Upload
onella
View
59
Download
0
Tags:
Embed Size (px)
DESCRIPTION
Island to Mainland. Toward a Pan-European Style. Fragmentary Remains. Sumer canon [Anthology 1-35] Rota Pes (foot), Ground Tertian harmonies. Fragmentary Remains. Thomas gemma catuariae / Thomas caesus in Doveria [Anthology 1-36] Twin-song texture - PowerPoint PPT Presentation
Citation preview
Island to Mainland
Toward a Pan-European Style
Fragmentary Remains
• Sumer canon
[Anthology 1-35]– Rota– Pes (foot), Ground– Tertian harmonies
Fragmentary Remains
• Thomas gemma catuariae/ Thomas caesus in Doveria [Anthology 1-36]– Twin-song texture– Variations over a pes
• Worcester Fragments (13th century)
Kings and the Fortunes of War
• 100 Years War• 1420s–early 1430: English occupation of
Northern France• Duke of Bedford: effective ruler of France from
1422–1435• John Dunstable (ca. 1390–1453): “musician
with the Duke of Bedford”
Dunstable and the “Contenance Angloise”
• The English Guise• Dunstable, Quam pulchra es [Anthology 1-37]– Cantilena motet– Full triadic harmony– Smooth handling of dissonance– Natural declamation– Homorhythmic texture
• Faburden
Du Fay and Fauxbourdon
• Du Fay, Vos qui estis me – Communion antiphon– Chant in the cantus– Octaves and sixths– Third part created by singing a fourth down from
the top voice: Fauxbourdon
Du Fay and Binchois
• Du Fay, Ave maris stella [Anthology 1-38]– Fauxbourdon– Chanson-style
• Gilles de Bins (Binchois), Deuil angoisseux [Anthology 1-39]
The Internationalism of the Upper Crust
• “Elite” music• Johannes Tinctoris (ca. 1435–1511)– Dozen treatises on music theory
• Chigi Codex (1498)
The Internationalism of the Upper Crust
• Johannes Ockeghem (ca. 1435–1511)• Busnoys (Bunois)
Emulations
• Compositional lineages• Ockeghem, Deploration on the Death of Binchois
(1460)– In honor of Binchois
• Busnoys, In hydraulis– Praise of Ockeghem
• Ockeghem, Ut heremita solus– Compliment of Busnoys
The Cyclic Mass
• Mass Ordinary
Caput Masses
• Cyclic Mass• Melisma on “caput” from the antiphon Venit
ad Petrum• Anon. Missa Caput (CA. 1440) [Anthology 1-
40]– Four-voice texture: superius, altus, tenor, bassus– Possibly composed by Dunstable
Patterns of Emulation
• Ockheghem’s Missa Caput [Anthology 1-41]• Obrecht, Missa Caput
The Man at Arms
• L’Homme armé song [Anthology 1-42a]– Composed after 1454– A favorite of Charles the Bold
• Over 40 cyclic masses based on this tune• Busnoys, Missa L’Homme armé
[Anthology 1-42b]
“Pervading Imitation”
• Points of imitation– Tenor tacet sections– Points correspond to portions of text– Each point comes to a full cadential close
High, Middle, and Low
• Tinctoris, Three musical styles– magnus• The mass
– mediocris• The motet
– parvus• The vernacular chanson
The Marian Motet
• Paraphrase• Cantilena style• Philippe Basiron, Salve Regina [Anthology 1-43]• Eton Choir Book
Motetti missales
• Milan 1470s• Sforza Family• Substitute motets for the mass• Gaspar van Weerbeke (ca. 1445–1516)– Ave Maria [Anthology 1-44]
Love Songs
• Chanson• Parvus, Tinctoris• bergerette• Ockeghem, Ma bouche rit et ma pensee pleure
[Anthology 1-45]
Instrumental Music Is Printed
• Instrumental arrangements of chansons• Heinrich Isaac (ca. 1450–1517)• Martini, Josquin, Alexander Agricola (ca.
1455–1506)• Otaviano Petrucci, Odhecaton (1501)
• Johannes Ghiselin, La Alfonsia [Anthology 1-46]