Motet%

!!!!!Motet!(13th!Century,!Antiqua)!"Created"by"Notre"Dame"composer!written"by"Latin"words"to"the"upper"voices"of""""""discant"clausulae%

"""1)"A"different"text"for"duplum"in"Latin"or"French,"Chant"text"is"not"necessarily,"secular"topic"could"be"used""""2)"A"third"or"fourth"voice"add""""3)"Giving"additional"part"texts"of"their"own""""4)"Deleting"the"original"duplum"and"writing"one"or"more"new"voices"!!!!!From!mid813th!century,!three!voices!were!rule!with!Latin!or!French!or!Latin!and!French!for!each!voice.!

!!!!The!tenor!melody(!became!cantus8firmus)!came!from!Notre!Dame!clausulae!as!well!as!other!chant!and!secular!!!!!!music!

"!!!!!!Mid8!13th!Century!!!!!!*Discant!style8!moving!about!same!rate!per!each!note(less!melismatic)!with!using!Rhythmic!mode!by!Leonin!"""""®features"

1) Rhythmic"variety!"Franconian"notation"Duplex"Longa>"Longa>"Breve>"Semibreve=>"Rhythmic"freedom"and"variety"2) Petrnoan"Motet("Petrus"de"Cruce)!"extended"rhythmic"variety"("lots"of"fast"rhythms),"triple"division"(perfect"

Longa!three"quarters,"imperfect!half"notes)"!!!!!!!14th!Century!(Ars!Nova)8!Isorhythmic!motet!(=!equal!rhythm)!

!Tenor"structured"by"isorhythmic"pattern""

1)Repeating"rhythmic"units!"Talea" Beginning"and"ending"together"""Could"be"same"length"

2)Repeating"a"segment"of"melody!"Color""""""""""""(Could"be"extended)"

"""""""Color""I!!!!!!!!!!!!!!!!!!!!!!!!!!!!I"""""""Talea""I!!!!!!!!I!!!!!!!!!I!!!!!!!!!I"(To"emphasize"recurring"rhythmic"pattern)"

3) Imperfect"consonances"(3rd,"6th!"sustained"or"delayed"which"is""typical"Ars"Nova"Style"4) Still"parallel"octave"and"fifth"common"5) Allowing"duple"division"of"note"values"along"with"the"traditional"triple"division"6) Division"of"the"semibreve"into"minimas!"shorter"note"values"created"(ex:"minimas)"7) Notable"composers!"Philippe"de"Vitry,"Guillaume"de"Machaut"

!!!!!!!!Early!of!the!15th!Century!!!!!!!!!8England!

1) Faburdon!"a"technique""""""""""""Cantus"↖"Perfect"5th"above"middle"voice"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""Middle"voice"(from"chant)"

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Tenor↘"parallel"3rd"below"than"middle"voice"2) Contrapuntal"style"3) Free"composed"4) Notable"composer!"John"Dunstable"8Guillaume!Du!Fay"1) Abandon"a"repeated"figure"(why?"Avoid"a"repetition"of"the"cantus!firmus)"2) Still"used"isorhythmic"rhythm"(Homophonic"rhythm)"3) Passing"chord"(some"dissonant"chord"use!"but"carefully"and"controlled)"

4) Fauxbourdon"by"Second"quarter"of"15th"century""""""""""""""Main"melody"("Cantus)""↘"exactly"parallel"4th"below""""

""""""""""""""""""""Unwritten"voice"("Fauxbourdon)""""""""""""""""""""""""""""""""""""""""""""""""""""Parallel"6th"below"""""""""""""""""""""Tenor""

a) Used"by"Guillaume"Du"Fay","b)"three"voices,"c)"still"used"Isorhythmic"motet"!!!!!!!!*By!1450,!Isorhythmic!motet!disappeared,!motet!term!changed!any!polyphonic!composition!on!Latin!text.!!!!!!!!!Mid815th!–!Early!of!the!16th!Century!!

1)!Josquen!Des!Prez!(145081520)!�"Most"motets"were"freely"composed"�"Clarity"in"phrasing,"form,"and"tonal"organization"(cadence"ends"with"tonal"center"C)"�"Fluid"tuneful"melody"�"Transparent"textures"(Strong"contrast)"�"Use"of"imitation"and"homophony"�"From"Franco!Flemish"school"(Johannes"Ockeghem,"Josquin"Des"Prez)!"Four"part"motet"�"Careful"use"of"text"Text"depiction!""used"to"reinforce"a"musical"gesture"Text"expression!"conveys"an"emotion"suggested"by"text""through"music""Notable"Piece"“Ave"Maria”!"Use"of"concluding"cadence"on"the"tonal"center"C,"Fluid"tuneful"melody,"Use"of"imitation,"Text"expression"and"Text"depiction."

!!!!!!2)!Martin!Luther!(148381546)8!Polyphony!choral!motet!�"Choral"tune"in"tenor"�"Surrounding""tenor"with"three"or"more"free"flowing"parts!"Borrowed"the"technique"from"Franco!Flemish"motet"�"Imitated"or"free"flowing"(Each"voice"without"tenor)"�Cantus!"Altus!Tenor("Choral"Tune)!"Bassus"

"!!!!!!Mid!16th!Century!!

1) Imitative"polyphony"continued"2) Polyphonic"settings"of"sacred"composition"in"other"languages"3) Cadence"4) Strong"contrasts"by"Josquin"("Continued)"5) Palestrina"(Strict"counterpoint)!"I’ll"refer"about"Palestrina"in"the"Church"music"6) Orlando"di"Lasso"

""""""""""""""�"Emotional"expression"and"text"depiction"""""""""""""""�"Use"of"suspension!"to"achieve"emotional"tension"""""""""""""""""""""Ex)"“Tritis”"(Sad)!"descending"semiton"motiv"""""""""""""""�"Voice"expansion"with"5"voices"("Use"Two"Altus)!"Influenced"to"Heinrich"Schutz"and"J.S.Bach""!!!!!!!17th!Century!!"""""""Heinrich"Schutz!"Polyphonic"chorale"motets"and"motets"on"biblical"texts"without"chorale"melodies""

%%%%

Madrigal%1. General"characteristics"of"Madrigal"(which"is"Sixteenth"century"secular"vocal"chamber"music)"

1) A"stanza"with"seven"or"eleven"syllable"lines,"standard"or"free"rhyme"scheme,"No"refrain"and"repeated"line"2) Through!composed"3) Definition!"Musical"settings"of"Italian"poetry"of"various"types"from"sonnets"to"free"forms"

""""""""""""""Composers"emphasized"the"text"and"meaning"through"the"musical"setting""""""""""""""""Explored"new"effects"of"declamation,"imagery,"expressivity,"characterization,"and"chromaticism"""""""""""""""�(influence"to"Opera)"

4) Subject!"Sentimental"or"erotic,"Theme!"love,"sex,"and"wit"5) Dealt"free"with"poetry,"using"variety"of"homophonic"and"contrapuntal"textures"in"series"of"overlapping"

sections,"each"based"on"a"single"text"6) All"voices"playing"essentially"equal"roles"7) Social"role!"mixed"group"of"women"and"men"singing"

%%%%%%%®Early/%4%voices%(cantus/Altus,%Tenor,%Bassus)%

1) Jacques"Arcadelt"(Franco!"Flemish)"�"Homophony"with"occasional"imitation"�"Simple"and"ingenious"�"Text"with"contrast"2) Adrian"Willaert"

""""""""�"Petrarchan"movement!"Led"by"Cardinal"Bembo"""""""""""""""Poet"Francesco"Petrarca!"Ofen"revised"sound"of"the"words"without"changing"the"imagery"or"meaning"""""""""""""""*Two"opposite"quantaties"

""""""""a)"In"the"pleasing"category" Bembo"identified"b) Severe"category"

""""""""�"Emphasized"melodic"motion""""""""""Ex)"Harsh"heart,"savage,"cruel!"motion"in"whole"step,"major"3rds"""""""""""""""Sweet,"humble!"semitones,"minor"thirds"

• !Early!of!those!two!composers!used!emotional!qualities!which!were!related!to!music!!%%%%%%®Middle/%Five%voices%with%frequent%changes%of%texture%%%%%%%%%%%%%%%%%%%%%%Freely%alternated%homophony%and%imitative%or%free%polyphony%

1) Cipriano"de"Rore"(Franco!Flemish"born)!"5"voices"(From"5"voice!"use"Latin"number"“Quintus”)%�"Accented"syllables!"Longer"notes"than"Unaccented"syllables"�"Petrarchan"movement"modeled"�"Chromaticism!"Introducing"notes"outside"the"mode"• Zarlino"accepted"to"use"the"accidentals"to"express"sorrow"• Vincentino!"Used"chromaticism"(Greek"chromatic"tetrachord)"

%%%%%%%%%Late%

1) Orlando"di"Lasso"2) Luca"Marenzio"(Italian)"�"Depicted"contrasting"feelings"and"visual"details"Ex)"“Flee”,"“Excape”!"quickly"moving"figures"�Madrigalism!"Striking"musical"images"evoking"the"text"almost"literally"�Word!painting!"naturalistic"expression"of"feelings"to"the"depiction"of"individual"words"

"

3)Carlo"Gesuado"Sharp"contrasts"between""""""""""�"diatonic"and"chromatic"passages""""""""""""""""""""""""""""""""""""""""""""""""""""""""�"consonance"and"dissonance""""""""""""""""""dramatization"of"poetry""""""""""""""""""""""""""""""""""""""""""""""""""""""""�"chordal"and"imitative"texture"""""""""""""""""Ex)"Chromatic"line""""""""""""""""""""""""""""""""""""""""""""""""""""""""�"slow!moving"and"active"rhythms"""""""""""""""""!"Women’s"Lament"%France%/ Musique"Mesuree"(Kind"of"Madrigal)"1) Longer"syllables"in"French"language"were"set"to"longer"note"values,"and"shorter"syllables"to"shorter"2) Voice"and"accompaniment"3) Imitate"rhythm"of"Greek"poetry"

%%%%%%Germany%1) Meistersinger"2) German"polyphonic"lied"continues"3) Poems"fit"to"existing"Ton("note)!"All"Tone("notes)"use"bar"form"4) Orlando"di"Lasso"England"1) Consort"song!"voice"with"accompanied"a"consort"of"viols"2) English"madrigal"�"refrain"("fa!"la!"la)"�"came"from"canzonetta"and"ballata"�"strophic,"homophonic"settings"�"main"melody"in"cantus"�Word!painting"3) Lute"song!"vocal"melody"(Lute"subordinates"the"vocal"melody),"Tablature("notation"system)!"for"Lute"part"

%

Secular(Song(!!!!!!14th!century!French!song"("Gillaume"de"Machaut"continued"the"Trouvere"tradition)""""""®Chanson!"development"of"polyphonic"songs"in"14th"century""""""�"Treble"cominated""""""�"A"major"innovation"of"Ars"Nova"period""""""�"The"upper"voice"carrying"the"text,"called"the"treble"or"cantus!firmus""

""""""""""""The"principal"line"supported"by"a"slower!moving"tenor"without"text""""""�"One"or"two"other"untexted"voices!"Maybe"added"to"the"essential"two!"voice"frame"work""""""""""®Formes"Fixes"

/ Derived"from"the"genres"associated"with"dancing"("by"their"use"of"refrain"/ Machaut’s""""""Monophonic"Virelais!"dance"like"character,"could"be"danced"""""""""""""""""""""""""""""""""Polyphonic"Chanson!"highly"stylized"and"not"used"for"dancing"1) Virelai!(monophonic)!"""""�"Machaut"(25"monophonic,"8"polyphonic""""""�"subject!"descriptions"of"nature"to"feeling"of"love""""""�"3"Stanzas"A(refrain)" bba"

"(1st"stanza)"A(refrain)" bba"

(2ND"stanza)"A(refrain)" bba"

(3rd"stanza)"A"(refrain)"

""""""�"Text"and"music"have"particular"patterns"of"repetition""including"a"refrain,"a"phrase"or"section"repeating"""""""""""""""""both"words"and"music"

2) Ballade!(polyphonic)!"""""""�"The"most"serious,"appropriate"for"philosophical"or"historical"themes""""""""�"3"stanzas,"each"sung"to"the"same"music"&ending"with"the"same"line"of"poetry"which"serves"as"a"refrain"aab"(1st"stanza)" C"("refrain)" aab"(2nd"stanza)" C"(refrain)" aab"(3rd"stanza)" C"(refrain)"3) Rondeux!(Polyphonic!song)!"""""""�"Subject!"themes"of"love""""""""�"1"stanza"AB"(refrain)" a" A"(half!"refrain)" ab" AB""

!/ Secular!song8!Late!15th!and!Early!of!the!16th!Century!

""""""1)"Villancico"(Spain)!"the"most"important"form"of"secular"polyphonic"song"in"Renaissance"Spain"""""�"Texts!"rustic"or"popular"subjects"""""�"Composed"for"Aristocrasy"""""�"Short,!strophic,!syllabic,"and"mostly"homophonic!"reflect"a"growing"preference"for"simplicity!"""""""""""(Authentic"representation"of"Spanish"culture↔"more"complex"French"chanson)"""""�"Includes"a!refrain"and"one"or"more"stanzas"

""""�"Principal"melody"is"always"in"the"upper"voice!""others"may"have"been"sung"or""performed"on"instruments"("lute…)"

"2) Frottola"(Italy)!"a"four!part"strophic"song"set"syllabically"and"homophonically""""""""�"Melody!"in"the"upper"voice,"marked"rhythmic"patterns"and"simple"diatonic"harmonies""""""""�"End"of"each"line"with"a!cadence"with"lower"parts"providing"a"harmonic"foundation""""""""�"Simple"music,"but"were"neither"folk"nor"popular"songs""""""""�"Earthy"and"satirical"texts""""""""�"Usually"the"top"voice"was"sung,"while"the"other"parts"were"played"on"instrument"""""""""�Best!"known"composer!"Marco"Cara"

%Mass%

/ The"most"solemn"service"of"Roman"Catholic"Church"and"the"service"attended"by"the"public"1) Mass"""""""Proper!"Texts"vary"from"day"to"day"""""""""""""""""""""""""""Introit(1),"Gradual(4),"Alleluia(5),"Sequence("additional),"Offertory(7),"Communion(10)"""""""""""""""""""""""""Ordinary!"Texts"do"not"change""""""""""""""""""""""""""""Kyrie(2),"Gloria(3),"Credo(6),"Sanctus(8),"Agnus"Dei(9),"Ite"missa"est"2)"Office!"Psalm"with"Antiphon,"Responsories,"Hymn,"Canticles"

Manner"of"Performance""""""""Responsorial"(Soloist"VS"Choir"or"congregation""""""""""""""""""""""""""""""""""""""""""""""""""""Antiphonal"(Two"groups"alternate)"

"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""Direct"(Without"alteration)"3) Text"settings!"Syllabi,c"Neumatic,"Melismatic"4) Recitation"fomulas""""""""�Psalm"tones!"Singing"Psalm"in"the"office,"sung"everyweek""""""""""""(Intonation!"tenor!"median!"tenor!"termination)""""""""�"Office"Hymns!"Strophinc,"all"sung"to"the"same"melody""""""""�"Alleluia!"effusive"melisma"called"a"Jubilus"("sing"“A”"with"melismatic"figure)""""""""�"Additions"to"the"authorized"chants!"Trope("Expanding"existing"chant),"Sequence("Syllabic"text"to"Jubilus)""""""""�"Office"Antiphon!"Different"by"church"calendar"5) Notable"composer!"Hildegard"von"Bingen"(1098!1179)!"composed"for"office"services,"sacred"music"drama"

!14th!Century!Mass"1) Guillaume"De"Machaut!"first"polyphonic"cycle"of"the"complete"Ordinary"of"the"Mass"in"4"voices""

("Triplum!"Motetus!"Tenor!"Contratenor)"!“"Messe"de"la"Notre"Dame”!"Tenor"carries"a"cantus!"firmus"melody"from"chant""(Same"as"melody"of"Ordinary"text)!"Plainsong"mass""""Gloria,"Credo!"Discant"or"Conductus"sytle""""Kyrie,"Sanctus,"Agnus"Dei,"Ite"missa"est!"Isorhythmic"motet"

!!!!!!Mid!15th!Century!

/ Until!1420s,!Ordinary!usually!composed!as!separate!pieces(!Except!for!Machaut)!/ 15th!Century8!!Became!standard!practice!to!set!the!Ordinary!as!a!coherent!whole!

"""""""1)"Guillaume"Du"Fay"!"Mass"cycles"(Kyrie,"Gloria,"Credo,"Sanctus,"Agnus"Dei)"

�"Plainsong"mass!"each"movement"based"on"an"existing"chant"for"that"text"�"Motto"mass!"Beginning"of"each"movement"with"same"melodic"motive"in"one"or"all"voices"�"Cantus!firmus"mass""""""Each"movement"constructed"around"the"same"cantus!firmus,""""""""""""""""""""""""""""""""""""""""""""""""normally"placed"on"the"tenor"

""""""""""""""""""""""""""""""""""""""""Tenor"cantus!firmus"written"in"long"notes"in"an"Isorhythmic"pattern"" "4"voice"texture"from"mid"15th"C!"Contratenor"bassus!"Contratenor!Altus!Soprano""""""""�"Piece!"Missa"Se"la"face"ay"pale"and"Missa"L’Homme"Arme"("borrowed"melody"from"secular"song)""""""""2)"Johannes"Ockeghem""""""""�"Wider"voice"range"than"Du"fay!"Fuller"and"Darker"texture""""""""�"Cantus!firmus"masses""""""""�"Mensural"Notation""""""""�"Occasional"moment"of"imitation""""""""�"Missa"Prolationum!a)"Notated"in"two"voices"but"sung"in"4"voice,"b)Using"the"4prolations"of"Mensural"notation""""""""�"Canon!"Deriving"two"or"more"voices"from"a"single"notated"voice"""""""""""""""""""""""""""Mensuration"canon!"using"different"mensuration"sign!>"each"voice"moves"with"different"speed""""""""�"Missa"cuiousvis!"Can"be"sung"mode"1,3,5,"or"7"in"the"mass"using"Musica"ficta"to"avoid"triton""""""""3)"Josquin"des"Prez""""""""�"Imitation"Mass!"Each"movement"is"based"on"same"polyphonic"model"("Chanson"and"Motet)"""""""""""""""(Parody"Mass)"""all"voices"of"polyphonic"model"are"used"in"the"mass,"but"none"is"used"as"cantus!"firmus"""""""""""""""Ex)"Missa"Malheur"me"bat""""""""�"Paraphrase"mass!"Based"on"the"plainchant"Hymn,"paraphrased"it"in"all"four"voice"(Ex)"Missa"Pange"Lingua"

• 16th"Century"character!"still"cantus!firmus"mass,"but"turned"increasing"to"imitation!or!paraphrase!mass!" Cantus!firmus"mass"

/imitation"mass"Paraphrase"mass" Imitation"mass"

Piece" Dufay"Missa"Se"la"face"ay"pale"

Josquin"Missa"pange"Lingua"

Josquin"Missa"Malheur"me"bat"

Borrowed"material"

Tenor"plus"parts"of"other"voices"from"polyphonic"work"

Chant"melody" All"voices"from"polyphonic"work"

Where"is"it"used" Tenor"in"tenor"of"mass,"Others"in"other"voices"

All"voices"of"mass" All"voices"of"mass"

How"is"it"used" Tenor"used"as"structural"cantus!firmus,"others"reworked"

Paraphrased"and"with"notes"added"

Motives,"a"point"of"imitation"or"other"elements"reworked"

Main"texture" Stratified"with"tenor"as"structural"voice"

Imitative"with"some"homophonic"passages"

Imitative"with"some"homophonic"passages"

""""""""""The!Protestant!Reformation!16th!""""""""""1)"Luther"church!"Chorale,"Chorale"settings"

"""""""""�Chorale!"Congregational"Hyum,"consists"of"only"metric,"rhyme,"strophic"poem"and"a"melody"in"simple"rhythmic""sung"in"unison"without"harmonization"and"accompaniment."

"""""""""""""""""�Polyphonic"chorale"settings!"alternating"stanzas"with"the"congregation"singing"in"unison"without""accomp.""""""""""""""""""""""Purpose"""""Group"singing"in"homes"and"school""""""""""""""""""""""""""""""""""""""""""Performance"in"church"by"chants""""""""""""""""""�"Sources"for"chorale"""""""""""""""""""""""a)"Adaptations"of"Gregorian"chant"""""""""""""""""""""""""""""""""""""""""""b)"New"compositions!"Ex)"Luther!"Ein’feste"Burg"""""""""""""""""""""""c)"Secular"songs"given"new"words"called"“Contrafactum"""""d)"Existing"German"devotional"songs""""""""""""2)"Metrical"Psalm!"Calvinist"churches"(Elaborate"church)""""""""""""""""""Psalms"had"verses"of"varying"lengths,"making"them"difficult"for"congregation"to"sing"

! So"need"to"rework!!"Metric,"rhymed,"strophic"translations"of"psalms"in"the"vernacular"that"was"to"newly"composed"melodies"or"tunes"adopted"from"chant"

"""""""""""3)"Anthem!"""""""Full"anthem!"Unaccompanied"choir"in"contrapuntal"style""""""""""""""""""""""""""""""""""""Verse"anthem!"Employs"one"or"more"solo"voices"with"organ"or"viol"accompaniment,"alternating""""""""""""""

with"passages"for"full"choir"doubled"by"instruments""""""""""""""""Service!"" Great"Service!"A"contrapuntal"and"melismatic"setting""""""""" Short"service!"Sets"the"same"texts,"but"in"a"syllabic,"chorale"style"(Ex)!"William"Byrd""""""""""""""""""""""16th!Century!Catholics!response!to!the!reformation!8>!Loyola!made!Society!of!Jesus8!Asceticism!by!Pope!Paul!III!!!!!!!!!!!!!!!!Giovanni!Pierluigi!Da!Palestrina!(104masses)!"""""""""""1)"""51"masses!"Based"on"polyphonic"model"""""""""""""""""""34"Paraphrase"masses!"All"on"chant"with"borrowed"melody"paraphrased"in"all"voices"

""""8"masses!"Old!fashioned"cantus!firmus"method,"used"borrowed"melody!>"L’Homme"Arme"""""6"masses!"Including"Pope"Marcellus"mass,"free"(neither"borrowed"materials"nor"canons)"""""Canonic"masses!"Franco!Flemish"tradition"""

"""""""""""2)"Music"style""""""""""""�"Counterpoint"and"dissonance"treatment!"Dissonance("suspension,"passing,"and"Neighbortones)""

""Often"used"Cambiata""""""""""""�"Sonority!"The"smooth"diatonic"line"and"discreet"handling"of"dissonance!"give"serenity"and"transparency""""""""""""�"Text"declamation!"To"accentuate"the"words"correctly,"set"many"passages"in"homophony"to"understand"easily"" Ex)"each"note"–"one"syllable""""""""""""""""""""""""�"Texture!"""""""Each"new"phrase"to"a"different"combination"of"voices"

" The"full"six"voices"for"climaxes,"major"cadences,"or"particularly"significant"words"" Subtle"text!painting"(ex!"“"the"Father”"sung"by"3voices!"Why?"The"father"means"trinity)""""""""""""""""�"Rhythm"!""""""Each"voice"in"great"variety"of"durations"" No"two"successive"measures"feature"the"same"rhythm""""""""""""" Often"use"syncopation"to"sustain"momentum"and"link"phrases""

""!!

!"

Classic%Period%Mozart!(17568!1791)!1)"Themes!""Songlike"("Galant"style)"2)"Use"heterogeneous"style!"Learned"style"+"Galant"+"Strum"und"Drang"in"one"movement""""""Ex)"Piano"Sonata"in"F"Major,"K.332"!>"Phrases"are"usually"balanced"between"antecedent"and"consequence"""""""""""""Theme!"unfold"naturally"and"spontaneously"3)"Tempo"and"dynamic"change"rapidly"and"unpredictably"to"reflect"strong"changes"of"emotion"4)"Piano"works!"19"Piano"sonatas,"17"Piano"Concertos"(!"6"vienna"concertos"among"them)""""""Ex)"Piano"Concerto"in"A"major,"K.488!""""""""�"follow"the"traditional"three!movement"pattern"–"Fast!"Slow!"Fast"""""""�"Opening"ritornello!"introduces"the"movements"first"theme,"transition,"second"theme,"and"closing"theme"""""""�"Double"exposition!"Ritornello"by"Orchestra"tutti"and"then"solo"""

"!""!