What two theorist supported the consonance of the triad?

Johannes Tinctoris (1435-1511)

Romas de Pareja (c.1440- c.91)  

2 types of parallel first inversions.

Explain.

English discant/faburden- original melodic material in midle voices

French/Flemish Fauxborden (false harmony)- original melodic material in lower voices

Mode is determined by what?

Finalis & range of the tenor

Musica Ficta

False music- notes outside of hexichord

(derived from hexichord system (Guidonian Hand))

Notes in hexichord are called

Musica Versa/ Musica Recta

(ut, re, mi, fa, sol, la)

Causa Necessitates 

-When necessary

-avoid augmented fourth & other dissonance 

-avoid cross relations 

Casa pulchritudinis 

-for beauty 

-3rd to unison made minor

-6th to 8ve made major

Voice Parts 

• cantus/superior, highes voice (italian term is soprano)
• contratenor altus, high agains tenor (italian term is alto)
• tenor, "holds" melody
• contratenor bassus, low against tenor (bassus)

Two primary composers 

John Dunstable (c. 1390- 1453)

Guillaume Dufay (c. 1397- 1475)

John Dunstable info

service of English duke of Bedford

John Dunstable work

-isorythmic motets 

-sections of the Mass Ordinary 

-secular song

-3part settings of miscellaneous litergical texts

countenance Angloise 

Dunstables style was refered as this

-chords included thirds

-passages in faburden 

-polyphonic lines in consonance w/ other polyphonic lines 

Dufay info.

-born around Burgundy; choir boy in Cambria

-important techer of succeeding composers

-established Franco-Flemish style

Dufay's work

-secular music

-motets, Magnificats, hymns

-chansons 

-7 compleate Masses; 28 individual Mass movements 

"Nuper rosarum flores"

-Dufay

-resembled minature Masses in technique and scope 

-dedication to dome of Santa Maria del Fiore Cathedral in Florence 

Second generation of Burgundian Composers

-Johannes Ockeghem

 -Jacob Obrecht 

-Gilles de Binchois

-Antoine de Busnois

Sacred in early Renaissance

-camtus firmus

-cannon

-soggetto cavato

-paraphase 

cantus firmus 

-tenor Mass, cantus firmus int he tenor

-Missa Choralis, cantus firmus in plainchant 

Soggetto cavato

melodic materials derived from the solmization of a name or textual phrase

paraphrase 

ornamented plainsong or secular melody in imitation 

sacred middle and late Renaissance 

-parody

-motto

-freely-composed 

freely composed

(missa sine nomine) 

without a name 

motets

text not part of the Ordinar

3 principal functions of motets 

-liturgical, based on text or plainchant 

-devotional, non-liturgical text 

-special occasions 

3 developments in French chansons 

-rhythmcic equality of voices

-pervasive imitation; successive points of imitation 

-abandonment of forms fixes, except rondeau

Italian fottola 

-mostly three-four part

-syllabic setting with homorhythmic texture

-melody in top voice 

-lively dance rhythms

-lighter poetry

Josquin des Prez

earliest composers with music remaining in performane repertoire 

Perez's biography

-born in France 

-singer at Milan Cathedral

-singer for Duke of Galeazzo Sforza (Milan)

-provest of Notre Dame in Conde-sur-l'escaut

Prez's style

-specific text underlay rather than left to judgment of singer

-word painting

-para-tactic construction 

-perfect consonances on final cadences

word painting

music portrays scene or action suggested by word

paratactic construction   

-(changes in texture & mensuration with succeeding phrase of text)

-overlaping points of imitation

-homorhythmic texture on important lines in text

--changes from imperfect (2) to perfect (3) subdivision of the tactus

Prez's work

-18 Masses & 6 Mass movements

-95 motets 

-70 chansons

Franko-Flemish Contemporaries 

-Heinrich Issac

-Pierre de al Rue

-Jean Mouton

Heinrich

(biography)

-service to Medici family in Florence 

-court composer to Maximilian 1 in Vienna and Innsbruck

-return to Florence

Heinrich

(work)

-30 settings of the Mass Ordinary

-Choralis Constantinus

-secular Lied

Choralis Constantinus

polyphonic setting of the Propers for the entire church year

secular Lied 

-four voices

-3 overlapping points of immitation transitioning to a final homorhythmic phrase

-note ficta accidentals indicated above the staff 

Pierre de al Rue

-famous setting of the Requiem

-similar to Josquin in work and style 

Rue's Requiem

-first complete polyphonic setting 

-substitutes "Sicut cervus" for the Sequence "Dies irae"

Jean Mouton

-service for the French Royal Chapel

-Masses transition from earlier cantus firmus techniques to paraphrase and parody

-teacher of Willaert

whistle or reed

lip buzz

string instruments

percussion instruments 

solo instruments

insttruments in families or consorts

-whole consort, ensemble of all one consort (homogenous)

-briken consort, ensemble of more than one consort (contrast)

recorder

transverse flute

krumhorns

shawms

cornetts/ zink

trumpets

trombones or sacbuts

viols

lute

clvicord

harpsicord

metallic

drums

snare drum

nakers

kettle drums

solo instruments

-organ 

-clavier

-lute

clavichord 

&

harpsichord

tone produced metal tangent striking string

&

tone produced by feather quill plucking string 

lute

-pear/avocado shape

-fretted

-pegbox turned at right angle to fingerboard