MUH Music History I The Renaissance: Prelude & Chapters 4 and 5

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Presentation transcript:

MUH 3211 - Music History I The Renaissance: Prelude & Chapters 4 and 5 11/25/2018 Part II The Renaissance: Prelude & Chapters 4 and 5 DAY 15 (9 Oct 17)

Sacred Music : Mass Cycles All ORDINARY movements of the mass Cantus firmus (“fixed song”) - pre-existing melody (chant or other) Du Fay chanson: “Se la face ay pale” Anth. I/35 Du Fay, Missa se la face - Kyrie - Gloria Anthology I/36 - Credo - Sanctus - Agnus dei Head motive and tenor (“Se la face”) for musical coherence

“L’homme armé” Masses French secular tune: “Beware the armed man…” Strong tonal center (outlines P 4th and P 5th) Used as tenor in 50+ masses in Renaissance Dufay - Missa L'Homme Armé Johannes Tinctoris: Missa l'Homme Armé 1. Kyrie Ockeghem - Missa L'Homme Armé Obrecht: Missa L'homme armé – Kyrie Busnois: Missa "L'homme armé" - 1. Kyrie Pierre de la Rue: Missa l'Homme Armé 1. Kyrie

Johannes Ockeghem (c. 1420-1497) Franco-Flemish Student of Binchois (?) French court (Paris) Sacred & secular 4 true voice ranges Canons & puzzles Missa prolationum - Kyrie (Anth. I/37) - mensuration canon - double canon

Johannes Tinctoris (c. 1430/35-1511) Liber de arte contrapuncti (1477) Begin & end w/ perfect consonances Avoid parallel 5ths and octaves Successive consonances of same kind allowed if tenor stays the same Conjunct lines & few leaps Cadences are never out of the mode Avoid repetition of the same pitches, except for special effects Avoid successive cadences on same pitches Variety must be sought in all counterpoint Valencia, MS 835, fol. 2

“Ave maria…virgo serena” (Anthology I/34) “Ave maria...” / Oxford Camerata Published as first item in - O. Petrucci, Mottetti A (1502) Pervasive imitation (equal voices) “Points of imitation” (each new idea) Attention to text setting (audibility/meaning) Variety of textures Paratactic structure (separate, unrelated units) Exceptional control of all elements, e.g., dissonance Simultaneous composition (!)