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Music History > Chapters 8 And 9 > Flashcards

Chapters 8 And 9 Flashcards

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1
Q

What is the Burgundian cadence.

A

Cantus firmus moves 7-7-6-8

Opposed to the Landini cadence where the cantus moves 7-6-8.

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2
Q

what is the influence of English musical culture on the Continent

A
  • musicians joining in their sojourn in France
  • rapid increase of performers and composers
  • dissemination of English composition in Continental manuscripts
  • trade alliances
  • Low countries as a pathway between England and France
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3
Q

Aspects of the Contenance Angloise

A

prevalence for intervals of thirds an sixths in harmonic configurations

  • placement of intervals of thirds and sixths in parallel motion
  • very little use of dissonances
  • preference for syllabic text setting
  • preference for simple melodies
  • preference for homorhythmic textures
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4
Q

polyphony on latin texts

A

this is a use of paraphrase technique in presentation of chant melodies. Chants were embellished and often came from Sarum rite. This practice remained in place in England from Middle Ages to the Reformation

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5
Q

Characteristics of disposition of voices in chant

A
  • lower voice progressing third below he chant

- middle voice(countratenor) progressing a fourth below the cantus

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6
Q

Application of faburden technique in other genres

A

cantilena- free composed with recourse to homorhythm, latin text not based on chant
motet- replacement of isorhythmic practice by 1400
ordinarium missae- embracing simple cantilena and isorhythm. it is the principal source of English polyphony

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7
Q

Cantilena

A

freely composed, with recourse to homorhythm, Latin text, not based on chant

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8
Q

motet

A

replacement of isorhythmic practice by 1400

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9
Q

Ordinarium Missae

A

embracing simple cantilena and isorhythm, principal source of English polyphony

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10
Q

The English Carol

A

derived from carole, with alternating solo and chorale segments
- 15th century specime in English or Latin

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11
Q

John Dustable

A

most important English composer

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12
Q

Dunstables compositions

A

a) isorhthmic motets
b) ordinarium missae
c) settings of chant
d) redefining the motet

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13
Q

What was the English in vogue from the mid-late 15th century

A

a) Improvised faburden
b) isorhythmic motets
c) paraphrase technique of chant
d) free composition

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14
Q

Band of minstrels perform on

A 
Trumpet 
drum
vielle
lute
harp
organ
bagpipes
shawms
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15
Q

Philip the Bold of Burgundy

A

dates- 1363-1404

he is responsible for musical establishment with founding of chapel in 1384.

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16
Q

who developed Philip the Bold of Burgundy’s Chapel

A

Charles the Bold(1467-1477) Philip the Good (1419-1467)

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17
Q

Binchois’s chansons use

A

a) use of 3/4(tempus perfectum cuim prolatione imperfecta) and 6/8( tempus imperfectum cum prolatione perfecta)
b) also use hemiola
c) syllabic text setting, especially at beginning of each line of poetry
d) two-part counterpoint between cantus and tenor
e) sparing use of dissonances
f) clear influences of English music
g) reliance on cadence formulas

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18
Q

Who did Martin Luther call the “master of notes”.

A

Josquin de Pres

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19
Q

What are the characteristics of the ordinary mass in the 15th or 16th century?

A 
A) cantus firmus based
B) non-cantus firmus based
C) Hexachord
D) rotation mass
E) plain chant plus hymn
F) paraphrase mass
G) secular music was put into the mass by G de Fay. Council of Trent help.
H) motto mass- motif mass
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20
Q

Conflict of the crown between a French or English ruler of Franch?

A

100 years war.

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21
Q

How did English music impact composers in the 15th cent.

A

English Royal victories lead to increasing influence of English composers.

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22
Q

Why did English music never dominate?

A

Because of the countenance anglosie or English quality.

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23
Q

What was the “English quality”?

A

More 6ths and 3rds, often in parallel motion and was thought about as being too consonant sounding. Also they paraphrased words.

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24
Q

What is faburden?

A

English counterpuntal style where a plain chant. Middle voice is joined by an upper voice in perfect for that and a lower voice in thirds.

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25
Q

What is a cantilena?

A

Polyphonic song based on cantus firmus used especially for polyphonic songs by English composer

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26
Q

What was a 15th cent carol?

A

English song usually a religious subject.

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27
Q

Who is Guillaume Dufay

A

-Principal composer of the Burgundian Court.

most famous composer of his time

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28
Q

Guilliame Dufay’s compositions are based on

A

a) French predecessors
b) Italian predecessor
c) English contemporaries
d) Burgundian contemporaries

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29
Q

French Characteristics

A

Some reliance upon forme fixe, lengthy melismas, frequent syncopations within and beyond the tactus.

  • Free dissonance
  • passages in imitation of ars subtilior with rapid notes featured in various subdivisions with attention to triplet figurations
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30
Q

Italian characteristics

A
  • smooth vocal lines, in anticipation of monody.
  • melismas on final accented syllable of each line of poetry
  • change in mensurartio for B sections of pieces with binary layout, thus in imitation of the change in mensuratio in ritornello of madrigals
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31
Q

Dufay’s ballade

A
  • influence of English music, with equal tunefulness for cantus and tenor
  • graceful melodies with emphasis on stepwise rhythmic vitality of French Ars Nova, both with regard to diversity of rhythmis profile and syncopation
  • harmonic framework controlled by consonances with limited reliance of dissonances
  • replacement of form fixe by free unfolding of music though with a retention of the poetic layout of the forme fixe
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32
Q

Dufay’s Motets and Chants

A
  • predominantly in three voices, with texture adopted from chanson and melody in cantus, suggesting the treble dominated style
  • the use of fauxbourdon is inspired by english.
  • uses cryptic notation of the fauxbourdon, with cantus and tenor fully notated, contratenor derived through a regula
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33
Q

Regula

A

canonic inscription indicating the derivation of this voice at the interval of the fourth below, with a precise tracing of the melodic and rhythmic shape of the cantus. Regula concludes with an open fifth or octave

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34
Q

Fauxbourdon can be found in

A

a) hymns
b) antiphon
c) psalm
d) canticles ( fauxbourdon and falsobordone)

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35
Q

Fauxbourdon

A

progression in first inversion chords

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36
Q

Falsobordone

A

progression in root-position chords

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37
Q

Dufay’s Isorhythmic motets

A
  • feature isorhythm, fauxbourdon and free counterpoint.
  • relationship between musical structure and architecture in the case of Dufay’s motet Nuper rosarum flores for the consecration of Florence Cathedral in 1436
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38
Q

Polyphonic Mass

A
  • Dufay adopting standard practice of grouping individual movemnets of mass as unified whole.
  • often with recourse to the deployment of the same chant laid out in the tenor as a cantus firmus fro the successive movements and use of head-motif technique
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39
Q

Initial stages of Polyphonic mass

A

preference for grouping of mass movements in pairs, such as Gloria and Credo, with gradual development of mass cycle
-idea of musical links in mass cycles dating back to 13rth century

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40
Q

Cyclic structure in mass is achieved by

A
  • stylistic coherance
  • more recognizable connection through use of head-motif, thus a motto mass
  • use of same chant for different movements of mass, thus cantus firmus mass or tenor mass, with English composers leading this practice
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41
Q

Features of Cantus Firmus Mass

A
  • tenor as chant-bearing voice long notes, often with recourse to isorhythm
  • imposition of rhythm in case of chant melody
  • retention of rhythm of original tune in case of secular melody
  • in case of secular tune, composers often adopting tune and other elements of the original secular tune, with this type of mass known as cantus-firmus/ imitation mass
  • derivation of name of mass generally from the name of borrowed melody in the case of an unknown melody serving as the basis fro the polyphony, mass known as a missa sine nomine
  • disposition of voices within the early three-voice cantus firmus
  • disposition of voices within the four-voice cantus firmus mass
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42
Q

disposition of voices in three-voice cantus firmus

A

cantus( or superious or discantus)

contratenor and tenor with borrowed melody in tenor

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43
Q

disposition of voices within the four voice cantus firmus

A

cantus or superius or discantus
contratenor
tenor
contratenor bassus

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44
Q

Old Hall Manuscript

A

the principal source of early- fifteenth-century English polyphony
it consists of settings of sections from the mass ordinary along with motets, hymns and sequences

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45
Q

what is dunstables most celebrated motet

A

Veni creator spiritus and the sequence Veni sancte spiritus. It is both an impressive example of isorhythmic structure and a splendid piece of music, embodying the English Preference for thirds

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46
Q

Dunstables most numerous and historical works are

A

his three part sacred pieces, settings of antiphons, hymns, Mass sections, and other liturgical or biblical texts.

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47
Q

Paraphrase

A

in which the melody is given a rhythm and ornamented by adding notes around those of the chant

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48
Q

Motet

A

-this term was coined in the thirteenth century for pieces that added text to the upper part of a discant clausula, gradually broadened in meaning to encompass any work with texted upper voices above a cantus firmus, whether sacred or secular

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49
Q

Composers in mid 15th century produced 4 principal types of polyphonic compositions. what are they?

A
  • secular chansons with French texts
  • motets
  • magnificats
  • settings of the mass ordinary
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50
Q

Chanson

A

encompasses any polyphonic setting of a french secular poem in the 15th century. Chansons most often set stylized love poems in the courtly tradition of fine amour and most followed the form of the rondeau

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51
Q

Hemiola

A

most compositions from this era are in the equivalent of either 3/4 or 6/8 meter. duple meter was used mainly in subdivisions of longer works fto provide contrast. in 6/8 have occasional cross rhythms of three quarter notes.

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52
Q

plainsong mass

A

a mass in which each movement is based on a chant to to the sane text

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53
Q

motto mass

A

polyphonic mass in which the movements are linked primarily by sharing the same opening motive or phrase

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54
Q

cantus firmus mass

A

polyphonic mass in which the same cantus firmus is used in each movement, normally in the tenor

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55
Q

cantus firmus mass/imitation mass

A

polyphonic mass in which each movement is based on the same polyphonic work,using that works tenor as a cantus firmus and borrowing some elements from the other voices of the model to use in the other voices

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56
Q

why is 1453 important?

A

it is the end of Hundred years’ war. England withdraws from France and this results in insularity from Continent

57
Q

Ockeghem and Busnoys

A

are most renowned composers in the generation after Du Fay

58
Q

New features of Chanson

A

a) treble dominated style resulting from layered disposition of the voices
b) lengthier melodies
c) increased reliance on imitation
d) more prominent reliance on equal voices
e) greater frequency of duple meter
f) constant changes in rhythm
g) smoother contratenor lines,

59
Q

two masses of Ockeghem with special features

A

1) Missa cuiusvis toni- to be performed in one of Modes 1,3,5,7 depending on the reliance on one of four clef combinations
2) Missa prolationum- notated in two voices, with additional two voices derived by a regula with the individual voices related to other voice by mensuration and the disposition of the clegf

60
Q

regula

A

canonic inscription or canon

61
Q

medieval features

A

forme fixe

62
Q

newer features

A

greater equality of voices; more use of imitation,expansion of range

63
Q

Important representatives of Next Generation of composers from low Countries

A

a) Jacob Obrecht (1457-1505)
b) Heinrich Isaac or Henricus Isaac(1450-1517)
c) Josquin des Prez(1450-1521)

64
Q

general traits of compositions of Franco-Flemish composers

A
  1. increased attention to four-voice textures
  2. imitative counterpoint, generally involving all voices, with this feature known as pervading imitation
  3. homophony
  4. quest for motivic relationships
  5. quest for composing all parts phrase by phrase, rather than approach to layering of voices around a cantus firmus
  6. use of full triads rather than open fifths and octaves
  7. use borrowed melodies, however with borrowed melody distributed amoung all the voices rather than restricted to cantus adn tenor
  8. abandoning forme fixe
  9. mass and motet as predominant genres of vocal polyphony
  10. greater reliance on pieces without text, though with texted pieces still outnumbering non-texted pieces
65
Q

Jacob Obrecht

A

-composer of some thirty cantus firmus masses, twenty-eight motets, chansons, songs in Dutch, instrumental music with heavy reliance on imitation

66
Q

stylistic features of Missa de fortuna desperata

A

a) examples of imitative with non-imitative passages, with attention to transparency and clarity
b) cadences more centered on a specific pitch, unlike earlier composers who focused on less systematic approach with regard to placing the cadences on various pitches
c) short and well-defined melodic ideas
d) rhythmic profile: gradual quickening of overall rhythmic pace in the Missa
e) use of mild syncopation
f) smooth and consonant counterpoint
g) enlivening of the melodies with suspension, passing tones and neighbour tones

67
Q

Suspensions

A

voice leading that is 7-6, 4-3, 6-5, 2-1, 9-8. With the particular voice leading indicated with attention to the lowest voice present at the particular instance.
they are defined as a dissonance occuring in a strong position, with that particular dissonant suspended from an earlier consonance between this particular pitch and the lowest sounding voice.

68
Q

passing tone

A

a note connecting two consonant pitches in stepwise motion, while the passing tone generally appearing in an unaccented position.

69
Q

neighbour tones

A

also known as an auxiliary tone.

embracing a motion from the main note to a note stepwise above the main note and back to the main note.

70
Q

Heinrich Isaac or Henricus Isaac

A

serving as singer and composer to Lorenzo de Medici in Florence from ca. 14841492 and for the holy roman empereor Maximilian 1 at the Court in Vienna and at the Court in Innsbruck

71
Q

Henrich Isaac is familiar with

A

1) Italian music
2) German music
3) French music
4) Flemish and Netherlands music, with this broad familiarity resulting in pan-Europeanism

72
Q

Heinrich Isaac wrote

A

35 masses
50 motets
large number of songs with french, Italian and German texts

73
Q

Constantinus

A

monumental three-volume cycle of settings of text of the proprium missae: scope of Choralis Constantinus

74
Q

hallmarks of sixteenth-century polyphony

A

1) homophony in alternation with imitative textures, resulting from greater freedom with regard to the overall approach to composition
2) replacing of layering around cantus-tenor duet, with assigning of more or less equal significance to all voices contributing to the texture accented syllables of text with strong beats within the tactus
3) text-music declamation, with greater attention to proper accentuation between text and music, that is, with the more careful aligning of accented syllables of text with strong beats within the tactus
4. focus of polyphony more on syllabic writing than melismatic writing, with the aligning of text and music more clearly specified by composer

75
Q

josquin des prez

A

one of most renowned composers

76
Q

ottaviano petrucci’s responsibilities in promoting fame of josquin

A

a) Martin Luther’s comments on Josquin as master of notes
b) assessment by contemporaries as best composer of our time
c) assessment of later humanist scholars

77
Q

Josquins motets contain

A
  1. fluid and tuneful melodies
  2. transparent textures
  3. imitation
  4. homophony
    5) careful text declamation
  5. reliance on textpainting with heightened text painting known as musica resevata
78
Q

Josquins most popular motet Ave Maria

A
  1. perfect example of text-music relationship; with each segment of music accorded unique treatment
  2. constantly changing texture
  3. overlapping points of imitation
  4. homophony with attention to various textures
  5. exemplifications of attention to natural declamation
  6. textpainting
  7. passages with first inversion chords recalling fauxbourdon practice
79
Q

josquins masses

A
  1. Missa L’Homme arme
  2. Missa Hercules Dux Ferrariare
  3. Missa Malheur me bat
  4. Missa Pange Lingua
80
Q

Missa L’Homme

A

Josquins mass

- with transposition of familiar tune to successive steps of hexachordum

81
Q

missa Hercules Dux Ferraraie

A

based on soggetto cavato

82
Q

what was the fermata sign used for in 14th century music?

A

it was used as “music reservata”. for text painting. it is giving special treatment to one syllable.

83
Q

missa pange lingua

A

josquin mass
based on plainchant hymn, with all four voices used as paraphrase, without a structual cantus firmus, called a paraphrase mass

84
Q

josquins chanson

A

a) abandoning of forme fixe- instead reliance on simple four or five line poetry
b) all voices to be executed with text
c) equal-voice texture alternating between homophony and imitation
d) exploration of two-three-four-and five voice textures
e) each line of poetry accorded individual musical treatment

85
Q

what event separates the reniassance and the middle ages?

A

the switch between parchment and paper, approximately 1400.

86
Q

in the early reniassance, was rhythmic notation used in notatio sine litteris or notatio cum litteris?

A

sine litteris (without words). in pieces with words, the text declamation dictated the rhythm.

87
Q

what problems arose from the rests in the de Vitry notation.

A

the rests look too similar.

88
Q

describe gaffurio’s pulse theory

A

the mensuration can be found through the pulses in the music.

89
Q

define closed system in respect to rhythm

A

there are no values in between the given values

90
Q

what are the four types of ligatures in the de vitry sistem? (the rhythmic ligatures)

A

Brevis Longa (BL), Longa Longa (LL), Brevis Brevis (BB), and Longa Brevis (LB).

91
Q

what is the latin name for the BL rhythmic ligaturae?

A

cum proprietate et cum perfectione.

92
Q

what is the latin name for the BB rhythmic ligaturae?

A

sine proprietate et cum perfectione

93
Q

what is the latin name for the LL rhythmic ligaturae?

A

cum proprietate et sine perfectione

94
Q

what is the latin name for the LB rhythmic ligaturae?

A

sine proprietate et sine perfectione.

95
Q

define perfectione in respect to the rhythmic ligaturae

A

the inclusion of more than one box on a ligature.

96
Q

define proprietate in respect to the rhythmic ligaturae

A

the inclusion of a tail on a ligature.

97
Q

what is the difference between white and red coloration?

A

white was included when ink was not readily available. They mean the same thing.

98
Q

define the dot of syncopation in devitry’s notation.

A

a dot on either side of the syncopated note. the first prevents imperfection, and the second prevents alteration.

99
Q

where is leige?

A

it is in modern day belgium, but then was in france.

100
Q

what did jacque de leige compose?

A

it isn’t known if he composed any pieces. he was a theorist.

101
Q

who created Italian Notation?

A

Jacque de Liege of Flemish.

102
Q

what was the problem with the Italian system of notation

A

it is non proportional and completely contextual.

103
Q

what is via natura

A

“the natural way” a rhythmic order that puts the faster note values first.

104
Q

define quatternaria

A

grouping of 4 in italian notation. this is not a mesuration, but is a contextual sign.

105
Q

define octornavia

A

grouping of 8 in italian notation. This is not a mensuration, but is a contextual sign.

106
Q

define duodenaria

A

grouping of 12 on in italian notation. This is not a mensuration, but is a contextual sign.

107
Q

what is a dragma

A

a contextual sign in italian notation that takes up what space is left in a measure. its drawn as a breve with two stems on top and bottom.

108
Q

when was the treccento notation system important?

A

only in the 14th century.

109
Q

define falso burton

A

the 5/3 chord inversion.

110
Q

define faux burton

A

the 6/3 chord inversion.

111
Q

what was the fermata sign used for in 14th century music?

A

it was used as “music reservata”. for text painting.

112
Q

is the alleluia melismatic or syllabic in john dunstable’s mass?

A

it is melismatic. this pays tribute to the medieval practice.

113
Q

what language is english polyphony in?

A

it is in latin. this pays tribute to gregorian chant.

114
Q

who was the main burgundian court composer?

A

guillaume dufay.

115
Q

who were the most predominant Franco Flemish compoers?

A

Josauin de Prez, Johannes Ockeghem, and Jacob Obrecht.

116
Q

what is an example of a secular cantus firmus mass?

A

se la face ay pale by Du Fay

117
Q

what does it mean if a mass is “sine nomine”?

A

this means that it has no name. These usually have a missing cantus firmus.This means that the cantus firmus can’t be found in either the gregorian chant repertoire or the secular repertoire.

118
Q

why is the naming of masses essential to the attribution of the piece?

A

once you have found the cantus firmus, you can verify that the composer would have come into contact with that particular chant.

119
Q

What was the main topic of the council of trent?

A

they discussed if they should include secular pieces (hymns) in the masses.

120
Q

what year did the council of trent take place?

A

1540s.

121
Q

define hocket

A

the use of rests, not to indicate phrase, but to indicate the relationship between silence and sound.

122
Q

how can composers create a natural accelerando?

A

we have a piece that changes to 3 x 2/4. the mensuration is natually speeding up.

123
Q

what is new in the field of cadential motion in the 15th century?

A

we are combining the motion of leap and step approaching the cadence.

124
Q

what are some characteristics of NAWM 34 ( john dunstable’s motet “quanm pulchra es”?

A

it is a rondeau
it has three parts, only one of which has text. the others are instrumental
the midpoint comes at m45
there is an octave lead to the final cadence.
it has a long incipit.

125
Q

what is the difference between a burgundian cadence and a landini cadence?

A

the burgundian cadence has a repeated 7 (7768) whereas the landini cadence is simply a 768.

126
Q

what are the characteristics of NAWM 35 (Binchois’ rondeau “de plus en plus”

A

it has an incipit
it has two instrumental parts
it uses hocket
at measure 48 there is a shift in style. the fermatas here are original and signify heightened text declamation.
there is a momentary change to 3/4 in m21
this is a ballata.

127
Q

what compositional shift takes place in the fifteenth century?

A

moving from treble dominated and cantus firmus techniques to equal voice style.

128
Q

does netherlands school describe the netherlands back then or now?

A

now

129
Q

did josquin de prez write more pieces than other composers or ones that were more complex?

A

more pieces.

130
Q

what characteristics did josquin have?

A

he payed attention to the delivery of the text
he doesn’t stick to the original chant ( he referenced it, but most of his pieces were freely composed)
he experimented with texture– wrote in equal voice style but included homophonic passages
his amens are extremely simple.
his melodies were mostly scalar, with proper treatment of leaps
his melodies were mostly syllabic, with small melismas nearing the cadence

131
Q

what are some characteristics of NAWM 40- Jean de Ockeghem’s Missa prolationum?

A

he pays tribute to de vitry
there are two voices notated, but four sung, as each of the two voices have two mensuration signs.
uses coloration
it is freely composed
there are partially or conflicting key signatures (some use Bb, some don’t)
the voice ranges are widening
extremely experimental.

132
Q

what are the 9 types of masses in the 15th century?

A

a) sacred cantus firmus based
b) non cantus firmus mass
c) hexachord as the cantus firmus (using sol feg syllables)
d) sogetto cavato as cantus firmus
e) prolation mass
f) Missa cuisvius tonis (or in whatever mode)
g) plainchant and hymn as cantus firmus
h) paraphrase mass
i) secular cantus firmus

133
Q

what is an example of a paraphrase mass based on a hymn?

A

josquin’s missa pagne lingua

134
Q

what is an example of a secular cantus firmus mass?

A

se la face ay pale by Du Fay

135
Q

what is a prolation mass?

A

a mass that is not based on a melody, but a combination of mensurations

136
Q

what is a motto mass?

A

a mass based on a head motive

137
Q

what are the characteristics of Josquin’s secular music?

A

it was a simple setting, and predominantly homophonic.
there are shorter pieces.
there is free repetition of the text
no melismas

138
Q

what is characteristic of a chanson?

A

it is in french, it is deliberately simple, there are no melismas, it has shorter phrases, there is free repetition of the text.

Music History (7 decks)

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