15th Century

Question 1

What/who prompted the musical renaissance?

Answer 1

• Not same as literature/architecture etc – can’t piece together what music from Classical era was like, so will be very different from Roman.
• Inspirations for musical renaissance (although they didn’t use this term) fuelled by renaissance of other art forms
• Johannes Tinctoris important for pioneering of renaissance. Moved from Northern Europe (Brabant – Beglium/Netherlands area) to Naples and created a new sense of musical history
• Liber de arte contrapuncti (1477) argues that no music worth anything before 1430: great composers around (e.g. Ockegehem, Busnois), learned from predecessors (Dunstable, Binchoys, Dufay). Compares this to Ovid learning from Homer – aligning new musical history with Classical lineage.
• Identifies English as starting the ‘new’ art

Question 2

How did the English sound spread into the continent in the 15th century?

Answer 2

• 100 years war – 14th/15th century
• 1415 Agincourt – English winning, but by 1450s England only owns Calais as French do better.
• But this explains why large English presence (royal/aristocratic) in France in early 15th century (therefore lots of music from continental sources)
• Papal Schism of 1370s divided by Pope in Avignon and Pope in Rome – so 1414-1418 council of Constance which ended the schism, also provided opportunity for musicians to meet and make music.

Question 3

What was the English sound?

Answer 3

• Dubbed the ‘contenance Angloise’
• Sweet, fuller sound
• Triadic harmony, graceful melodic arches and fluid rhythms (contrast to static melodies and disjointed rhythms of Italian/French music of 14thc)
• Dunstable main pioneer: he travelled often to France (with his patrons) so exchanged musical ideas with Dufay/Binchoys
• Pretty much pan-consonant in his music e.g. Quam Pulchra Est – no unprepared dissonance, lots thirds/sixths (not heard before on continent)

Question 4

How was the English sound affected by extra-musical components?

Answer 4

• Cyclic Mass (on other flashcard)
• Secular carols: clerics hired by aristocrats for private events – also permeated by full-sounding triads because of overwhelming influence of church music e.g. There is no rose of such virtue
• Text of carols also affected by vernacular of plebeian circles; and by politics: e.g. Battle of Agincourt.

Question 5

How was the secular continental sound affected by extra-musical components?

Answer 5

• Duchy of Burgundy in 15th century became centre of politics rather than Paris (coz of 100 years war)
• Chanson popular there – manifestation of French culture, drawing from trouvere tradition.
• Function defined text
• Dufay’s music influenced by time spent as papal singer in Rome – even his chansons, like Entre vous, gentils which has sophisticated counterpoint and melismas, imitating Italian style.

Question 6

What was the Burgundain court? And its importance?

Answer 6

• Emerged from chaotic state of France in 14th/15th century
• Duchy of Burgundy took advantage of weakness of the country because of the 100 Years’ war
• Burgundian court developed a rich cultural life – was a patron for many musicians; a network, not a locality
• Always on the move – didn’t stay in one place
• Duchy expanded to gain Brussels, Bruges etc
• But never got central part – politically vulnerable
• Musicians accompanied Burgundians on political campaigns e.g. Busnoys
• Large crossover between sacred and secular music in court – permeable divide as religion permeates through life

Question 7

How was the religious continental sound affected by extra-musical components?

Answer 7

• Motet becomes almost exclusively sacred – not much isorhythm
• Because Burgundian court required not much ceremonial sacred music – so music more formulaic

Question 8

Why did polyphonic vocal music in Italy disappear after the 1420s?

Answer 8

• Italian style caved into French music
• Lack of choir schools compared to France
• Humanist movement in Italy – 15th century sparked interest in Classical texts, so favoured a more simple, improvisatory style.

Question 9

How did the English sound affect the continent?

Answer 9

• Isorhythmic motet: based on repeating rhythmic pattern.
• Choir manuscript of Old Hall manuscript (Dunstable): tenor cantus firmus separated from other parts – in much longer note values. Not just polyphonic but polytextual. (Very different to Dufay – English sweet triadic sonority)
• Mass ordinary cycle – 15th century move to linking the movements in England (because scribes literally just placed them next to each other): mainly Dunstable and Leonel Power. Borrow isorhythmic motet techniques – use of the same tenor in the same rhythmic arrangement in every movement.
• Most influential cyclic mass is ‘Missa Caput’. Tenor cantus firmus from English chant. Influenced lots of English and continental compositions of similar masses.
• Dunstable Missa Caput: allows for scoring of top voice (highest – alto), altus + tenor (similar ranges) and lower bassus part: revolutionary for distribution of parts – by 16th century becomes more SATB.