Music History Unit 2

Cyclic Mass 1450-1600

-divided into sections often beginning w/ same head motive

-sections usually incorporate the same cantus firmus

-Four voice SATB texture

la contenance angloise

-dissonance control

-emphasis on triads

-liking the major mode

-aligns with John Dunstable

point of imitation (pervasive imitation)

-short melodic idea in one voice and then repeated in other voices

-pervasive imitation: composition is made up of repeating points of limitation

humanism

-Renaissance intellectual movement

-studied classical texts

-emancipation from medieval ways

-globalization of musical style (moveable type, printing press, etc.)

-secular interests

-emphasis on the individual over a churchly authority

ars perfecta

-ideal style of sacred polyphony from the renaissance

-music had reached a state of perfection

ligature

grouping of two or more notes written as a single connected figure

dot of addition, dot of division

-dot of addition: adds half of its value to the preceding note

-dot of division: a type of barline that separates groupings of notes

imperfection, alteration

-imperfection: shortening the breve by a third (making it 2)

-alteration: when 2 breves occur either side of a set of semibreves, the second breve is double its original value

choirbook format (vs. score)

-each voice in a separate corner

-in a score, each voice layered on top of each other

soggetto cavato (and the Mass that gives the iconic example of this)

-musical theme is generated by "carving out" pitches from the vowels of a name or phrase

-Mass: Josquin des Prez's Missa Hercules Dux Ferrariae

chorale (its sources, its common form)

-Martin Luther and other composers wrote melodies

-adapted from Gregorian chant

-some secular melodies were rewritten with sacred word

concerto and concertato style

-concerto: music for voices and instruments together

-concertato: contrasting voices played off of each other

basso continuo (Viadana 1602)

bass line played by a low instrument while a keyboard fills in the harmonies

madrigal (Italian and English, and their stylistic differences)

-Italian: themes of love, death, nature. lots of polyphony, text paints a picture

-English: lighter, humorous themes, popular as entertainment

Ottaviano Petrucci (and the earliest musical publishing)

-publishes the first music in 1501 in Venice, Italy

-comparable to the introduction of recorded sound

John Dunstable

-implemented 3rd and 6ths into the norm

-dissonance minimization

-brother of King Henry V

-shaped all future music

Johannes Tinctoris

-principal theorist and writer of 15th century

-Book on the art of counterpoint: music theory book

-dictionary of musical terms

-anything composed >40 years prior is not worth hearing

Guillaume Du Fay

-very influential

-pioneered the cyclic mass

-used the cantus firmus technique

-smooth, flowing polyphony

-transition between medieval and renaissance

Antoine Busnoys

-smooth melodies

-Missa L'homme Armé is one of the most famous missas

Heinrich Glarean

-defines "ars perfecta" as style pinned down by Josquin

-nothing can be added, nothing but decline can be expected

-introduces modes 9-12

Josquin des Prez

-"He is the master of the notes" -Martin Luther

-Liber Primus Missarum Josquin - first printed book of works by a single composer

-known for painting pictures through his music

Gioseffo Zarlino

-italian theorist and composer

-recognizes the triad as perfect harmony

-classified intervals based on their stability

-affirms glarean's 12 modes

Giovanni Pierluigi da Palestrina

-"the Pope's composer"

-most enduring academic style in European music history

-smooth voice leading

-dissonance control

-balance in lines

-clarity and logic in text setting

-its always been played

William Byrd (and the significance of the three Masses)

-catholic composer in a country that had outlawed catholicism

-Mass for 3 Voices: small household

-Mass for 4 Voices: medium gathering

-Mass for 5 Voices: big celebration

-everything is original

-allowed to publish works

-more intensity and chromaticism

Martin Luther

-humanist belief of individual thinking over institutional control

-christian scripture over catholic doctrine

-embraced the role of music in church

-luther chorale: gregorian chant, secular tunes, newly composed material imitating traditional tunes

Giovanni Gabrieli

-Venetian poly-choral style

-organist and composer at st. mark's basilica

-"concerto" - music for voices and instruments together

Lodovico Viadana

-took credit for the basso continuo: independent bass line with harmonies played by other instruments

"L'homme armé" ca. 1453

-French secular song

-most popular cantus firmus used by renaissance composers

-blend of popular culture and religious tradition

Terminorum musicae diffinitorium ca. 1475

-written by Johannes Tinctoris

-dictionary of musical terms

-the goal was to standardize musical vocabulary

Dodecachordon 1547

-written by Heinrich Glarean

-expands the 8 church modes to modes 9-12

Le istitutioni harmoniche 1558

-written by Gioseffo Zarlino

-(I): musical foundations

-(II): modes and intervals

-(III): counterpoint and composition

-(IV): composition practice and style

Gradus ad Parnassum 1725 (significance to the Palestrina style)

-written by Johann Joseph Fux

-how to compose in the polyphonic style of the renaissance

-modeled after Palestrina style

What were the differences between Medieval thought and the Renaissance? Explain what international cultural and musical influences converged in the fifteenth century and how these fit together to create a new musical style. How was this reflected in the general characteristics of the music? (be able to point out and draw comparisons to other arts, too)

Medieval thought was dominated by Aristotelian views, but the Renaissance saw a resurgance of Platonian ideas of science and logic rather than faith. The Renaissance moved away from the church and the idea of Humanism was created: where people saw the human body as a beutiful thing, where as before with the church, it was seen as a “vessle of sin” that should be covered up.

The Renisance was concidored a “rebirth” of art coming out of the Medieval era.The main difference between Medieval and renisance thought is the idea of humanism: where people saw the human body as a beutiful thing, where as before with the church, it was seen as a “vessle of sin” that should be covered up. This idea was reflected in music by the growing use of imperfect rhythms where insted of the symbolic triple beat representing the holy trinity, composers started also started incorperating duple rhythms which mimmiced more human experiences such as footsteps and heartbeat, and thus lost the symbolic value of the Medieval era. The 100 years war led to a new style in the Burgundy area, which was able to cultivate a center for music and art. The English influince in this style was reflected in Panconscinance: An English practice of using 3rds and 6ths on weak beats and resolving to perfect intervals on cadences. This was eventualy reflected in the mass compositions by Guillaume Du Fay and Josquin, and later spread throughout Europe.

How did Mass composition change during the Renaissance? Be able to name specific compositional techniques, composers, and pieces to support your statements. Why is a cantus firmus Mass such as DuFay’s Missa Se la face ay pale and other Mass compositions evidence of the effect of humanism on Renaissance sacred music.

During the renaissance, Mass composition Drew from the Humanistic culture of the renaissance. Pieces like DuFay’s Missa Se la face ay pale demonstrate advanced rhythms, motto development and imperfect consonances in the face of the church where such ideas were looked down upon. When composing this way, composers had much more room for expression in non-secular compositions. Espacialy during the high Renaissance with Josquin’s Ave Maria…Virgo Santana, Which was a motet which used panconscanance, and fuga and familiar immitation.

What was the Ars Perfecta and how was it manifested in music? What composer(s) are most often associated with the style?

The Ars Perfecta, or Perfect Art, was an Idea from the Counter reformation of balancing artistic expression and traditional values of the church. Composers like Palestrina and Lasso are most associated with this idea. In music, It would manifest as pure vocal style for sacrred texts, A capella, fuga and familiar immitation, etc. it describes that the work of Josquin as being the most ideal balance of creativity and tradition.

 Be able to discuss why text was so important during the Renaissance. Who were examples of great poets and what genres reflected these literary developments? How was the text set to music? Explain several ways in which literature served as a model for musical expression to the composers of the high Renaissance. Cite specific musical examples to illustrate your points.

Text was important during the renaissance due to the invention of the printing press and the humanistic values of expression and rise of musica reservata. Petrarch is a great poet of the renaissance, and his innovation of the sonnet which influenceed music in genres like the Madrigal. In the Madrigal, composers would express humanistic values through text painting, where the meaning of the words was reflected in the music. Solo e pensoso by Luca Marenzio is an example of this, where the word “Solo” starts alone.

 Summarize the development of the Italian madrigal from the beginning to the end of the sixteenth century, naming the various stages of development, representative composers of each stage, stylistic characteristics of each stage, works in each stage, etc.

The First stage of Madrigal was almost entirely syllabic with diatonic harmony and familiar style. Using word painting to exprerss the meaning of the words through the music. A composer from this time was Jacques Arcadelt. The Second stage of madrigal had more expression and complexity. It Introduced the Sonnet: 14 lines divided into 8 (ottova) and 6 (sestina) A Composer from this time was Cipriano de Rore. The Third Stage of madrigal introduced mannerism, with overly dramatic poetry and overly expressive music, the end of a style. An example of this is Solo e pensoso by Luca Marenzio, where the word “solo” starts alone, and the word “running” sounds as if its running away.

Be able to discuss the various instruments and instrumental genres of the Renaissance. How were instruments classified? What were the various instruments? Discuss at least two different relationships between vocal and instrumental music in the Renaissance.

Instruments where classified as either Haut or Bas, where Haut instruments were much louder and intended to be played outside, and Bas instruments were quieter and ment to be played indoors. Generaly, Haut instrument were usually aerophones with instruments like the crumhorn, shawm, and racket, and Bas where usualy chordophones like the Viol, lute, or virginal. Instruments were never used in mass, as it took away from the value of the sacred text. The first signs of homophony where seen with John Dowland’s Flow, My Tears, which featured a solo vioce with acompanyment.

Know what modes were proposed to the traditional eight in the mid-C16, by whom, and in what publication

-heinrich glarean proposed the final 4 modes (9-12) in Dodecachordon

-aeolian, hypoaeolian, ionian, hypoionian

 Briefly explain how the leaders of change in the different branches of the church in the sixteenth century influenced developments in the style of sacred music. Be able to discuss the musical aspects of the Reformation and the Counter-Reformation including: 1) philosophies behind the music; 2) composers of the music; 3) genres used; 4) areas and countries involved; etc.

In The Lutherian Reformation, Martin Luther believed music was a gift from god, and should be used in worship. He made chorales(Lutheran hymn): strophic, simple melodies, vernacular. Composers of this style include Martin Luther and Johann Walter In Germany

In The Calvanist Reformation in France, Jean Calvin feared sensory pleasure could distract from scripture. He Insisted on Strict textual clarity, and wanted no polyphony in worship. A Notable composer is Lois Bourgeois who made  Metrical Psalms: biblical psalms paraphrased into poetic meters for congregational singing. A Notable. 

in the English Reformation in England, Henry VIII rejected the authority of rome and the pope in his marrage. The musical Phillosophy of this change:

• A middle way between Catholicism and Protestantism.

• Worship in English (Book of Common Prayer).

• Both simple homophony for clarity and retained polyphony for tradition.

Genres & Musical Characteristics

• Anthem:

  • Full anthem: for unaccompanied choir, mainly homophonic.

  • Verse anthem: alternation of soloists and choir, often with organ.

Composers

• Thomas Tallis:

• William Byrd:

• Thomas Morley, Orlando Gibbons

II. The Counter-Reformation (Catholic Response)

The Counter-Reformation was driven by the Council of Trent (1545–1563), which addressed concerns about overly complex and secularized church music.

Philosophy Behind the Music

• Restore clarity of text so scripture could be understood.

• Reduce overly complicated polyphony that obscured words.

• Avoid secular musical borrowing (e.g., banning mass settings based on secular chansons).

• Preserve dignity and reverence in worship.

Important note: The Council did not ban polyphony; it simply encouraged intelligibility.

Genres & Musical Characteristics

• Continuation of:

  • Mass (cyclic mass)

  • Motet

• Style became:

  • More clear and controlled polyphony

  • Points of imitation balanced with homophonic declamation

  • Smoother melodic lines

Composers

• Giovanni Pierluigi da Palestrina (symbol of Counter-Reformation ideals).

  • Pope Marcellus Mass often cited—though apocryphally—as model of clarity.

• Tomás Luis de Victoria: more expressive and intense, Spanish mysticism.

• Orlando di Lasso: worked in Munich; cosmopolitan blend of styles.

• Felice Anerio, Giovanni Animuccia: Roman school.

Areas Involved

• Italy (Rome especially: Sistine Chapel, St. Peter’s)

• Spain

• Southern Germany/Austria (Catholic regions)

 Choose at least three different musical genres from the late sixteenth century to illustrate the contrasts in musical style that existed at the end of the Renaissance.

Madrigal: Heightened text expression and emotional intensity, Use of word painting, chromaticism, and expressive dissonance, Increasing interest in soloistic writing and dramatic gesture, pointing toward the early Baroque seconda pratica.

.The Palestrina-style Mass of the Counter-reformation: Smooth, carefully controlled polyphonic counterpoint… Consonant, flowing textures with minimal dissonance… Clear text declamation to satisfy Counter-Reformation concerns… Goes back to Josquin

Canzoa: Instrumental version of a chanson, used basso continuo

Know the "Palestrina legend" and the Mass associated with it.

-Giovanni Pierluigi da Palestrina "saved" polyphony by composing a mass satisfying the council's conditions

-Mass associated: Missa Papae Marcelli

Be able to cite the characteristics of the ars perfecta as manifest in the musical style of Palestrina, and how this stylistic language differs from that of Byrd

-Palestrina: smooth, stepwise, balance, clarity

-Byrd: intense, chromatic, emotionally charged, cadences

Be able to explain the values of the Protestant Reformation(s), those of the Counter-Reformation, and the implications of these for musical style

-Protestant Reformation: anti-institutional (anti catholic), anti-materialist (world is shithole), pro-individual

-Counter Reformation: response to PR, strengthened the catholic church, council of Trent, society of Jesus

-music implications: religious belief and practice got intertwined with music theory and practice, return of group singing in Germany, move towards emotion, grandeur in music

Who Was the most important English Composer who would shape the future of music during the renisance?

John Dustanble

Johannes Ockeghem

High Renisance, Parody / contrafactum mass (new test is substituted for the origional

Ballade (diagram)

French, aabC aabC

Virelai (diagram)

A b ba A

Rondeau (diagram)

AB  a  A  ab  AB

Musique mesurée

All of the voices move together homorhythmicly

Basse danse

La morisque: French, Triple, smooth -gliding

Passamezzo

Slow Italian Dance

Pavane

La Donna: French, Duple, french version of the italian passamezzo

Galliard

La Dona: French, COMPOUND, French Version of the Italian Saltareto