French Ars Nova Flashcards
Characteristics of 14th century music
three voices
instrumental doubling (sometimes tenor is instrumental)
upper voices sometimes cross and are more rhythmically active
tenor often uses isorhythm (repeated pattern)
duple meter is acceptable
musica ficta still in use
unison, octave and fifth at cadences
cadence types: clasula vera, double leading tone, hrygian, “underthird” leap
isorhythm
an identifiable rhythmic pattern in the tenor more sustained and longer than ordo
panisorhythm
isorhythmic techniques used in voices other than the tenor
talea
repeated isorhythmic tenor pattern
color
melody assigned to the tenor in isorhythm
three types of talea/color organiztion
through-composed - the melody is “cut up” into number of talea
repeated - talea is repeated unchanged throughout the motet but with one or more repetitions of the melody
diminution - note values of the talea and color are reduced by half later in the motet
dux / comes
14th century canon - dux - “leader” - first statement of the melody and comes - “follower” - second statement in exact replication at a specified distance
Roman de Fauvel
A collection of and major source of information about 14th century compositions.
14th century motet
a sacred composition on a pre-existing melody that is usually assigned to the tenor. 14th century motetes embraced isorhythm and became less liturgical
Mass
Musical setting of the Catholic Church service music. In the 14th century mass compositions were organized by movement (Kyries, Glorias, etc) cycles were not common at this time.
musica ficta
the addition of sharps and flats outside the Guidonian system. Their use is though to serve the purpose of avoiding tritones, augmented and diminished octaves, and turn minor thirds and sixths into major.
clausula vera
Type of cadence frequently used in the 14th century “true close”. Movement from imperfect consonance to perfect consonance through an ascending half step and descending whole step movement.
ballade - 14th century
A formes fixes, the ballade was the preferred secular form of the 14th century used in important events. It is a polyphonic strophic love song. Musical form is typically aabC. Poetic form is ababbcC. Binary structure is present with the first section repeating with first and second endings and the second section closes with the refrain.
Rondeau - 14th century
A formes fixes, ABaAabAB - eight lines of text in one stanza
Virelai - 14th century
A formes fixes, set to text with three stanzas typically AbbaA
