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Island to Mainland Toward a Pan-European Style
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Fragmentary Remains Sumer canon [Anthology 1-35] – Rota – Pes (foot), Ground – Tertian harmonies
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Fragmentary Remains Thomas gemma catuariae/ Thomas caesus in Doveria [Anthology 1-36] – Twin-song texture – Variations over a pes Worcester Fragments (13 th century)
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Kings and the Fortunes of War 100 Years War 1420s–early 1430: English occupation of Northern France Duke of Bedford: effective ruler of France from 1422–1435 John Dunstable (ca. 1390–1453): “musician with the Duke of Bedford”
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Dunstable and the “Contenance Angloise” The English Guise Dunstable, Quam pulchra es [Anthology 1-37] – Cantilena motet – Full triadic harmony – Smooth handling of dissonance – Natural declamation – Homorhythmic texture Faburden
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Du Fay and Fauxbourdon Du Fay, Vos qui estis me – Communion antiphon – Chant in the cantus – Octaves and sixths – Third part created by singing a fourth down from the top voice: Fauxbourdon
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Du Fay and Binchois Du Fay, Ave maris stella [Anthology 1-38] – Fauxbourdon – Chanson-style Gilles de Bins (Binchois), Deuil angoisseux [Anthology 1-39]
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The Internationalism of the Upper Crust “Elite” music Johannes Tinctoris (ca. 1435–1511) – Dozen treatises on music theory Chigi Codex (1498)
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The Internationalism of the Upper Crust Johannes Ockeghem (ca. 1435–1511) Busnoys (Bunois)
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Emulations Compositional lineages Ockeghem, Deploration on the Death of Binchois (1460) – In honor of Binchois Busnoys, In hydraulis – Praise of Ockeghem Ockeghem, Ut heremita solus – Compliment of Busnoys
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The Cyclic Mass Mass Ordinary
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Caput Masses Cyclic Mass Melisma on “caput” from the antiphon Venit ad Petrum Anon. Missa Caput (CA. 1440) [Anthology 1- 40] – Four-voice texture: superius, altus, tenor, bassus – Possibly composed by Dunstable
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Patterns of Emulation Ockheghem’s Missa Caput [Anthology 1-41] Obrecht, Missa Caput
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The Man at Arms L’Homme armé song [Anthology 1-42a] – Composed after 1454 – A favorite of Charles the Bold Over 40 cyclic masses based on this tune Busnoys, Missa L’Homme armé [Anthology 1-42b]
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“Pervading Imitation” Points of imitation – Tenor tacet sections – Points correspond to portions of text – Each point comes to a full cadential close
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High, Middle, and Low Tinctoris, Three musical styles – magnus The mass – mediocris The motet – parvus The vernacular chanson
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The Marian Motet Paraphrase Cantilena style Philippe Basiron, Salve Regina [Anthology 1-43] Eton Choir Book
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Motetti missales Milan 1470s Sforza Family Substitute motets for the mass Gaspar van Weerbeke (ca. 1445–1516) – Ave Maria [Anthology 1-44]
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Love Songs Chanson Parvus, Tinctoris bergerette Ockeghem, Ma bouche rit et ma pensee pleure [Anthology 1-45]
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Instrumental Music Is Printed Instrumental arrangements of chansons Heinrich Isaac (ca. 1450–1517) Martini, Josquin, Alexander Agricola (ca. 1455–1506) Otaviano Petrucci, Odhecaton (1501) Johannes Ghiselin, La Alfonsia [Anthology 1-46]
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