Power point 7: Second and Third Generation Renaissance Vocal Polyphony
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Power point 7: Second and Third Generation Renaissance Vocal Polyphony
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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