Early 15th Century

Question 1

cantus firmus

Answer 1

borrowed melody used as the basis for a mass cycle

Question 2

paraphrase technique

Answer 2

a borrowed melody placed in the upper voice (superius) and modifying it in an imaginative way.

Question 3

characteristics of early 15th century music

Answer 3

3-part vocal texture (some 4 part)
use of coloration (colored ink used to notate rhythm)
duple and triple meters used equally
3rds and 6ths are acceptable consonances
cadences now include octave leap and dim vii6 to I

Question 4

octave leap cadence - introduced in early 15th century

Answer 4

contratenor (most common) leaps an octave to avoid parallel movement

Question 5

Old Hall Manuscript

Answer 5

sacred, Latin
English Discant - chordal, homorhythmic, text declamation (approx half of OH compositions are ED)
Chanson - 
Hybrid of ED and CH
Isorhythmic pieces
Canonic pieces

Question 6

cantus firmus treatments

Answer 6

1. literal restatement of the borrowed tune
2. paraphrase - embellishing the borrowed tune and placing it in the upper voice of a 3-voice structure
3. migrant c.f - moving the c.f from one voice to another (typically downward movement)
4. segmented c.f. - dividing the c.f. into equal sections separated by extended rests - Obrect often placed the segmented cf in the tenor
5. multiple cf - using more than one cantus firmus
6. alternating - migrant limited to two voices
7. simultaneous - use of the same cf in more than one voice at a time

Question 7

structural tenor

Answer 7

the assignment of the cantus firmus to the tenor voice

Question 8

Burgundian chanson - early 15th century

Answer 8

3 - part dominated by superius
introductory melisma in top voice
only top voice has text
melodies contain linear thirds filling in as triads
ternary rhythm preferred
quasi-imitative
rondeau and ballade forms preferred
some chanson melodies served as cf for cyclic masses

Question 9

Fauxbourdon (faburden)

Answer 9

Cantus firmus placed in top voice duplicated in the middle voice at a P4 and harmonized a 6th below in the tenor.

Question 10

Isomelism

Answer 10

The use of the same melodic outline in two or more sections of an isorhythmic motet-Du Fay