Chapter 8 Flashcards
Ballade
One of three formes fixes (fixed forms). aabC rhyme scheme
Binchois
international style. Joined chapel of Philip the Good, performed at chapel services and court entertainments
Embraced contenance angloise
Major works:
28 Mass mts, 6 Magnificats, 29 motets, 51 rondeaux, 7 ballades
Esteemed for his chansons: stylized love poems, courtly tradition, usually rondeau (ABaAabAB)
De plus en plus (NAWM 34): https://www.youtube.com/watch?v=U8UTiR7nlVU
rondeau, blend of French and English traits
Burgundian Lands
Burgundian dukes were vassals of the king of France, but they were very powerful and acquired a lot of territory in the late 1300s and early 1400s.
Cantus Firmus
(fixed song) preexistent melody, such as a plainchant excerpt, underlying a polyphonic musical composition
cantus firmus mass
same tenor voice cantus firmus in each movement; tenor written in long notes in isorhythmic pattern; mass names derived from borrowed melody, whether chant or secular tune
chanson
any polyphonic setting of French secular poem
a. Binchois: particularly esteemed for his chansons
b. stylized love poems, courtly tradition of fine amour
c. most followed form of rondeau (ABaAabAB)
Contenance angloise
“english quality” - use of 3rds and 6ths, parallel motion
Simple melodies, regular phrasing, syllabic, homorhythmic
cyclic mass
Cyclic Masses have movements linked musically with one of the following strategies:
stylistically similar, Plainsong mass, Motto Mass, cantus firmus mass
plainsong: each movement based on existing chant for that text
motto: each movement begins with the same melodic motive
cantus firmus: same tenor voice cantus firmus in each movement
Dunstable
Dunstable spent part of career at court of English Duke of Bedford (regent of France 1422-35 and English commander Joan of Arc tried to drive away).
Brought “contenance angloise” to continent:
use of 3rds and 6ths, parallel motion
Simple melodies, regular phrasing, syllabic, homorhythmic
Dufay
1397-1474 international style. chansons. duke Phillip the good
Faburden
Faburden: improvised polyphony, plainchant in middle voice, upper voice P4th above with lower voice parallel 3rds below
imitation
like a canon. similar voices but not identical
international style
Developed mainly by composers Dunstable (English), Bichois and Dufay (Burgundian). an international musical language, fused from French, Italian, and English elements.
- French: Rhythmic suppleness
- Italians: melodic suavity
- English: clear, bright harmonies from full consonant sounds of 6ths and 3rds.
Main characteristics:
- homophonic or homorhythmic textures
- consonant sonorities: paralel 63 chords
- control of dissonances
- equal importance of voices
- Greater melodic and rhythmic identity of lines
- four-part texture
- use of imitation
mass ordinary
Mass in which text is the same every time you go to mass. Kyrie, Gloria, Credo, Sanctus, Angus Dei. most common type of English polyphony, end of 14th century. styles from cantilenas to isorhythmic structures.
Settings of mass ordinary were commissioned for specific occasions
motet (1400s)
Best genre for experimentation. Most elevated genre.
Used for polyphonic setting of a Latin text, usually sacred or ceremonial, other than a mass cycle.
- motet: gradually broadened in meaning
- previous definition: works with texted upper voices above a cantus firmus
- by 1450 isorhythmic motet disappeared
- motet applied to settings of liturgical texts in newer musical styles, whether or not chant melody was used
- eventually came to designate almost any polyphonic composition on a Latin text, including settings of texts for Mass Proper and the Office
