england and france, burgandy in the 15th Flashcards
15th century is the
age of renaissance,
composers expanded their range of pitches even further
coordinated the separate lines of textures through points of imitation
point of imitation
music printing
mid 15th, printing of books and treatises
causes revolutionary changes
Training of musicians
15th and 16th
composers being hired as choirboys or singers
Henricus, issac and jacques arcadelt (franco flemish)
sponsered by the medici, leading family of florence
England carols
strophic forms,
3rd and 6th in parallel motion
brights and harmonius sounds
John dunstable (english)
wrote:
>isorhytmic motets french, mass ordinary settings,secular, liturgcal three part texts
> three voice sacred pieces, settings of antiphone, hymns, are important works
model for imitation, people looked up to him and his music
music theory in renaissance
john dunstable questions why only the fifths and fourth is consonant
johannes tinctoris
nothing before 1430s was worth hearing as everything has more dissonances rather con
limiting dissonances to passing or neighbouring tones on unstressed beats
Likes dunstable
burgandian composers
du fay: assimilation of national styles, ballad forms of france,
Sacred music, isorgytmic motets,
bins: sacred music, 50 chansons
dufay
contribution to sacred music
his office and motets pieces are in three voices
Used his own ballade to write a liturgical composition
(missa se la face)
he used isorhythm so his listeners easily recognize the song
masses based on a single cantus firmus
bins
worked at the chapel of dukes from 1420-53
more than 50 chansons
Masses of the 15th
> composers wrote polyphonic mass ordinary,
> cyclic massed: use of the same musical theme for all the sections of the ordinary.
> if the chosen melody is palain chant rhytmic pattern is added and repeated,
if it is secular: the rhythm is kept, can be faster or slower.
Unity of the masses was derived from:
> liturgucal association and compositional procedure
> Settings of the mass ordinary was sometimes commissioned for specific occasions.
> based on cantus firmus
motto mass
separates the masses from one another, usually in the treble so the listener can know what section belongs to other ordinary settings.
Four textured voices
Letting the lowest molody voice carry a preexistent melody limited the composers ability to provide a harmonic foundatiom with it
Solution:
Add voices below the tenor
Called contratenor bassus
But also contra alto
