Chapter 9 franco flemish composers 1450-1520 Flashcards
overall changes 1450-1520
Early composers had both new international language and form fixes. Later generations brought an end to formes fixes, growing interest in imitations and homophonic textures, fitting music to words w/ appropriate declamation, imagery and expression.
Jean de Ockeghem
was the most famous composer of the Franco-Flemish School in the last half of the 15th century In addition to being a renowned composer, he was also an honored singer, choirmaster, and teacher. 1420-1497 - masses ex Missa cuiusvis toni mass in any mode . Masses 4 voices like old but wider ranges bassus down to g or f instead of c 12 13ths ex Ockeghem’s missa de plus en plus longer phrases cadences are frequently elided or overlapped continuous flow
Antoine Busnoys
1430-1492 chanson transition between older counterpoint cantus and tenor form the essential structure for the other voices and the later 15th century all voices play a similar role
Chansons - 3 voices, treble dominated, form fixes (rondeau) arching melodies, lightly syncopated rhythms, 3rd and 6ths longer breathed melodies , increase use of imitation, greater equality of voices duple meter exx Busnoys virelai Je ne puis vivre
Canon
deriving 2 or more voices for a single notated voice
Inversion
2nd voice in a canon- moving by the same intervals but in the opposite direction
Retrograde
Retrograde 2nd voice in canon original voice backwards
Mensuration canon
voice move at different rates of speed using different menstruation signs ex Missa prolationum Ockeghem
Franco flemish composers
of the middle 15th century low countries , traveled , italy- serious tones, focus on structure, intricate polyphony, rhythmic variety, flowing melismatic melodies, homophonic textures dancelike rhythms ,articulated phrases , words had to be written under notes to match accents and phrasing
Jacob Obercht
1457-1505 masses (based on cantus forums), motets, chansons, songs in dutch, instrumental pieces
Point of imitation
passage in polyphonic work in which two or more parts enter in imitation ex Missa Fortuna desperata
Henricus Issac
1450-1517 masses, motets, Choralis Constantinus- 3 volume cycle of settings of the test and melodies of the proper for most of the church year, song in french, italian, german, chanson- possibly for instruments Lieder german- used simple italian style, homophonic ex Innsbruck, ich muss dich lassen 4 part settings of popular songs , rests separate each phrase, full triad cadences
Josquin des Prez
1450-1521 france and italy
Composed music phrase by phrase, less cantus tenor duet full triadic sonorites , breaking away from for fixes, more compositions for instruments
Ottaviano Petrucci first printer of polyphonic music
Motets- 40, draw from the mass proper or other sources, form tuneful, homophony
Renowned for reflection the meaning of the words text depiction using musical gestures to reinforce the images in the text and text expression converting through music the emotions suggested by the text. Ex Ave Maria… virgo serena 1485 concluding cadences on the tonal center C, opens with several overlapping point of imitation, homophonic , accented syllables longer notes and higher, evoking reverent mood parallel 6 6/3 sonorities pervading imitation.
Masses 15th century
- secular tune, cantus firmus L’homme arme super voces musicals from L’homme arme 2nd ex missa Malheur me bat based mass on a polyphonic work.aka imitation mass 3rd ex one of the last compositions Missa Pange lingua new type of mass again Paraphrase mass based on a plainchant hymn but instead of using the hymn melody as a cantus firmus paraphrase it in all 4 voices in each movement. Two types of masses different in source material
Chansons
- abandoned form fixes, used strophic texts and simple four or five line poems , instead 3 three voices most used 4 or 5 lines. All voice meant to be sung All parts are equal ex Mille regretz 1520
