Power point 7: Second and Third Generation Renaissance Vocal Polyphony
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During the Renaissance period from 1420-1600, vocal polyphony developed in several ways. Franco-Flemish composers like Ockeghem, Busnoys, Obrecht, Isaac, and Des Prez advanced the genre through more complex meter, cadences using triads rather than double leading tones, and greater use of imitation between equal voices. They also composed secular masses and chansons in addition to sacred masses and motets. By the late Renaissance, composers like Des Prez expertly set text to music and incorporated both imitation and homophony into highly structured works.
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Power point 7: Second and Third Generation Renaissance Vocal Polyphony
- 1. Music in the Renaissance Era 1420-1600
- 2. Second Generation Renaissance Vocal Polyphony Franco-Flemish Composers 1450-1480 Part II:
- 3. In the 2nd and 3rd generation of the Renaissance, musicians trained in the North (France, Burgundy) spent all or parts of career in the South (Italy).
- 4. Jean de Ockeghem (ca. 1420-1497) composer, singer choirmaster, teacher born in Belgium served King of France for half a century most famous for masses also wrote motets and secular chansons Masses Missa de plus en plus cantus firmus mass some cadences like V-I 3rds and 6ths,not @ cadences 4 equal voices missa cuiusvis toni (mass in any mode) 1, 3, 5, or 7 Missa prolationum 2 written parts, both w/ 2 different
- 5. Antoine Busnoys (ca. 1430—1492) Born in Northern France served at the Burgundian Court (today central-eastern France) most famous for secular chansons also wrote masses and motets Chansons 3 or 4 voices, treble-dominated style, formes fixes (rondeau) Dufay influence—smooth arching melodies, syncopation, pervasive consonance, careful dissonance treatment, 3rds & 6ths
- 6. 1420-1450 Dunstable, Binchois, DuFay 1450-1480 Ockeghem, Busnoys 1480-1520 Obrecht, Isaac, Des Prez Renaissance Musical Development S E C U L A R M A S S E S Resveilles 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 Je ne puis vivre Busnoys •virelai, AbbaA •3/4, 6/8 •not medieval cadences •3rds and 6ths throughout •3 equal voices, imitation Missa de plus en plus Ockeghem •cantus firmus mass •some cadences like V-I •3rds and 6ths,not @ cadences •4 equal voices Missa Prolationum Ockeghem •Canon (imitation)
- 7. Third Generation Renaissance Vocal Polyphony Franco-Flemish Composers 1480-1520
- 8. Jacob Obrecht (1457 or 8—1505) • Masses, motets, chansons, Dutch songs, instrumental pieces • Cantus-firmus masses • Point of imitation—passage in a polyphonic work in which 2 or more voices enter in imitation • Cadences • Short, clearly defined phrases • Smooth consonant counterpoint, suspensions, passing tones, neighbor tones
- 9. Heinricus Isaac (ca. 1450 or 55 to 1517) • Worked for – Medici in Florence (1484-1492) – Maximilian I (Holy Roman Emperor) in Vienna & Innsbruck (1497--) • International style • Sacred masses, Motets • Mass proper settings • Secular French, Italian, German songs • Instrumental (assumed—no words) • In Florence, heard homophonic style, adapted to German lied, 4-part settings of popular songs, newly composed melodies – Innsbruck, ich muss dich lassen • cadences resolve to triads • clear structure
- 10. Josquin Des Prez (ca. 1450-1521) • Positions in France & Italy • Large number of manuscripts and printed anthologies • Text depiction—musical gestures reinforce images in text • Text expression—music conveys emotion • Imitation & homophony • Motets – Freely composed (not based on previous material) – Clarity in phrasing, form, tonal organization – Fluid tuneful melodies – Ave maria…virgo serena • Masses – Secular tune as cantus firmus • Missa L’homme armé super voces musicales – Imitation mass—borrows from all voices of another polyphonic work • Missa Malheur – Paraphrase mass—all 4 voices based on monophonic work • Missa Pange lingua – Kyrie – Credo • Chansons – strophic, all voices sung, equal voices, no formes fixes – Mille regretz
- 11. 5 Ways Vocal Polyphony Changed During the Renaissance Medieval Renaissance
- 13. 2. Cadences Landini Cadence Double Leading-tone Cadence
- 14. 3. Texture 4 equal voices, homophony 4 equal voices, imitation 3 voices: melodic cantus slow tenor contratenor filling in harmonies
- 15. 4. Chansons FORMES FIXES RONDEAU BALLADE VIRELAI Strophic 4-5 line texts
- 17. 1420-1450 Dunstable, Binchois, DuFay 1450-1480 Ockeghem, Busnoys 1480-1520 Obrecht, Isaac, Des Prez Renaissance Musical Development S E C U L A R M A S S E S Resveilles 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 Je ne puis vivre Busnoys •virelai, AbbaA •3/4, 6/8 •not medieval cadences •3rds and 6ths throughout •3 equal voices, imitation Missa de plus en plus Ockeghem •cantus firmus mass •some cadences like V-I •3rds and 6ths,not @ cadences •4 equal voices Missa Prolationum Ockeghem •Canon (imitation) Innsbruck, ich muss dich lassen Isaac •polyphonic lied •2/2 •V-I cadences •triads •4 equal voices, homophonic Missa Pange Lingua Des Prez •paraphrase mass •3/2; 2/2 •triadic cadences, some V-I •triads throughout •4 equal voices, imitation alternating with homophony Missa Malheur me bat Des Prez •imitation mass