Humanism and Music

Imagination freed from authority Decline in role of church — end of reliance on auctoritas Pre-Christian civilization for models Humanism Empiricism replaces authority — realism replaces symbolism – new view of world — Columbus 1492, Copernicus pub – da Vinci (1452–1519) — empirical observation leads to increased realism – balance supersedes elaboration

Interest in literature Elevation of trivium — new concept of studia humanitatis (humanities) Printing from movable type — Gutenberg, 1450s, increased literacy and thought

Political conflict The Hundred Years’ War — England vs. France Fought on French soil – mercenary soldiers lived off land when not actually fighting – Joan of Arc RESULT — decline of knights and chivalry

Late fourteenth-century music on the continent Ars subtilior — mannerism Very complex mensuration changes Harmony can stretch the limits of the church modes

100 Years’ War and music “Contenance angloise” — Martin le Franc in Le Champion des dames (1442) More empirical, less theoretical/symbolic – equality of parts – less dissonance, careful treatment — “panconsonant” – acceptance of imperfect consonances (as norm, except at cadences) from as early as twelfth century Techniques – rota (rondellus if parts begin together) — voice exchange – “English discant” – C.f. in middle or lowest voice – Improvisation of parts in 6/3 and 8/5 relation to c.f.

John Dunstaple (ca. 1390–1453) Probably mathematician and astronomer, probably in France with Regent John Duke of Bedford Works (at least fifty) – Mass Ordinary movements – two secular pieces – motets — two styles old c.f. style – cantus firmus – isorhythm – harmony full of imperfect consonances new, freely composed style – English harmony – sometimes triadic melody – short sections based on text phrases – some cadences approached as in English discant style

The Burgundian composers Burgundy — now northeastern France and Low Countries ca. 1400–1477 Dukes related to French royal family, influenced but were not directly involved in 100 Years’ War Fabulous court, center for music and other arts

Gilles Binchois (ca. 1400–1460) Career – soldier – churchman – musician Composed mostly chansons — very little sacred music

Guillaume Du Fay (ca. 1400–1474) Career – singer and churchman – member of Burgundian court – well educated, traveled — Italy Music — mostly familiar genres but with new traits in style – harmony — imperfect consonances – four-part texture — bass below tenor for support of harmony

Major Burgundian genres Fauxbourdon hymns — based on English discant idea – c.f. on top – middle part improvised at parallel fourth below cantus – bottom voice in sixths and octaves below cantus Motets — two types – old style — c.f. texture, isorhythm, mensuration, proportion – new style — freely composed nonimitative polyphony Masses — unity of multimovement work – cantus firmus Mass – same c.f. (sacred or secular) for all movements Secular music — chansons in formes fixes, but with new harmony – ballade – rondeau

Questions for discussion Why might we regard the cultural division in music history around the beginning of the fifteenth century as one of the most decisive ones in music history? How did the travels of individual musicians affect the history of music in the fifteenth century? How did the aesthetic meaning and musical function of a cantus firmus change in the fifteenth century as compared to the preceding centuries?