Chapter 8 england and burgundy in the 15th century Flashcards
The Contenance angloise
, or English manner,(nammed by Martin Le Franc) is a distinctive style of polyphony developed in fifteenth-century England which uses full, rich harmonies based on the third and sixth simple melodies, regular phrasing, syllabic text, homorhythmic Du Fay, Binchois, Dunstable
Faburden
is a technique of musical harmonisation used in the late Middle Ages and early Renaissance 1430 to reformation, particularly by composers of the Burgundian School. Guillaume Dufay was a prominent practitioner of the form (as was John Dunstaple), and may have been its inventor. The homophony and mostly parallel harmony allows the text of the mostly liturgical lyrics to be understood clearly. Plainchant in the middle voice was joined by a perfect fourth above and a lower voice singing mostly in parallel 3rds below it. Beginning and ending phrases on a 5th below
Cantilena
polyphonic song not based on a cantus firmus; used by english composers of the late 13th century through early 15th homorhythmic parallel 6/3 chords
CAROL
english polyphonic derived from medieval carole a monophonic dance song . 15th century carol was a 2 or 3 part setting of a poem in english, latin or mixture. Mostly religious christmas , stanzas same music, refrains (burden) with own musical phrase ex Alleluia A newe umlaut work
John Dunstaple
( 1390 – 1453) was an English composer who was the leading composer of 15th century England and among the most important and influential composers of his time. Crucial in the developing style of the Burgundian School, Dunstaple’s music spans the transition from the Medieval to the Renaissance periods.unstaple’s stylistic trait of using full triadic harmony, along with a liking for the interval of the third isorhtymic motets, mass ordinary chant, free setting of liturgical and secular ex motest Veni creator spirutus
Paraphrase
a chant elaborated in the top voice, melody is given a rhythm and ornamented by adding notes around those of the chant. Ex Regina caeli laetare.
Motet in the 15th century
any work with texted upper voices about a cantus firmus whether e sacred or secular (picture in phone)
The Burgundian School
was a group of composers active in the 15th century in what is now northern and eastern France, Belgium, and the Netherlands, centered on the court of the Dukes of Burgundy.
The main names associated with this school are Guillaume Dufay, Gilles Binchois, Antoine Busnois and (as an influence), the English composer John Dunstaple. The Burgundian School was the first phase of activity of the Franco-Flemish School, the central musical practice of the Renaissance in Europe.
COmposers of the 15th century
produced 4 principal types of polyphonic compositions- secular chansons with french texts, motets, magnificats and setting of the mass ordinary mostly 3 voices, larger ranges
Gilles de Binche
(. 1400 -1460) was a composer from the Low Countries, one of the earliest members of the Burgundian school / phillip the good ex. De plus en plus rondeau 1425 in 6/8 Burgundian chanson with occasional cross rhythms of 3 quarter notes , the effect is called hemiola mostly syllabic , main melody in cantus ,tenor is smooth- mostly 3rd contratenor skips to fill out harmony
Guillaume Du Fay
5 August 1397 – 27 November 1474) was a Franco-Flemish composer and music theorist of the early Renaissance. Regarded as the leading European composer by his contemporaries, his music was widely performed and copied.Du Fay
held various music positions during his lifetime and was associated with the Burgundian School as well as among the first composers, or at least a predecessor to the Franco-Flemish SchoolHis most famous and celebrated work, the complex motet Nuper Rosarum Flores, was written for the consecration of Filippo Brunelleschi’s dome on the Florence Cathedral and is considered an icon oWestern culture.Du Fay left behind an extensive oeuvre, including pieces representative of virtually every genre of polyphonic music from his time Du Fay composed in most of the common forms of the day, including masses, motets, Magnificats, hymns, simple chant settings in fauxbourdon, and antiphons within the area of sacred music, and rondeaux, ballades, virelais and a few other chanson types within the realm of secular music
Fauxbourdon
the homophony and mostly parallel harmony allows the text of the mostly liturgical lyrics to be understood clearly. In its simplest form, fauxbourdon consists of the cantus firmus and two other parts a sixth and a perfect fourth below. To prevent monotony, or create a cadence, the lowest voice sometimes jumps down to the octave, and any of the accompanying voices may have minor embellishments. Usually just a small part of a composition employs the fauxbourdon technique. Ex Du Fay’s Conditor Alme siderum
Polyphonic mass cycle / mass
mass ordinary 14th- early 15th linked all 5 main items in the ordinary Kyrie, Gloria, Credo, Sanctus, Agnes Dei
Plainsong mass
composer bases each movement on an existing chant for that text . mass gain coherence because the borrowed melodies were all liturgically appropriate. Composer Machaut’s sung during lady mass , a special service for the virgin mary.
Head motive
initial passage or motive of a piece or movement used specifically for a motive or phrase that appears at the beginning of each movement of a motto mass or cantus firmus mass
