ENGLAND 15th C

Dunstable
- thirds and sixths, pan-consonant (no unprepared dissonances on strong
beats)
- -contenance angloise
- improve
Old Hall Manuscript
Important collection of English music of early 15th C
Leonel Power represented most
Faburden first inversion practice chant in middle voice
Faburderner sights a note in unison or third above song and then sing fifth lower;
treble sings fourth above chant
Continental fauxbourdon: two composed voices (chant and tenor) and middle
fauxbourdon
ANGLO-CONTINENTAL CONTACTS: Council of Constance; English occupation of
northern France; Dunstables works found their waysthrough Duke of Bedford to
Italy; Bruges was city of contact of merchants
Other features of English music:
Highy stylized c.f., paraphrased
Migrant c.f. (Powe Salve Regine)
Isorhythm: talea and color, not synchronous. DUNSTABLE known for math and
astronomy, appears in pan-isorhythm
(historical intermezzo
Only France and England sovereign states. In 1492, Ferdinand and Isabella unify
Spain.
Hundred Years War 1337 1453: territorial disputs, claims to the throne, textile
trade hostility; fishing rights.
War of the Roses 1450-1485 destroyed England, France had decades to recover
from devastation.
Cement V settled in Avignon, two popes in Rome and Clement VII backed by France
spain and Italy. Great Schism.
Council of Constance 1214-1418; elected single pope
HumanismL antiquity.
Traversari shows change in attitude: Musicus is no longer higher than cantor;
rhetorical expressive art that can move the emotions. )
Shift of center to Burgundy after ars subtilior (France in hard times)
New central style: simplicity

Ciconia blend of french isorhytm ars subtilior; tunefulness harmonic logic, echolike imitation
Low countries center of attention, fanned out
PART TWO (chapter five)
Importance of forms fixes rondeau, virelai and ballade through 1300-1500 shape
French secular song
Dufay
Ballade: a a b C a a b C fell out of favor by about 1440
Rondeau: 80 percent of fifteenth C chanson (Je bois se je ne vois je bois)
Cantus-tenor duet form backbone of piece (third fifth sixth octave)
Imitation
Binchois Du Fay ally. Binchois has less tonal coherence/predictability, more
rhythmitc coherence.
MOTET
composition on latin text outside of liturgy
ars nova: isorhytm with preexistent c.f. in tenor and polytextual fabric
cantilena style motet: more intimate, may or may not have c.f. and single text.
Lyricism and expressiveness
treble-dominant chanson motet
Nuper rosarum Flores c.f. Terribilis est locus iste
Melody in tenor I and ii in free canon.
6:4:2:3 talea symbolism of cathedral (Temple of Solomon)
Tenor motet: less formally rigid.
Eg Dufay Ave regina Caelorum rhythmic integration of teno, imitation, natural
unfolding
Cyclic masses
English: five movements on preexistent melody. Dunstable/ Power/Benet?
Missa Se la Face ay pale
Probably composed for Savoyard relate ceremony
Secular cantus firmus. Tenor. K, S, A all present tenor once each, dividing it into
three. Gloria and credo use 3:2:1 diminution pattern.
Relations: Credo in midpoint/ second half of Gloria credo/ standing at beginning of
3:2:1 propotional chain with opening duets of final three movements. However prob
unnoticeable
Texture: superius: greates amount of melodic intrest, alone at top: contratenor and
tenor, crossing at will, fifth below; fifth below, bassus, directs harmonic notion
Missa Lhomme arme: spread amongst voices

Ockeghem
Premier chappelain; matire de la chapelle du roy
Known as strong contrapuntalist
Stye: timbre LOWER Du Fay goes to B, c and A and not very often
Missa Fors seulement (ockehem) C and D
Dufay high and brilliant: ockeghem is wider, lower and darker
Difay retains four-voice textre: tenor is structur, superius has melody, bass has
fourths and fifths, harmonic; altus is filler.
Ockeghem: tenor doesnt seem as structural, less voice specialization. Thick web of
nonimitaive counterpoint. Du Fay long melodic arches by sharply defined motives
and clear cadences, ockeghem has melodies that meander and cadence where they
will.
Chapels
Singers in courts were often also in charge of spiritual duties
Grew from 10 to about 20 in 1460
Burgundian Chapel: each rank had its own rate four ranks. Quality of singers. Min
fourteen singers
French royal chapel : Charles VII chaplains and singers. Ockeghem, Fresneau. Quite
stable
Busnoys: greatest song composer of his generation
Josquin mysterious and we dont really know whats going on.
Josquin imitation
Chordal sonority, tonal centers
Shift away from monophonic models to polyphony
Abaondoned forms fixes in favor of freer repetition schemes
Reined in freewheeling melismas, sharp melodic motives
Words in a fashion easy to hear
Printing press multiple impressions: staves, notes and text were three separate
operations. Other things drawn in by hand
Petrucci got monopoly of printing and selling polyphony and tablature
-imitators
led to less expense, wider audience
as we move, less originality between motets. Cf Ockeghem eleven motets vs di Lasso
like 100
Brumel canons on the minim. Arcane artifice and complexity in 1450 znd 60 turns
to virtuosity by 1500
Parody masses taing parts of other motets
C.f. mass and Obrecht Bergen op Zoom, Briges and Antwerp. Retrograde c.f. and
palindromic Gloria/credo.

Paraphrase mass Pange lingua. Six phrases spread through Kryie, Christe and
Kryie. Over all voices permeating every corner of the polyphonic fabric
Based on single-ine preexistent model (model). Melodic embellishment; rolls model
out phrase by phrase and scatters it through the polyphony by imitation. Large
stretches of material with barely a gesture toward the model. Became 16th C du jour.
Parody mass all voices on a polyphonic model. Moutons QUem Dicunt homines.
Freely composed and paraphrasing; not literal quotation but reworking of
modelbuilding block is a phrase of the model; movement draws on various sections
of the model; parody mass as a whole is constructed by referring to model and filling
intervening sections with new music.
First masses by La rue, Mouton and maybe Josquin. Added Brumel TIES TO PARIS,
French royal courts. Missa ad imitationem
Also masses on multiple c.f. Missa de beata virgine
Requiem Masses Du Fay wrote one for himself. La Rues requiem. Low B flat dark
Brumel is the first to set Dies Irae
1513: Leo X as big patron of the arts. Expanded papal chapel to like thirty singers,
kind to Heinrich Isaac. Though a kind of nice guy, didnt really do anything about the
Reformation.
Protestants in protest of the indulgences as means of fundraising
Around this time forms fixes pretty much die out
Big ones p Obrecht Isaac La rue. Obrecht: extreme constructivism; Isaac had
national styles; Josquin was imaginative. La rue: none of these things.
Chansons rustiques Bayeux Chansonnier. Josquin baises moy; HE IS THE BEST.
Canons.
Frottola rustic conotations yet courtly love.
Secular song in Italy more simple than franco Flemish. Melodic directness,
homophony, clear phrases, modern-sounding tonal focus. Rhythm in spain is harder.
Juan del Encina una samosa porfia. German: Tenorlied or gesellschaftslied
Germany had national songs, bar form and disposing in tenor in cf but emulates
franco-flemish polyphony.
;ecap: forms fixes dead; evin if courtly vein, poetry is less organized so new more
plastic musical form. Josquin has more popular style, tuneful bouncy melody. French
polyphony democratized, aided by printing press making usic by josquin Isaac
compere and mouton available to a public far greater than before. Italy had frottola,
spain and Germany started polyphonic traditions
Instrumental music: virtuoso solo music for keyboard and lute; instrumental
chamber music In 16th C. printing press ofpen to all over Europe, prof and amateur.
The tutor instruction book began
Instruemtnaal ensembles: La alfonsina.
In 1516 privileg for printing keyboard music to Antico da Montona. Buxheim in 15th
C Germany: preambulum or prelude; ricercar. First harpsichords

Lute: all the pavanes have their saltarello and piva. Lute polyphony, ricercar quasi
impravository. Dance suite. Basse and saltarello; asse dance in different
mensuration.Lute tablature.
16th C Willaert: became model of counterpoint, maestro di appella in Venice. Most
studied with him.
Jacub Clement non papa
Gombert: rich style, six voices, constantly busym seamless, no clear cadence.
Imitation may be strict or vaiations like, number and order of entries varies.
General lack of drama: continuous texture, lack of sharp memorable profiles,
meandering
Motets and Plitics (Ciconia Gloria pax pax pax end of Great Schism, Lhomme
arme masses being crusading militarism)
Overthrow of the Medici, republican rule in 1494. A new medici in 1530. Fallen
republicans. Savonarola followers, Verdelot writes motet. Willaert also, but more
subtl Willaert: musica nova
Morales best mass composer parody masses are a huge thing. Morales five-part
motet; thicker darker than Mouton. Morales takes mouton, adds imitation, altered
time intervals adding asymmetry
Vespers for Cori Spezzati; evening office. Double split choirs. THER EIS NOT A
SHRED OF EVIDENCE that the choirs were dispersed stero-like in the organ lofts.
Did not sing antiphonally; four singers in one, all the rest. Four soloists against
larger choral force. Introduction of scores in 1537 (Lampadius) with barlines.
Josquin and Isaac use to compose. Bu also not often; tablet of stone for composing
music.
NATIONAL SONG STYLES
Chanson: franco-flemis song style shattered; stylistic aesthetic gulf between La rue
and airier approach of Frnech royal court.
Netherlandish chanson still heavily contrapuntal
Parisian chanson all over the place. Broken with forms fixes, wit elegance
simpolicity and spontaneity. Texture homophonic homorhythmic, lyrical melody
confined to superius, all voices texted, clear cut phrases, tight tonal scheme,
discernible sections, concices. Narrative chanson; rapid-fire, patter,
Program Chanson-Janequin imitation of birds or battle. Roots in Italian
frottola?Mp. French just kept growing from its own soil.
Madrigal Italian. Verelot: quickly set to poetry that was literate and highly charged.
However in beginning quite tame. Madrigal was all-vocal as opposed to frottola.
Madrigal as Italian style of frnech chanson? 1540s Willaert: Musica nova. Petrarchs
poetry. Willaert is masterful at text setting. Serious poetry meets serious song.
Madrigal went for serious: away from lighter entertainement

Vilannella pop culture of Naples, steretopy characters. Complaining wives, scolding

lovers etc.
Lied Ldwig Senfl. Tenor lied adheres to cantus firmus. Very conservative.
Mesitergesanglack of precise rhythm. Monophonic song, competitons. Free-flowing
rhapsody
Itnermezzo: Calvin comes to publish Institutes of Christian religion in 1536
MUSIC PRINTING
Claudin, Janequin, Verdelot, Gombert and Willaert all had far larger audience of
geography and socioeconic diversity than aDu Fay, busnoys, or ockeghem or even
josquin and Isaac. Created new markets, dictated daste, changed economy of music,
altered composer patron relationship. Printing became big in 2nd quarter of 16th C
Huge torrent of publishers. Mostly Italian, then spread out. Pairisian printer
Attaingnant launched Chansons nouvelles en musique. Rival in Lyons Jacques
Moderne. There put out supermany books.
1543: move to Antwerp as Susato got a privilege. Italy kept pace due to madrigal
demand.
Nuremberg in Germany. ESSENTIAL part of the landscape. Scotto and Gardano in
Venice, Berg and Neuber in Nuremberg. 1500 pieces of 200 composers. How huge?
Pierre Attaingnant Chansons nouvelles en musique. Rouyal privilege of 1531: yet
nobody cred.
Single impression printing no longer three passes. Attaingnant yaay. Each
segement of staff is a single piece of type. A little bumpy but whatever it worked.
Publishing: SHOP: compositor, proofreader, puller and inker. Editor (decides on
repertory)
FINANCING: paper was expensive: honor a person of means with dedication. Hoping
the dedicatee would subsidize the dedication. Sometimes composers themselves.
Also possible to band together to spread financial risk (Verdelot book of madrigals)
Cristopher Plantin would force composers to buy unil they break even
SIZE OF PRESS RUNS 500-1000 copies
MARKETING AND DISTRIBUTION great book fairs. Catalogues, international
networks of communication and commerce spreading the works around the
continent
CULTIVATING TASTES. New safer than old. 75 pieces from Josquinss generation but
3500 works from 160 composers in own generation. Publishers would commission
or compose themselves for amateurs. The duo: two-part arrangements of songs.
How to write imitation, canon, cadence, paraphrase.
What did this mean for COMPOSERS?
Larger audience: tried to sell work, but printers too cautious.
Fame. A lot more composers trying to get published.
Control: watch over publication as well as compositions.
Collective patron: could no longer rely on musical resources of patron solely, had to
make accomodations for larger common denominator.

CONSUMERS
Elite music: Cappella Sistina and Cappella Giulia (Palestrina)- owned music
An adviser to the King
Fugger family: dedicatees of forty-two publications.
Professional musicians and middle class.
Music Academies springing up
Instrumental Music 16th C
Itaaallyyy
Transcriptions in Buxhaim Organ Book.
Attaignant made keyboard arrangement of Claudin. Add embelshment (Claudio
Merulao arrange de Lassus)
Attaigngnant: seven volumes of keyboard music. 200 solo lute, 80 for keyboard cos
lute more popular, keyboard harder, more expensive. Also typography was
problematic
A keyboards had own manuscripts copied for personal use.
Vocal music for instruments.
Also chant melodies: Hymn setting.
Variations: romanesca, stile antico
Performance:
Embellishment was errthing. Silvestro di Ganssi; diminution, division, Diego Ortiz,
tables of ornaments and examples.
Church organist: improvise a piece in four voices. Cantus firmus.
Ricercar: fantasia. Imitation, different to motet imitation more insistent: fourteen
times in ricercar.
Canzona: French chanson most often for keyboard. Then transitioned in a sort of
parody mass. And then finally independent pieces, no longer vocally inspired.
Preludes and toccatas: Intonaziones: Toccata also improvisation, prelude-like.
Dance music: Claude gervaise: Pavane dangleterre. Dance manuals survive.
Council of Trent 1545
Rid the liturgy of most sequences; standardized the mass; revision of Gergorian
chant; gave rise to polyphonic masses . Conservatism wins. Compromise with
Protestnats squelched. Also corrected abuses: bishops in dioceses, visit parishes,
abolished indulgences. Reinveigorated Catholicism = Counter-Reformation
PROTESTANT REFORMATION
1520: mainly northern Euopean. By 1570 about 40 percent protestant.
Music had vital role in theological reforms. Sang, flute, lute.
Salvation found not by commissioning a fresco: rather through faith in Christ, in
Gods Grace, not by hierarchy: they stood before God and the only thing they needed
was the Word.
95 Theses in 1517. Power of printing press.
1520 : Leo X excommunicated Luther . Diet of Worms, Luther refused; exiled.

Luther revised mass in 1522 for use in Wittenberg. Retained Latin, yet no sacrifice,
rather gift of grace from God.
German mass in 1524: Luther didnt want to abolish Latin but wanted the German
mass in congregations unfamiliar with Latin.
Augsburg Confession 1530, confession of dogma of Lutherans.
MUSIC for Lutheran.
Spiritual songs in the vernacular: chorale. Congregation as a whole should
participate.
Chorales came from chants of Church or the Leisen . Walter Hymnal homophony,
while other was more florid: unadorned melody in tenor. Is a bit meager.
Zwingli however; whitewashed frescoes, removed sculpture, dismantled organs.
Zwingli discarded music from the liturgy.
Calvin stood closer to Zwingli. Only monophonic psalms in French translations:
polyphony only at home, only religious. Distrust of music by protestants.
Geneva Psalter: monophonic psalter. Also polyphony was banned, but allowed at
home. Claude Goudimel. (lost his life in St Barthomolews Day Massacre, cath-pro
tensions)
Dutch souterliedkens. Monophonic psalter. Superpoular. Finally set polyphonically.
Tudor England
English music had sort of fallen back on itself in a sad way
SECULAR SONG AT HENRY VIII
King Henry best represented. Had viols and recorders. William Cornys contained a
canon, simple.
Eton choirbook
Sixteen voice choir, organist. National collection of books, ninety-three twenty-five
composers
Eton Style:Browne added up to eight-voices together. Plays with sonorities. Florid,
melismatic writing, herky-jerky rhythms.
Bold, biting dissonances( the sound of England) bursting with energy
MASS
Fayrfax and Taverner. Taverner is missing link between Dunstable and Byrd. Cantus
firmus masses. Omit kyrie; truncate Credo; four polyphonic movements are almost
equal in length.
Taverner: Western Wind (Westron wynde) cantus firmus. Varied placement of tune
and what goes around
Pieces on the fauburdum: take a piece, write a counterpoint; discard original piece;
new c.f.
English reformation: Rome lack of leadership. Reform was driven by personal
politics. Married Anne Boleyn and then established and revised single service and
mandated the use of the book of common prayer.
Curtailed music. Taverners masses or Etons Choirbook put away for simpler
settings: plain and stinct note for every syllable one. No ornamentation. Private
courts dissolved, no monasteries, so music to cathedrals, parish churches and even

private housholds. So Tallis eventually ends up in Canterbury. Byrd wrote for

privacy of homes.
Monophony: Merbeckes Common Praier Noted and Sternhold and Hopkins Psalters;
collection of nineteen musicless psalms. Became huge authority.
Polyphony varied from note to note to superflorid.
Zarlino talked about modes.
Rore and Lassus chromaticism (expanded gamut and greek genders)
Arcicembalo, harpsichord that vicentino constructed.
Gesualdo also (murdered wife and kids); dark opening line, life- top voice comes
in. Chromaticism as way to paint text.
Zarlino major theorist: Invertible counterpoint. Evaded counterpoint; fuga and
imitation
COUNTERREFORMATION
Palestrina, Lassus, Byrd and Victoria. P and V were church musicians. V never wrote
secular, P apoligised for madrigals.
Council of Trent: 1562. Sacred polyphony obscured words, secular elements
(parody masses) . Kerle saved polyphony by writing a series of pieces showing stuff
was intelligible. A bunch of test pieces.after everything (Russo).
Palestrina and lassus wrote in rich contrapuntal style and kept to secular models,
other outlets for heightened religiosity.
Missa brevis less pomp
Lauda: nonliturgical piece for religious purposes.
Madrigali spiritualiL
Revisions of Liturgy: standardized of Requiem mass.
Twofold: Trent sought to stifle and conform, however also inspire. Palestrinas song
of songs, Victorias Officium defunctorum.
PALESTRINA
Saved polyphony? With missa papae marcelli? Perhaps? Pedagogy in Fux. He was a
great homophonicist.
Workaday churchch musician
700 works parodied his own works, often motets.
Often almost polychoral approach. Light touches of word painting. Homophonic, or
pairwise imitation.
Palestrina style: leaps of seventh major sixth forbidden; augmented and diminished
intervals prohibited. Very conservative; finetuned dissonance treatment.
GABRIELLI
Away from FrancoFlemish polyphony Contrast, register , choirs
VICTORIA

Dark music, Neapolitan relationships, suspensions. Officium defunctorum.

MONTEVERDI(intermezzo)
Pimra prattica= harmony and counterpoint was boss of words
Seconda prattica- words ruled, harmony servant
Change in attitude late 16th C
LASSUS
Penitential psalms.
Fall from heaven to eart, speedily, word painting. Musica reservata follows
emotions of texts. Eg cum esse parvulus, high child voices vs low basses
Music as rhetoric; well-made speech
Lassus most sensitive to music serving text.
Italian Madrigal : word painting to extremes. Darling of smart set. However,
criticized. Losing sitght of overall structure of poetry.
Monteverdi: expanded on mensuration, new musical language. If process music
broke rules, rules had to be rewritten.
Canzoneettas by Vecchi taking everything by storm
Balletto fa la la nonsense syllabells
Madrigal comedy all of these are light. Light plot.
Ladies of ferrara: virtuoso madriagal. Women musicians could have professional
career.
ELIZABETHAN ENGLAND
Chapel Royal. 32 gentlemen and 12 bouys. Head: Dean. Entirely homegrown. Native
catholic possible, yet foreigner suspect. Huge salary; conscription
London monopolized England printing (no competition)
Cantiones (Tallis and Byrd)
Evidence of imitation, as well as canon and cantus firmus
Ferrabosco influenced English musicians
MUSIC FOR ANGLICAN CHURCH
Anthem
Service
SECULAR SONG
Consort song, solo voice with accomp of viol consorts
Part song, English madrigal
Lute song, solo with lute accomp
Part song- love affair with Italy. Musica transalpine, translated into English
Lute song- Dowland

Instrumental: The Queens Musick

Fitzwilliam Virginal
Byrd,
Dowland Lachrimae