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•mass cycle (combining all movements-kyrie, Gloria etc- together as one unified composition)
• Unified through musical quotations from a pre-existing composition; can be sacred or secular
• Uses tenor voice as foundation of mass |
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• series of double mensuration canons, notated in two voices but sung in four parts using the four basic meters (from the Ars Nova)
• 2 melodies for 4 voice pieces
• prolation canon; used at beginning of prolation mass to get the voices behind each other to eventually create harmony with each other (see pg. 197, Ockeghem’s Missa prolationum)
o Basically, the four voices begin singing the same pitches at the same time, but in four different rhythmic meters. This causes the voices to slowly stagger.
• After the voices are staggered, the voices sing in rounds (comparable to Row, Row, Row Your Boat) |
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• mass cycle based on a preexisting melody
• Melody used in all voices, not only tenor
• Chant: source of melodic material for the mass |
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| Multiple notes per syllable |
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• Luther regarded music as a crucial tool for launching the new faith
• Promotes congregational participation
• Can also be practiced at home with private devotions
• strophic (melody is repeated over and over again), unison German hymn meant to replace chant
• Melodies adapted from existing Gregorian chants or popular secular songs
• Texts are in German (the vernacular)
• 1520s |
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• English equivalent of the choral motet
• Performed in church of England services and used for home devotions
• composition of sacred music w/ text in vernacular instead of Latin was a key contribution of the Reformation
• Ex: Sing Joyfully, Byrd (pg. 241) |
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• Composers start to become interested in how music can accent words, i.e. poetry
• Attempt to use music to imitate the meaning of the text
• Musical imagery – descending scale on the word “descend” (ex: Pope Marcellus Mass)
• three voices to represent the trinity where there had been full voicing up until that point (ex: Three-voice texture for “Filium Dei unigenitum”) |
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| 16th Century Madrigal • Audience was educated and well versed in music and literature • Performed in salons: gatherings of intellectuals to engage in dialogue and musical performance • Enjoyed by elite and lower class who can afford prints of the music, but mostly for the enjoyment of the performers themselves • Performed with one voice on a part at elite gatherings, co-ed (sometimes instruments would replace a voice) • Used partbooks 16th Century Italian Madrigal • Free rhyme scheme• Elevated poetry • written for professional singers (important to the courts in Northern Italy) |
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Created at court and among the aristocracy; Spanish alternative to French chanson
Texts evoke the life of Spanish peasants
Humorous text
Suggests that peasants are happy with their lives, as long as they get to eat and drink
Poetic form varies, but always includes a refrain and at least one stanza |
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• Italian secular/popular song of the 16th century
• Usually aristocratic music
• Developed at the court of Mantua
• Direct forerunner of 16th century madrigal
• Ex: Io non compro by Cara (pg. 290) |
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• Need for simpler type of music that Aristocrats can participate in and still be amateurs
• If someone practiced too often, they were seen as desperate to make a living that way; lowly professional musicians
• Syllabic, homorhythmic, strophic setting
• Root-position triads
• Simple enough for Aristocrats to take part in |
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• Rise of Burgundy;
• Location: today’s Belgium/Netherlands
• Council where church officials meet and bring their people w/ them (including musicians)
• Exposed to each other’s music
• French add English elements into their music
o Syllabic, consonant 3rds and 6ths, regular phrasing, homorhythmic textures |
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| Use of pre-existent musical material in Mass settings |
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Paraphrase mass
• Each movement based on same polyphonic work, all voices adapted in the mass
• Ex: O Magnum Mysterium by Victoria (pg. 269)
• Ex: Nun Komm der Heiden Heiland by Luther (pg. 231)
• Ex: Missa Pange Lingua by Josquin (pg. 217)
• Ex: Missa Se la face ay pale by Du Fay (pg. 179) |
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| Role of music in the Lutheran and Anglican Churches |
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Lutheran- congregational participation
o Musical Targets for Reform
Church serving as an artistic patron
Professionalization of music (polyphony)
Inaccessibility of the music and words to laity because of Latin text
Anglican: English church formally separated from the Roman Catholic church in 1534
• LatinEnglish in the service
• Promotes congregational involvement
o Musical Reactions
• Syllabic settings of vernacular texts
• Edward VI declared that composers should “setting thereunto a playn and distance note, for every syllable one” (syllabic, rather than melismatic; more about the message than the aesthetics of the music; use of the vernacular)
o William Byrd, Sing Joyfully
• Text in English
• Syllabic text setting
• Free use of imitation
• Little homophony |
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• Catholics realize that they have competition (with Protestants) and need to step up their game
• See Palestrina in Reading 18
• Also turn their Latin texts into English for congregational purposes |
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| Musical rhetoric/text-music relationships |
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• See text painting (#7 above)
• Palestrina latching onto a word and trying to convey it’s meaning through music
• Musical imagery |
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| Role of music in royal courts |
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• The Spanish Courts; Villancico
• Ferdinand/Isabella
• Encina’s Oy comamos y bebamos (pg. 287)
• Formes fixes; really hard compared to Parisian chanson |
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• print allows genres to emerge in middle/aristocratic class
• Italian madrigals performed in salons-courtesans are not aristocratic |
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| Social context of the Italian madrigal |
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• Motivation from 14th century medieval poet (sex in the courts)
• Sing for pleasure, not necessarily for audience
• Women sing too; courtesans who basically traded sexual favors etc. for a living; still members of the court, but of lower class. However, they had more fun and were known for their musicianship as well. |
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