1. 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)

2. 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

3. “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

4. 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

5. 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

6. “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 (!)