Power point 6: First Generation Renaissance Vocal Polyphony
•Download as PPTX, PDF•
0 likes•111 views
Power point 6: First Generation Renaissance Vocal Polyphony
Recommended
More Related Content
What's hot
What's hot (17)
Similar to Power point 6: First Generation Renaissance Vocal Polyphony
Similar to Power point 6: First Generation Renaissance Vocal Polyphony (20)
More from Scott Marosek
More from Scott Marosek (20)
Recently uploaded
Recently uploaded (20)
Power point 6: First Generation Renaissance Vocal Polyphony
- 1. Music in the Renaissance Era 1420-1600
- 2. First Generation Renaissance Vocal Polyphony England and Burgundy 1420-1450 Part I:
- 3. England
- 4. Sacred Polyphony on Latin Texts • Faburden – improvised polyphony – 3 voices, middle voice is chant – 6/3, except cadences • Cantilenas – Latin, not based on chant • Isorhythmic Motet • Mass ordinary • Carol – Polyphonic, 2 or 3 parts – Poetry in English and/or Latin – Religious subjects – Stanzas and refrain (burden) – 6/3, except cadences – Alleluia: A newë work Faburden
- 5. John Dunstable (1390-1453) composer, astronomer, mathematician served several royal and noble patrons born in England Isorhythmic motets 3rds, 5ths, 6ths Mass Ordinary sections, chant settings, free settings of liturgical texts Secular songs brought the English style “contenance Angloise” to France Quam pulchra es; motet 3 equal voices homophonic: all parts in the same rhythm Same syllables Consonant, except for brief suspensions 6/3 only leading into cadence
- 6. Burgundy
- 7. Gilles de Bins (Binchois) (ca. 1400-1460) • composer, singer, organist • court composer • International style France—structure, rhythmic interest Italian—lyrical melodies English—3rds & 6ths, controlled dissonance secular: Chanson polyphonic setting of a French poetry formes fixes three voices Cantus—main melody Tenor—contrapuntal support Contratenor—harmonic filler De plus en plus; rondeau • sacred: mass movements, magnificats, motets DuFay and Binchois
- 8. Guillaume DuFay (ca. 1397-1474) court composer, traveled to Italy and Savoy international style Secular: Chansons Se la face ay pale; ballade Sacred: Motets and Chant Settings 3 voices (like chansons) Masses—cantus firmus Missa se la face ay pale Gloria (start at 3:31) each movement like an isorhythmic motet cantus firmus from chanson 4 voices Cantus (discantus, superius)—highest voice contratenor altus—above tenor tenor—structural voice contratenor bassus—lowest, harmonic foundation Isorhythmic motets—for solemn public ceremonies Nuper rosarum flores—performed @ dedication of Brunelleschi’s Dome in Florence
- 9. 5 Ways Vocal Polyphony Changed During the Renaissance Medieval Renaissance
- 11. 2. Cadences Landini Cadence Double Leading-tone Cadence ?
- 12. 3. Texture 3 voices: melodic cantus slow tenor contratenor filling in harmonies ?
- 13. 4. Chansons FORMES FIXES RONDEAU BALLADE VIRELAI ?
- 15. 1420-1450 Dunstable, Binchois, DuFay 1450-1480 Ockeghem, Busnoys 1480-1520 Obrecht, Isaac, Des Prez Renaissance Vocal Music S E C U L A R M A S S E S Resvellies Vous DuFay •ballade, aabC •6/8 •Landini, double-leading- tone cadences •3rds and 6ths, not @ cadences •3 voices, slow tenor Missa se la face ay pale DuFay •cantus firmus mass •3/4 •Landini cadences •3rds and 6ths, not @ cadences •4 voices, cantus firmus tenor