music - sunged or sunged and played? Church polyphony most likely only sung; Secular polyphony possibly sung or played by instrumentalists

6 | Italian Trecento Music *Italian notation* 1. Similar to Ars Nova notation? Expand 2. Best suited for? 3. What came next?

1. No. Differences: breve broken into 2, 3, 4, 6, 8, 9, or 12 equal semibreves - breves marked off by dots, akin to modern barline. 2. Italian notation convenient for florid melodic lines 3. Eventually replaced by French system

9 | Old and New 1. Importance in life and after 2. Ockeghem - output known to his contemporaries? 3. Josquin's - circulation time?

1. Ockeghem, Busnoys, Obrecht, Isaac, and Josquin all acclaimed in life and after death 2. Ockeghem: only few works known in sixteenth century 3. Josquin's music continued in circulation far longer - performed and emulated through end of sixteenth century; works cited by theorists and written histories of music late eighteenth and nineteenth centuries and complete works transcribed and published beginning in 1921

8 | Music in the Burgundian Lands *Binchois and the Burgundian chanson - Intro* 1. Significance of Binchois [Gilles de Bins] (ca. 1400-1460) 2. Where he operated? 3. His employer? 4. Where did he perform? 5. Impact on a style? 6. Major works?

1. One of three most important composers of his generation. 2. at center of Burgundian court 3. joined chapel of Philip the Good, duke of Burgundy 4. performed at chapel services, court entertainments - had direct contact with English musicians 5. central figure in creation of Burgundian style 6. 28 mass movements, 6 Magnificats, 29 motets, 51 rondeaux, 7ballades

6 | Italian Trecento Music *Caccia* 1. Define. What is the parallel? 2. Popularity range? 3. Structure: Voices; Text; Poetic form 4. Meaning of the term? Translation into music? 5. Themes? 6. Effects between the voices?

1. Parallels French chace - popular-style in which melody set in strict canon, lively descriptive words 2. popular from 1345 to 1370 3. Two voices in canon at the unison; free untexted tenor in slower motion below; cacce have irregular poetic form though many have ritornellos. 4. Caccia and cacce mean "hunt"; pursuit of one voice after another. 5. Sometimes hunting applies to subject matter of text i.e. the hunt description at Gherardello da Firenze's caccia Tosto che l'alba; May describe other animated scenes such as bustling marketplace, a fire, or a battle. 6. Sometimes hocket or echo effects between voices

8 | English Music *The Carol* 1. Define. 2. Voices? 3. Subjects? 4. What is consisted? 5. The relation between the textures was?

1. Polyphonic carol, distinctively English genre - derived from medieval carole. 2. 2-or 3-part setting of English or Latin poem 3. religious subject, Christmas season and Virgin Mary 4. number of strophic stanzas, and a burden (refrain) 5. many feature contrasts of texture - Alleluia: A newë work(NAWM 33) incluedstwo burdens for two and three voices respectively

6 | The Ars Subtilior *Style example: En remirant vo douce pourtraiture (NAWM 29), ballade by Caserta* 1. What is the dominant meter? 2. Features of the cantus? 3. What does the red notes indicate? 4. What does Caserta creates with this features?

1. Prevailing meter: 9/8 - perfect time in major prolation with three-fold divisions of breve (measure) and semibreve (beat)- marked by steady dotted quarters in tenor. 2. Two eighth rests shift phrase off the beat; series of syncopations. 3. Red notes indicate duple divisions instead of triple: hemiola effects in contratenor and cantus. 4. There's an heightened sense of independence between parts.Each phrase has distinctive profile which helps to articulates form

7 | New Currents in the Sixteenth Century *Music printing* 1. What invention was the most technological breakthrough? 1.1 This was revolutionary element as what was in middle ages? 2. Distribution of of written music - What was the status in the 1500s? Audiences? 2.1 How did it improve the manuscripts? 2.2 How did amateur music-making had an impact? 3. New outlet for composers - What was the new way of making a profit? 4. What impact did the printing had for the future?

1. Printing from movable type: Johann Gutenberg. 1.1 As notation development. 2. Became wider, had broader audience with growth of musical literacy. 2.1 It had uniform accuracy and it was lest costly. 2.2 Music was marketed to amateurs who played for entertainment and this had a significant drive in the development of music. 3. They could direct sale to publisher, or indirectly, making their name known, potentially attract new patrons 4. Existence of printed copies helped the preservation of music for next generations

10 | The Reformation *Martin Luther (1483-1546)* 1. Biography 2. Pressed to back down - Consequences?

1. Professor of biblical theology at University of Wittenberg, Germany; influenced by humanist education; views contradicted Catholic doctrine; religious authority derived from Scripture alone; ninety-five theses posted on church door in Wittenberg; opposed indulgences; challenged pope's role in granting them; intended to start dialogue; theses printed and disseminated widely, making Luther famous 2. charged with heresy, 1519; excommunicated, 1520; organized a new evangelical church: Lutheran Church

7 | New Currents in the Sixteenth Century *New repertories and genres* 1. What kind of genres appeared in the 16th century after the international style of the 15th century? 1.1 For which sub-genre? 2. Who pushed this genre forward and why? 3. What were the new vocal genres? 4. Which other area was parallel in those aspects? 5. Notated instrumental music - What was the change in towards this genre? 6. What were the new genres?

1. Prosperity of regional and national styles. 1.1 especially secular vocal music 2. Amateurs who prefer to sing in their own language 3. Spanish villancico, Italian frottola and madrigal, English lute song - Varied from simple homophony to more elavated works. 4. The great interest in the vernacular literature 5. Works in improvisational style notated and published. 6. Variations, prelude, toccata, canzona, and sonata

8 | English Music *John Dunstable - works* 1. What's his most celebrated motet? What he combines? 2. Harmony preference? 3. 3-voice sacred works - Importance? Settings? Instances of Cantus Firmus? Other instances? 4. Other works, not based on existing melody - Example Quam pulchra es(NAWM 34) - Voices, Character, their importance, form, declamation, sonorities

1. Quam pulchra es - combines the hymn Veni creator spiritus and sequence Veni sancta spiritus 2. embodies English preference for 3rds with 5ths or 6ths 3. most numerous and historically important works; settings of antiphons, hymns, Mass sections, other liturgical or biblical texts; some have cantus firmus in tenor: structural foundation for upper voices; others use paraphrase technique: chant elaborated in top voice. 4. three voices, similar in character, near equal importance; form not predetermined, not structured by repeating rhythmic patterns; naturalistic rhythmic declamation of text; consonant vertical sonorities

9 | Ockeghem and Busnoys *Chansons - Style example and characteristics:* 1. Je ne puis vivre(NAWM 39), virelai by Busnoys - Refrain meter? Imitation frequency? How it is varied? 2. What general new trend they both use regarding counterpoint? 3. What Busnoys characteristics that not appear in Ockeghem's music? 4. The opposite question? 5. Both chansons were quite popular - How do we know that?

1. Refrain in triple meter, b section in duple; prevalence of imitation - imitation between tenor and cantus accompanied by free counterpoint in contratenor; varied with sections of brief homophony 2. As opposed to the old counterpoint in which cantus and tenor form the structure - they take the 15th century approach of all voices play a similar role. 3. Clear tonal direction of melody confirmed by a cadence - turning points in melody emphasize triad 4. Ockeghem had more diffuse and meandering melodic style. Histtonal direction less clear and less predictable 5. They appear frequently in manuscripts from many different countries and they have a large number of reworkings

6 | Guillaume de Machaut (ca. 1300-1377) *Polyphonic songs, chansons* 1. Which poems are set in his chansons? 2. What are the forms? 3. Which topic was associate to which form?

1. Same as the monophonic - set his own poems. 2. Formes fixes - Most are in the form of ballade or rondeau. 3. A) Ballades: philosophical or historical themes, celebrate event or person, most serious love songs B) Rondeaux: themes of love. C) Virelais: relate feelings of love to descriptions of nature

8 | The Polyphonic Mass *Cantus-firmus mass, or tenor mass - Intro* 1. What was the basis of each movement? 2. Who used it? 3. Tenor structure? 4. Cantus-firmus/imitation mass - What is it? Did they use also the other voices? How did they name it? 5. Which melody was frequently used?

1. Same tenor voice cantus firmus in each movement 2. First written by English, adopted on the Continent 3. Tenor written in long notes in isorhythmic pattern 4. When the tenor of a polyphonic chanson used for cantus firmus; typically borrowed elements from other voices; mass names derived from borrowed melody 5. L'homme armé - (The armed man), used by most major composers

7 | Europe from 1400 to 1600 *Humanism* 1. What did scholars had now that they didn't have before? 2. Why Byzantine scholars fled to Italy? 2.1 What was the result of it? 3. What is Humanism? 3.1 Their goal? 4. What movement it replaces? 5. How did the church integrated with this movement? 6. How did composers integrated with this movement?

1. Scholars and thinkers had larger access to the classics of roman and greek literature and pholisophy. 2. Ottoman attacks: Byzantines flee to Italy with Greek manuscripts. 2.1 Taught Greek to Italian. Greek classics translated into Latin for the first time. 3. Strongest intellectual movement of the Renaissance from Latin phrase "studia humanitatis,"things pertaining to human knowledge. 3.1 humanists were reviving ancient learning: grammar, rhetoric, poetry, history, moral philosophy; developed individual's mind, spirit; prepared for lives of virtue and service 4. humanistic studies replaced Scholasticism; emphasis on logic 5. They borrowed from classical sources, supported humanists 6. composers apply ideas from rhetoric in their music

8 | Music in the Burgundian Lands *Genres and texture* 1. What were the principal types of polyphonic composition? [4] 2. How many voices? 3. Texture resembles? 4. Vocal range? 5. Lines roles? Main melody? Tenor? Countertenor?

1. Secular chansons with French texts; motets; Magnificats; settings of the Mass Ordinary 2. most pieces, three voices 3. texture resembles fourteenth-century French chanson or Italian ballata 4. slightly larger vocal ranges, span 10th or 12th 5. Each line has distinct role; main melody in cantus firmus; contrapuntal support in tenor; harmonic filler in contratenor

9 | The Generation of 1480-1520 *Henricus Isaac (or Heinrich Isaac, ca.1450-1517)* 1. Biography - What did he do? Where? For who? Output nation-wise? 2. Homophonic textures - What did he encounter in Florence? 2.1 How did he adopted this style? 3. 16th century: Which texture became important?

1. Singer composer; church positions in Florence; court composer for Holy Roman emperor Maximilian I, Vienna and Innsbruck; output is more pan-European; sacred works, large number of song and the monumental Choralis constantinus: a cycle of settings, Proper for most of church year. 2. In Florence encountered predominantly homophonic style: canti carnascialeschi (carnival songs) used in festive processions and pageants 2.1 German Lieder: Italian style adopted to his lieder. Innsbruck, ich muss dich lassen(NAWM 41) - Melody in top line, rests seperate phrases, cadences reslove to triads and to open sonorities. 3. Homophonic texture appears alongside and alternating with imitative texture

6 | Italian Trecento Music *14th century madrigal - Intro* 1. Define. What are the performing forces? 2. Text layout? 3. Describe the themes 4. What is the general form?

1. Song for two or three voices without instrumental accompaniment. 2. All voices sing same text 3. Idyllic, pastoral, satirical, or love poem 4. Consist two or more 3-line stanzas set to same music followed by a Ritornello: closing pair of lines, different music and meter

6 | Italian Trecento Music *Francesco Landini - General style* 1. Describe his harmony; melodie; rhythm; contour; melismas 2. What is Landini cadence?

1. Sweet harmonies which contain 3rds and 6ths [thogh they never begin/end section/piece; graceful vocal melodies, mostly stepwise; varied and syncopated rhythms; smoother in pitch contour and rhythm than Machaut; uses melismas on first and penultimate syllable of poetic line 2. When the tenor descends by step, upper voice descends to lower neighbor, skips up a 3rd - could be in the end of a phrase,line,word...

6 | Fourteenth-Century Music in Performance *Musica ficta - often used at cadences* 1. What were the harmonic conventions? 2. What is a double leading tone cadence? 3. What is a Phrygian cadence? Why it's called like this?

1. Tehorist/composers agreed that: 6th to octave should be major; 3rd to unison should be minor - this is the reason why strictly modal cadences typically altered 2. When both upper notes resolve upward by half steps 3. When the lower voice descends by semitone, upper voice rises whole tone: occur naturally in Phrygian mode

7 | Music in the Renaissance *Words and music* 1. What medieval idea about text was deprecated? 2. What was the destiny of Formes Fixes? 3. How was the music adjusted to the text? 4. What was the different approach to emotion? 5. What was the influence of ancient writings regarding declamation?

1. That music is only decoration for text. Composers wanted to convey texts more clearly. 2. They fell out of fashion; texts became highly varied 3. There was an increasing attention to rhythm of speech, natural accentuation of syllables. 4. Music served as servant of the words and conveyor of feelings as opposed to before 5. Text declamation and text expression reinforced by ancient writings; Discussion of rhetoric by Quintilian and Cicero supported the goals of declaiming words.

8 | Guillaume Du Fay (ca. 1397-1474) *Chansons and the international style - Se la face ay pale (NAWM 38a)* 1. How much time it was written after "Resvellies vous"? 2. Which national traditions did it include? [Nations and their characteristics, harmony, form]

1. The ballade written ten years later 2. blend of three national traditions, strong English influence. English: tenor and cantus equally tuneful; Italian and English: cantus and tenor melodies more graceful, mostly stepwise, syllabic setting; Rhythmic energy of French Ars Nova; consonant harmony throughout: 3rds, 6ths, full triads; freely composed, no longer in fixed form

8 | English Music *The English influence* 1. What music was only used in England? 2. What was spread? 3. Were they essential?

1. The carols and functional religious music: used only in England 2. Dunstable, faburden: known on the Continent 3 .English sound essential element of international style mid-to late fifteenth century

9 | The Generation of 1480-1520 *Text setting* 1. How the attitude toward text developed in this generation? 2. How it was done? 3. How it affected performers duties?

1. The concern for fitting music to words increased 2. Composers carefully matched accents in music to important words 3. Text underlaid clearly and completely under the music and it wasn't the job of the singers to do it themselves during performance.

8 | The Polyphonic Mass *Cantus-firmus mass, or tenor mass - Conclusion* 1. Why it became so developed and widespread? 2. How commissioned settings helped this development? 3. What was the needs the cantus firmus mass met?

1. The long wish of have unified 5 movements was solved by basing the same cantus firmus in each movement. 2. Patrons commissioned settings of Mass Ordinary for specific occasions - cantus firmus could refer to saint, institution, family, individual, or event and be used throughout this new mass. 3. As service music; as conveyor of meaning, musical allusions to source tune and text; work connoisseurs could appreciate. It also met the need of high diversity in material

6 | Guillaume de Machaut (ca. 1300-1377) *Messe de Nostre Dame - Opening Christe [from Kyrie]* 1. What is the difference between the upper and lower voices? 2. Are the upper voices isorhythmic as well? 3. What characteristics of Machaut we can derive from this part? 3.1. What is the connection to architecture? 3.2. What is his compositional devise for rhythmic activity?

1. The upper voices move more rapidly and with typical syncopation of Machaut. 2. Partially. If we divide the Talea into two sections - we can see almost identical rhythms in both of them. 3. Contrast of rhythmic rest and activity that is characteristic for Machaut block-like construction. 3.1. It suggests architectural parallel of Gothic cathedrals 3.2 He is repeating figuration throughout the mass not just as unifying motives, but to create movement.

9 | Ockeghem and Busnoys *Most renowned musicians of generation after Du Fay* 1. What was special about those composers? 2. Jean de Ockeghem [Johannes Okeghem] (ca. 1420-1497) - What was he celebrated as? Specially known for his? Born? Job? Local/International? Output length? 3. Antoine Busnoys (or Busnois, ca. 1430-1492) - Output? Job?

1. Their music widely distributed, performed, imitated and laid foundation for later generations. 2. Celebrated as singer, composer, teacher; esteemed especially for his masses; born in northeastern France; served three French kings for more than four decades - career and music less cosmopolitan; relatively small output: thirteen masses, Requiem Mass, five motets, twenty-one chansons 3. most prolific chansons composer of his time; served in Burgundian courts and Hapsburg Empire

6 | Guillaume de Machaut (ca. 1300-1377) *Monophonic songs - Style example: Douce dame jolie(NAWM 27), virelai* 1. What styles it combines? 2. What is the theme? 3. Describe the use of rhymes through music. 3.1 What does he do with motives? 3.2 What does he do with rhythm? 3.3 What is the result of all and what it reflects in Machaut style?

1. This Virelai illustarates the way he blends the trouvère tradition with up-to-date musical style. 2. Theme of fine amour - Pleading mercy from a lady who reigns him. 3. There's an emphasis of poetic rhymes by musical ones. 3.1 There are short motives with frequent repetitions and variations which makes the melody memorable. 3.2 He uses syncopations and strong duple meter 3.3 Playful catchy melodies which reflects his notion of the virelai as chanson baladée ("danced song"): singer performs monophonic virelai, companions dance in a circle.

6 | Italian Trecento Music *French influence* 1. What happened to the national characteristic? Who was substituting? 2. How did the French influenced the Italian?

1. Towards the end of the 14th century Italian national characteristic lost - contemporary French style absorbed 2. Italians wrote songs to French texts in French genres, often in French notation.

6 | Guillaume de Machaut (ca. 1300-1377) *Monophonic songs* 1. A continuation of which tradition? 2. Subject of songs? 3. What were the forms of writing? 4. What are the more popular Formes fixes? 4.1 What is the main feature of them?

1. Trouvère tradition 2. Most of them about love. 3. Machaut composed in outmoded forms: chant roial, complainte, and lai. 4. Formes fixes (fixed forms): ballade, rondeau, and virelai - Forms of the 14th century French song. 4.1 Text and music have specific patterns of repetition that includes a refrain, a phrase or a section that repeats both words and music

9 | Ockeghem and Busnoys *Canon and characteristics* 1. Define the canon (Latin for "rule") and the instruction for it 1.1 What is a mensuration canon? 1.2 What is a double canon? 2. For conclusion what were Ockeghem's musical characteristics: Phrases, voices, flow, melodie, decoration?

1. Two or more voices derived from single notated line - instructions also called a canon (e.g., inversion, retrograde) 1.1 When two voices sing same part using different durations (such in Missa prolationum) 1.2 When two canons sung simultaneously (Missa prolationum) 1. long phrases, overlapped voices, continuous flow; melodies more diffuse, less predictable; emphasizes decoration and drive

10 | Music in Calvinist Churches *Metrical psalms* 1. What is it? 2. What is Psalter? 2.1 French psalter 2.2 Dutch, English, and Scottish psalters

1. Vernacular translations of psalms, metric, rhymed, strophic that were set to newly composed melodies, or adapted tunes from chant 2. metrical psalms in published collections 2.1 Calvin issued several in French, beginning 1539 - complete French psalter published 1563; copies printed in several cities simultaneously; it contained 150 psalms sung in unison, unaccompanied; the properties were simple stepwise melodies like in (NAWM 47b) "Old Hundredth" 2.2 translations of French pslater: Germany, Holland, England, Scotland; Germany: psalm melodies adapted as chorales; Lutherans and Catholics published metrical psalters; Bay Psalm Book, 1640: first book published in North America

6 | The Ars Subtilior *Rhythmic complexity* 1. What were the new notational signs? 1.1 What was the result? 2. Features in voices motion? 3. Features in beats? 4. Features in phrases? 5. Features in harmony? 6. Audience and impact?

1. Vertical combinations of different mensurations. 1.1 Remarkable rhythmic complexity. 2. Voices moves in contrasting meters and conflicting groupings. 3. Beats subdivided in many different ways 4. Phrases were broken by rests or chains of syncopations. 5. Harmonies blurred through rhythmic disjunctions 6. Intended for professional performers, cultivated listeners. It was in fashion for only one generation

6 | Guillaume de Machaut (ca. 1300-1377) *His Reputation* 1. His contemporaries view of him? 2. Who did he influence and for how long? 3. Why were his pieces had such a big impact?

1. Widely esteemed in his own time 2. Influenced poets and composers several decades after his death. 3. Because they survived after he took steps to copy them to several manuscripts.

6 | Guillaume de Machaut (ca. 1300-1377) *Motets* 1. How many did he write? 1.1 What method did he use in the majority of the motets? 1.2 When did he write them? 2. How are they different from early motets? 3. What added features did they include?

1. Wrote 23 motets 1.1 19 isorhythmic 1.2 Early in his career. 2. Longer and more rhythmically complex than earlier ones. 3. Often includes Hocket and isorhythmic passages in upper voices.

6 | Fourteenth-Century Music in Performance *Musica ficta - omission of accidentals* 1. What was the main issue in those alterations? 2. Why did it happen? 3. How could the performers deal with this situation? 4. In what instance the composers did write accidentals?

1. alterations not always indicated, and there was inconsistent usage of them. 2. Because people had a training framework: singers trained to recognize situations, accidentals rarely notated. 3. often more than one solution; performers have options. 4. composers indicated accidentals for sake of beauty which is not assumed by the rules

8 | Music in the Burgundian Lands *Binchois and the Burgundian chanson - works* 1. Binchois's chansons - General term for 15th century chansons? 2. Themes? 3. Form? 4. Style example: De plus en plus(NAWM 35) (ca. 1425)

1. any polyphonic setting of French secular poem - Binchois: particularly esteemed for his chansons 2. stylized love poems, courtly tradition of fine amour 3. most followed form of rondeau (ABaAabAB) 4. meter and rhythm: 6/8 meter (3/4 or 6/8 typical of the era); occasional cross-rhythms of three quarters (hemiola); varies rhythm measure to measure, dotted figures, subtle syncopations; Music and text - cantus declaims text clearly, mostly syllabic, longer melismas at important cadences; Melody and counterpoint - cantus firmus and tenor: good 2-part counterpoint, mostly 6ths and 3rds, both in fluid, gentle arching lines; Full consonant harmony - few dissonances, carefully introduced; Cadences - Landini cadence: major 6th expanding to octave, and uses a new version: lowest note rises a 4th, sounds like V-I cadence

8 | English Music *Refining the motet* 1. Motet: gradually broadened in meaning - What was the previous definition? 2. What happened to isorhythmic motets and when? 3. Which texts they were applied to? 4. New definition?

1. any work with texted upper voices above a cantus firmus. 2. by 1450 isorhythmic motet disappeared 3. motet applied to settings of liturgical texts in newer musical styles, whether or not chant melody was used 4. eventually came to designate almost any polyphonic composition on a Latin text, including texts for Mass Proper and the Office

7 | Music in the Renaissance *The new counterpoint* 1. What was the innovation regarding harmony, dissonance and aesthetic? 2. Distinction between new and older practice - In which book it is expressed? 2.1 In which books those rules were refined?

1. based on preference for consonance: included 3rds, 6ths, 5ths, octaves 1.1. strict control of dissonance: avoid parallel 5ths and octaves 1.2. This approach reflects the value of beauty and order composers had. 2. Johannes Tinctoris (ca. 1435-1511): Liber de arte contrapuncti (A Book on the Art of Counterpoint, 1477) - it was the leading counterpoint treatise of fifteenth century. There he describes strict rules for introducing dissonances. 2.1 In Gioseffo Zarlino (1517-1590): Le istitutioni harmoniche (The Harmonic Foundations, 1558) -synthesized rules of Tinctoris and later Italian treatises

7 | Europe from 1400 to 1600 *European expansion* 1. Where did the European expanded? Which facilities they had? Impact on routes? Colonies? Culture?

1. beyond Mediterranean and northern Atlantic 2. larger ships, better navigational aids, powerful artillery; trade routes extended: Africa to India and East colonies; Columbus encountered New World, 1492: colonies in Americas; expansion of European culture; blending of genres

10 | Giovanni Pierluigi da Palestrina (1525/1526-1594) *"The Prince of Music"* 1. Biography - born? career? 2. After Council of Trent, commissioned to revise official chant books - published? 3. How his works were published? 4. Major works 5. Him as a model

1. born in Palestrina, small town near Rome; choirboy and musical education in Rome; most of his career in Rome; Julian Chapel at St. Peter's (1551-55 and 1571-94), St. John Lateran (1555-60), Santa Maria Maggiore (1561-66); briefly sang in papal chapel (1555); 2. published in 1614, remained in use until early twentieth century 3. published his own music 4. 104 masses, over 300 motets, thirty-five Magnificats, many other liturgical compositions, ninety-four secular madrigals 5. Palestrina's style model for later centuries of church music and counterpoint in strict style

11 | The Italian Madrigal *Midcentury madrigalists* 1. Voicing and texture 2. Cipriano de Rore (1516-1565) 3. Chromaticism 4. Nicola Vicentino (1511-ca. 1576)

1. by midcentury, most madrigals were five voices, frequent change of texture 2. leading midcentury madrigalist Flemish by birth, worked in Italy succeeded Willaert as music director at St. Mark's in Venice Da le belle contrade d'oriente(NAWM 57) musical details match rhythm, sense, and feeling of poem accented syllables, longer notes; syncopations "dolce," "lasci" grief and sorrow: changing combination of voices, semitonesand m3rds 3. direct chromatic motion not possible in Guidonian system forbidden in polyphony before Rore's generation transgression against norms: powerful means of expressing grief Zarlino approved chromatic motion to express sorrow usage provided link to ancient Greeks 4. L'antica musica ridotta alla moderna prattica(Ancient Music Adapted to Modern Practice, 1555) proposed reviving chromatic and enharmonic genera of ancient Greeks L'aura che 'l verde lauro, madrigal on a Petrarch sonnet (1572) incorporated Greek chromatic tetrachord chromatic motion evokes classical antiquity, idyllic pastoral scene

9 | Josquin des Prez [Jossequin Lebloitte dit Desprez] (ca. 1450-1521) *Music as expressive of feelings and ideas* 1. Text expression - How was emotion expressed through text? Example for musical irony? Example for sadness? Example of prayer? 2. Depiction of images - using musical gestures to reinforce visual images in text: Examples?

1. conveying through music the emotions or overall mood suggested by the text; Faulte d'argent: surprising turn of harmony parallels irony in text; Mille regretz, descending lines reflect sadness; Ave Maria . . . virgo Serena: slow simple chordal homophony, signifies quiet feeling of deep prayer 2. Mille regetz: poetic line "habandonner," left dangling without proper cadence; Ave Maria . . . virgo serena voices sing together in rhythmic unison: full chordal texture evokes fullness; Credo of Missa Pange lingua"Et resurrexit" new burst of energy, imitative entrances

6 | Fourteenth-Century Music in Performance *Instruments - Intro* 1. How the musicians of the 14-16th centuries classed instruments? 1.1 Term for loud 1.2 Term for soft 2. What was the percussion part?

1. distinguished by relative loudness. 1.1 haut(French for "high"): shawms, cornets, trumpets - used for out-of-doors music, dancing ceremonies 1.2 bas("low") - harps, vielles, lutes, psalteries, portative organs, transverse flutes, recorders 2. Accompanied all kinds of music. Included: kettledrums, small bells, cymbals

6 | Italian Trecento Music *14th century Italy, collection of city-states* 1. Impact of multi-city? 2. Music role? Was written? 3. What music did survive? 3.1 Audience? 3.2 Origins? 4. Importance of Florence?

1. each cultivated its own cultural traditions 2. Music accompanied every aspect of social life. Most music never written down, church polyphony mostly improvised, few notated works survive 3. Secular polyphonic songs: largest surviving body of music. 3.1 Composed and sung as refined entertainment for literate audiences 3.2 grew out of fourteenth-century Italian poetry 4. Florence important cultural center fourteenth to sixteenth centuries: home to Dante and Boccacio

9 | Josquin des Prez [Jossequin Lebloitte dit Desprez] (ca. 1450-1521) *Masses* 1. How many? 2. How many secular? 3. Which other masses he wrote? 4. Style example: Missa Pange lingua(NAWM 45), paraphrase mass - Origin? Appearence of it in the voices? What does he do with points of imitation? Motives origin? Use of declamation? 4.1 Which genre each movement resembles? How was it called?

1. eighteen masses, varied, technical ingenuity 2. nine use secular tune as cantus firmus 3. Masses based on chant | freely composed double canons | subjects derived from solmization syllables 4. based on plainchant hymn, Pange lingua gloriosi; paraphrased in all four voices, in each movement; paraphrase in points of imitation; phrases adapted as motives, treated in imitation (Kyrie, NAWM 45a); phrases in homophonic declamation (Credo, NAWM 45b) 4.1 movements resemble motets; paraphrase mass: mass based on paraphrased monophonic melody, appears in all voices

10 | Giovanni Pierluigi da Palestrina (1525/1526-1594) *Palestrina as a model* 1. Preservation significance? 2. Stile antico importance 3. Nowadays?

1. first style in history of Western music to be consciously preserved and imitated 2. Ideal of stile antico (old style): referred to by seventeenth-century theorist sand composers 3. still the ideal style in present-day counterpoint text books

10 | Music in Calvinist Churches *Polyphonic psalm settings* 1. Although it was monophonic - when did they use it polyphonically? 2. Tune was in? 3. Style? 4. Other settings?

1. for home or gatherings of amateur singers with 4-or 5-part settings 2. tune in tenor or superius 3. chordal style to motetlike settings 4. other settings: voice and lute, organ, and other combinations -resembled popular music with religious message

6 | Italian Trecento Music *Francesco Landini (ca. 1325-1397) - Intro* 1. Signifiance? Favorite genre? 2. Biography: Helath; instruments mastery; jobs 3. Which type of music did he write: Religious or secular? 4. Major works? 5. Voice settings in general?

1. foremost Italian musician of the Trecento, leading composer of ballate. 2. Blinded by smallpox during childhood, turned to music; master of many instruments; organist at the monastery of Santa Trinità in 1361-65; chaplain at church of San Lorenzo. 3. wrote no sacred music 4. 140 ballate, 12 madrigals, 1 caccia, 1 virelai 5. 2/3 voices - 2 probably earlier reminds madrigal's texture. The 3 voice are mostly treble-dominated featuring solo voice with 2 untexted accompanists.

10 | Music in the Lutheran Church *Luther sought to give people a larger role* 1. How he increased people's role 2. Catholic kept -Text [Latin remains - Why?], music 3. Music assumed central position - How? Admired? Things he believed in? Uniting people through music - how? 4. What were his compromises between Roman usage and new practices? 4.1 What was replaced?

1. increasing use of vernacular in service 2. retained much of Catholic liturgy - some in translation, some in Latin [educating the young]; use of Catholic chant and polyphony with Latin texts, German translations or new German words 3. admired Franco-Flemish polyphony, especially Josquin; Luther believed in educational and ethical power of music; worshipers could unite in faith and praise; believed in congregational singing 4. Smaller churches adopted Deudsche Messe(German Mass) that was published by Luther, 1526 and followed main outline of Roman Mass. 4.1 replaced most elements of Proper and Ordinary with German hymns

10 | Music in the Lutheran Church *The Lutheran chorale* 1. Define the chorale: Definition, way it sung, origin of text and melodies, collections, printing role 2. 4 main sources of chorales: Describe + example

1. late sixteenth-century congregational hymn; originally sung in unison; Luther wrote poems and melodies himself; four collections of chorales published, 1524; printing press played large role in dissemination 2. 2.1 Adaptations of Gregorian chant: Nun komm, der Heiden Heiland(NAWM 46b) from Veni redemptor gentium(NAWM 46a) where Luther's poem is rhymed, metrical translation and he took over most of chant melody, with significant alterations 2.2 Existing German devotional songs: Christ ist erstanden (Christ is risen), based on Latin sequence Victimae paschali laudes(NAWM 5) 2.3 Contrafactum: secular songs given new words - O Welt, ich muss dich lassen(O world, I must leave you) based on LiedInnsbruck, ich muss dich lassen (NAWM 41) 2.4 New compositions - En feste Burg(NAWM 46c), Luther's best-known chorale, song most identified with the Reformation. You can identify expression and declamation of the words

6 | Italian Trecento Music *Francesco Landini - Style example: Non avrà ma'pietà (NAWM 32)* 1. Which style? Which voicing? 2. Dominant voice?

1. later style, 3-voice ballata 2. Treble-dominated - solo voice with two untexted accompanying parts

10 | Music in Calvinist Churches *Jean Calvin (1509-1564)* 1. Who was he? Thoughts about papal authority? What instead? People's destiny? What did he require from the people? Location? Spread to?

1. led largest branch of Protestantism outside of Germany; rejected papal authority; justification through faith alone; believed people predestined for salvation or damnation; lives of constant piety, uprightness, and work; centered in Geneva, missionaries spread Calvinism across Switzerland; Established Dutch Reformed Church in the Netherlands, Presbyterian, Church in Scotland, Puritans in England, Huguenots in France

6 | Fourteenth-Century Music in Performance *Instrumental music*\ 1. How much instrumental music survived from the 14th century? 2. What was their part in vocal music? 3. Were instrumental arrangements written? 3.1 What about keyboard pieces? 3.1.1 Robertsbridge Codex 3.1.2 Faenza Codex 4. Surviving dance music?

1. little purely instrumental music survives 2. vocal pieces sometimes played instrumentally with melodic embalishment 3. instrumental arrangements largely improvised 3.1. some for keyboard written down 3.1.1 Robertsbridge Codex ca. 1325: organ arrangements of three motets. 3.1.2 Faenza Codex early fifteenth century: keyboard versions of ballades by Machaut; madrigals and ballate by Landini; keyboard pieces based on chants for Mass 4. There are fifteen surviving instrumental dances, mostly istampita

8 | English Music *John Dunstable - Intro* 1. Importance? 2. Which genres he wrote? 3. Influence? 4. Birth info? 5. Employers? 6. Place he worked in often? 7. Major works?

1. most highly regarded English composer of the fifteenth century 2. composed in all polyphonic genres of the time 3. greatly influenced contemporaries and successors 4. birthplace and early training unknown 5. served a number of royal and noble patrons 6. spent much of his career in France 7. sixty major works include all principal types of polyphony: isorhythmic motets, Mass Ordinary sections, settings of chant, free setting of liturgical texts and secular songs

11 | The Italian Madrigal *Madrigal: most important secular genre of the 16th century* 1. emphasis on enriching meaning and impact of text through musical setting - The new effects, the leading country 2. Texts 3. Poetry? 4. Composers dealt freely with poetry - How? 5. early madrigals 1520-1540 6. Written for enjoyment of singers - who sang? When Demand? Collections?

1. new effects of declamation, imagery, expressivity, characterization - through madrigal, Italy became leader in European music 2. single stanza, seven or eleven syllables, free rhyme scheme no refrains or repeated lines 3. texts by major poets scenes and allusions borrowed from pastoral poetry form of social play; vivid imagery interwoven with themes of love and sex poems often end with epigram 4. variety of homophonic and contrapuntal textures typically through-composed aimed to match artfulness of poetry; convey images and emotions 5. four voices, later five voices; added voices labeled in Latin one singer to a part instruments often doubled voices, or took their place 6. mixed groups of women and men social gatherings, after meals, meetings of academies great demand for madrigals 2,000 collections published between 1530 and 1600

10 | Germany and Eastern Europe *Orlande de Lassus [Orlando di Lasso](ca. 1532-1594)* 1. Biography 2. Motets - What was more important: rhetorical, pictorial, and dramatic interpretation of text or form and details? 2.1 Cum essem parvulus(NAWM 53) (1579) - Voicing, text painting 3. Lassus style?

1. one of the most cosmopolitan figures born in Hainaut, same region as Du Fay, Binchois, Ockeghem and Josquin; young age, Italian patrons; age twenty-four, published books of madrigals, chansons, and motets; 1556 service of Duke Albrecht V of Bavaria; maestro di cappella ducal chapel in Munich; four decades in one post, traveled frequently; major works: fifty-seven masses, over 700 motets, 101 Magnificats, hundreds of other liturgical compositions, 150 French chansons, 200 Italian madrigals, ninety German Lieder 2. rhetorical, pictorial, and dramatic interpretation of text overalls form and details 2.1 6-voice motet; words prompt every gesture in the music - "When I was a child," duet between two highest voices, "mirror in riddles," non imitative counterpoint, suspensions, brief mirror figure, "face to face," moment of revelation, only full homophonic passage 3. versatile composer, no "Lassus style" - he synthesized achievements of an era master of Flemish, French, Italian, and German styles in every genre, motets influenced later German Protestant composers

6 | Italian Trecento Music *14th century madrigal - Style example: Non al suo amanteby Jacopo da Bologna (NAWM 30)* 1. Who wrote? 2. What characteristics of the trecento we can see? 3. Voice relation? 4. What's special about first and last syllables/line? 4.1. What's special in upper voice? 4.2 How are the syllables in the middle are set?

1. poem by Francesco Petrarca (1304-1374) 2. characteristic rhythmic variety and fluidity 3. Two voices relatively equal, occasional hocketlike alternation. 4. First and last accented syllables of each line set with long melismas. 4.1 More florid in upper voice 4.2 Syllables in between set syllabically, rapid declamation

6 | Echoes of the New Art 1. What was the 14th century approaches impact?

1. precise, unambiguous notation; music could be distributed in writing; composers could fix music exactly, pride in authorship; future composers claim credit for their work; increased interest in the individual grew stronger in fifteenth and sixteenth centuries; styles contributed to international styles of fifteenth century

7 | Music in the Renaissance *Reawakened interest in Greek theory* 1. Most direct impact of humanism was through? 2. What was the importance of Franchino Gaffurio (1451-1522)? 3. What was the importance of Swiss theorist Heinrich Glareanus (1488-1563)? 3.1 What did he argue about polyphonic music?

1. recovery of ancient music treatises, which were translated to Latin includeing: Aristides Quintilianus, Claudius Ptolemy, and Cleonedes; passages from Aristotle Politics, Platos' Republicand Laws. 2. He revived Greek ideas, and stimulated new thoughts 3. In his important book Dodekachordon(The Twelve-String Lyre, 1547) he added four new modes, and used ancient Greek names: Aeolian and Hypoaeolian, Ionian and Hypoionian. 3.1 polyphonic music understood as modal. He reconciled theory of modes with current practice

7 | Europe from 1400 to 1600 *Sculpture, painting, and architecture* 1. Origins? 2. Themes? 3. Nudity in relation to the Middle Ages 4. Painting style? 5. What is chiaroscuro? 6. The models of architecture? 7. The focus on the individual 8. What were the musical parallels?

1. revival of classical antiquity 2. naturalism and idealized beauty. 3. nudity shows beauty of human figure as opposed to nakedness in Middle Ages used to show shame 4. natural and realistic effects in painting; perspective: method for representing three-dimensional space on flat surface; 5. chiaroscuro: naturalistic treatment of light and shade 6. clarity and classical models in architecture: clean lines contrast markedly with Gothic decoration 7. interest in individuals - lifelike portrayals; patrons memorialized in art 8. expanded range: pitch, contrasts in register, fuller textures; focus on clear tonal center in polyphony; rising significance of composers as individual artists

7 | Music in the Renaissance *Patronage and the training of musicians* 1. What were the court chapels and how the musicians were integrated there? 2. Music education - How were composers trained? 2.1 Who was allowed to sing in a choir? 2.2 What about women? 2.3 The most known musical center cities? 3. What was the job of the instrumentalists? 4. What was the competitive element of the time?

1. salaried musicians and clerics worked in the court chapels: associated with ruler. They served as performers, composers, scribes. Provided music for church services and court entertainment and accompanied ruler on long journeys 2. composers were trained as choir boys - choir schools taught singing, music theory, basic theology, and other subjects. 2.1 only male children allowed in choir 2.2 nuns received education in convents 2.3 cities with renowned music training: Cambrai, Bruges, Antwerp, Paris, and Lyons joined later by Rome and Venice. 2.4 courts employed instrumentalists as minstrels or families of musicians, trained in apprentice system - included other duties: servants, administrators, clerics, or church officials. 4. rulers competed for best composers and performers - displayed wealth and power. notable patrons: kings of France and England, dukes of Burgundy and Savoy, Italian rulers bring musicians from France, Flanders, Netherlands, Medici family, Sforza family, court of Ferrara under the Este family, Mantua ruled by the Gonzaga family.

8 | Guillaume Du Fay (ca. 1397-1474) *Most famous composer of his time* 1. Bio - Father? Training? Traveling? Job? Music style? Major works?

1. son of a priest, born near Brussels; trained at the Cathedral of Cambrai, northern France; traveled as chapel musician in Italy and Savoy; papal chapel in Rome, 1428-33; 1435-37 in Florence and Bologna; honorary appointment to chapel of Duke Philip the Good; music represents international style of mid-fifteenth century; major works: six masses, thirty-five other Mass movements, four Magnificats, sixty hymns, twenty-four motets, thirty-four plainchant melodies, sixty rondeaux and other secular songs

8 | The Polyphonic Mass *English and Continental composers wrote polyphonic settings of Mass Ordinary* 1. Were the items of the Ordinary composed together? 2. Who led this development? 3. Paired movements - What was the process of pairing movement? 3.1 How were they grouped? 4. Polyphonic mass cycles (mass)

1. until 1420, set as separate pieces - a compiler grouped them together sometimes; In the 15th century the standard was to set as coherent whole. 2. English composers led the development 3. At first only two sections linked together - Gloria and Credo, or Sanctus and Agnus Dei. 3.1 They had the same arrangement of voices, same modal center, similar musical material 4. Later all five movements included in above practice

11 | Germany *Meistersinger preserved tradition of unaccompanied solo song* 1. Who were them? 2. Form?

1. urban merchants and artisans, music as avocation •formed guilds; composed according to strict rules •poems written to existing ton 2. metric and rhyme scheme with its own melody; töneuse bar form •Hans Sachs (1494-1576), best-known Meistersinger

9 | The Generation of 1480-1520 *Jacob Obrecht (1457 or 1458-1505)* 1. Works? 2. Use of imitation in relation to the past? 2.1 What is point of imitation? 2.3 Is it imitative throughout? 3. His music is remarkable for clarity: Describe the following aspects - Tonal, melodic and structure

1. works: about thirty masses, twenty-eight motets, numerous chansons, songs in Dutch, instrumental pieces; Cantus-firmus masses but he has various treatments of borrowed material 2. Imitation more frequent and extensive; 2.1 series of imitative entrances 2.3 No, sometimes there are nonimitative passages. 3. Clarity - clear tonal centers, confirmed by cadences; melodic ideas short and well defined; structure and shape easily apparent

9 | Ockeghem and Busnoys *Chansons - Intro* 1. Their chansons blend traditional and new features: 1.1 Old features? 1.2 New features?

1.1 3-voices, smooth arching melodies, syncopation, 3rds and 6ths, formes fixes, especially rondeau form 1.2 longer-breathed melodies, increased use of imitation, greater equality between voices and frequent use of duple meter

10 | Music in the Lutheran Church *Polyphonic chorale settings* 1. Served two purposes:What are they? Describe the collections for the young. 2. What is the cantional style?

1.1 group singing in homes and schools 1.2 performance in church by choirs 1.3 early published collections aimed toward young people: same settings sung in church, sometimes doubled by instruments, alternating stanzas sung with congregation 2. chordal homophony, tune in highest voice, accompanied by block chords, after 1600 accompaniment played by organ, congregation sang melody

11 | Italy *Frottola* 1. Italian counterpart to the villancico 2. Who composed? 3. Who did they mock? 4. Important promoters? 5. Important collections?

1.Frottola 4-part strophic song syllabic, homophonic melody in upper voice marked rhythmic patterns, simple diatonic harmonies featured simple music; earthy, satirical texts top-voice sung, other parts sung or played on instruments 2. composed exclusively by Italian composers 3. mock-popular songs, for amusement of courtly elite 4. Isabella d'Este: especially important patron, encouraged development of frottole, corresponded with Italian poets, spurred musicians at her court; Petrucci published thirteen collections between 1504 and 1514 5. 1509: Franciscus Bossinensis, frottole collections for voice and lute •Marchetto Cara (ca. 1465-1525), best-known composer of frottole Mal un muta per effecto(NAWM 55)

6 | Guillaume de Machaut (ca. 1300-1377) *Discant or conductus movements* 1. Which movements are arranged in this style? 1.1 What is the text setting and why? 2. What is the basis of the Gloria? 2.1 Is there a variation on it? 3. What is the basis of the Credo? 4. How both movements end? 4.1 Special features in the ending of Gloria? 4.2 Special features in the ending of Credo?

1.Gloria (NAWM 26b) and Credo. 1.1 It is syllabic and largely homo-rhythmic because of the much longer texts. 2. Gloria based on a monophonic chant Gloria 2.1 It's paraphrased in different voices, tenor and contratenor. 3. Credo not based on chant. 4. With elaborate passages on "Amen". 4.1 Hocket and syncopation in the Gloria 4.2 Isorhythm in the Credo

6 | Italian Trecento Music *Squarcialupi Codex* 1. Define 2. Named after? 3. How many pieces? General voicing? Who wrote it? 4. Which Italian pieces appear there?

1.Source for secular polyphony after 1330 - late and not very reliable. Highly decorated. 2. Antonio Squarcialupi (1416-1480), Florentine organist - he owned it but did not compile it. 3. 354 pieces, mostly two or three voices, twelve composers. 4. Madrigal, caccia, and ballata.

8 | An Enduring Musical Language 1. Polyphonic mass most prestigious genre of 15th century - Conclude 2. The new sound of the 15th century - Elements of composition remained important through 19th century - French, Italian and English 3. Fifteenth-century works unperformed and un-transcribed for centuries - When the change occurred?

1.mass was most complex and pretigious to its time and endured to the present day; gradually changed primary role to concert music 2. French: structure, rhythmic interest; Italian: emphasis on lyrical melodies; English: smooth counterpoint, pervasive consonance 3. A the late nineteenth-century there were some editions; performances in twentieth century

9| Political Change and Consolidation 1. Describe Political Change regarding: England defeat, major power on the continent, France, Hapsburg, unification of countries, Italy+courts

English defeat in Hundred Year's War, period of relative islotaion; Other major powers gained ground on the Continent; Duchy of Burgundy under control of France; France consolidated into strong, centralized state Hapsburg Empire ruled by Charles V(r. 1419-1556): unification of Austria, the Low Countries, southern Italy, Spain, Spanish Americas; Italy continued to be independent city-states: Italian courts and cities among most generous patrons of art and music

7 | The Legacy of the Renaissance 1. What were the main points in the Legacy of the Renaissance?

Humanism and rediscovery of ancient texts Seventeenth and eighteenth centuries: - sixteenth century styles endured - training in sixteenth century counterpoint - Bach and Beethoven imitate polyphonic style in choral music Late nineteenth and early twentieth centuries: - fifteenth-and sixteenth-century music revived - transcribed into modern notation, edited, published - works become staples of the vocal repertoire

9 | Masses on Borrowed Material 1. Previous generations - Cantus-firmus mass, cantus-firmus/imitation mass 2. End of fifteenth century - Paraphrase mass: rework of a monophonic melody, points of imitation use. Imitation mass

Old: 1.Cantus-firmus mass: borrowed tune in tenor as a cantus firmus Cantus-firmus/imitation mass: tenor plus other voices from polyphonic work New 2. Paraphrase mass: chant melody; Rework monophonic melody in context of new style; paraphrase in all voices in points of imitation Imitation mass: all voices borrowed from polyphonic work

11 | France *The later Franco-Flemish chanson* 1. Contrapuntal chanson of Franco-Flemish tradition maintained - Orlande de Lassus mixed traditions

some in new homophonic style others show influence of Italian madrigal or Franco-Flemish tradition wide range of subject matters acutely attuned to text, music fit its rhythm La nuict froide et sombre(NAWM 61)

10 | Music in the Lutheran Church *The Lutheran tradition* 1. Melodies quantity, variety, complexity?

•by 1600, over 700 chorale melodies •great variety of pieces based upon them •chorales elaborated in organ works

10 | Spain and the New World *Catholic Church closely identified with monarchy, Queen Isabella and King Ferdinand*

•called "Catholic monarchs" •1480, Ferdinand launched Spanish Inquisition •forced Jews and Muslims to accept baptism or leave Spain •Charles I (r. 1516-56, and 1519-56 as Holy Roman emperor Charles V), Philip II (r. 1556-98): equally fervent Catholics

10 | Catholic Church Music *Catholic Church music changed relatively little*

•continuity in the roles played by music and in genres and forms •tradition, splendor, and projection through music: valued over congregational participation

10 | Church Music in England *William Byrd (ca. 1540-1623)*

•leading English composer in late sixteenth and early seventeenth centuries probably a student of Thomas Tallis although Catholic, served Church of England protected by Queen Elizabeth 1572-1623 member of the royal chapel wrote Anglican and Catholic service music also composed secular vocal and instrumental music granted twenty-one-year monopoly with Tallis for printing of music in England major works: over 180 motets, three masses, four Services, dozens of anthems, secular works •Anglican music Byrd composed all forms of Anglican music absorbed Continental imitative techniques Sing joyfully unto God(NAWM 49), full anthem six voices, points of imitation succeed one another occasionally homophonic declamation imitation handled freely •Latin masses and motets Byrd's best-known works 1590s wrote for Catholics celebrating Mass in secret Gradualia(1605 and 1607): two books, complete polyphonic Mass Propers

11 | The Italian Madrigal *The legacy of the madrigal*

•lighter genres continued tradition of social singing •purposes widened over the century private concerts or theatrical productions increasing virtuosity and dramatization •techniques developed by madrigal composers led directly to opera

10 | Council of Trent (1545-63)

•response to Reformation, church Council met at Trent, northern Italy •Council reaffirmed doctrines and practices •passed measures to purge abuses and laxities •effects on music uniform liturgy: suppress variation in local practices tropes and most sequences eliminated some reformers sought to restrict polyphonic music local bishops regulate music in the services polyphony allowed if words remained comprehensible

10 | Music in Calvinist Churches *Calvin and music* 1. Stripped so many things - what? Remains?

•stripped churches of distractions; musical instruments, elaborate polyphony •valued congregational singing - only biblical texts, especially psalms, sung in church