chapter 4home.lagrange.edu/mturner/musichistory/chapter_4.pdf-triads predominant and dissonances are...
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Chapter 4The Emergence of Renaissance Style
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Consonance and Dissonance: Trusting the Ear
• empirical and practical challenge to traditional music theory
• new attitude questioned or dismissed large body of music and musical thought of past
• marked a shift in outlook, and characterized the musical Renaissance
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Sonority: The Contenance Angloise
• something new in music of John Dunstable
• “English guise” - characterized as “new way of composing with lively consonances”
• new kind of sonority with music dominated by thirds, fifths, and sixths
• Dunstable and his followers used these intervals described as panconsonance - harmony that makes ample use of triads
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Sonority: The Contenance Angloise Dunstable Quam pulchra es
• panconsonant style
- triads predominant and dissonances are ornamental (HDM p. 639)
- note the triads in mm. 1-2; also the dissonant escape tone
• 3 equal-weight voices (i.e., not melody with accompaniment)
• not based on a cantus firmus or other preexisting material
• text’s structure drives the music’s phrase structure
• chorale or hymn like texture
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Sonority: The Contenance Angloise Fauxbourdon and Faburden
• related but distinct
• both use mix of improvised and notated lines
• net result is many first inversion triads
• part of the new sound of Renaissance music
• Du Fay’s Conditor alme siderum uses the fauxbourdon technique
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Sonority: The Contenance Angloise Fauxbourdon and Faburden
• Fauxbourdon
- french for false bass
- Burgundian technique
- one improvised line, making many 63 chords
- improvised line P4 below top line
• Faburden
- English technique involving two improvised lines
- upper improvised line is P4 above notated line
- lower improvised line is 3rds and 5ths below notated line
- results in many 63 chords (first inversion triads)
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Sonority: The Contenance Angloise Du Fay’s Nuper rosarum flores
• New Sonority, Old Structure:
- motet Nuper rosarum flores (The rose blossoms)
- written for the consecration of newly completed dome of the cathedral in Florence 1436
- isorhythmic structure with progressive sonorities
- http://toddtarantino.com/hum/dufaynuper.html
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Isorhythm(see Bonds glossary)
• structural principle developed in 14th century
• typically in the tenor
• color refers to a repeated series of pitches in the structural line
• talea refers to a repeated series of durations in the structural line
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Isorhythm in Du Fay’s Nuper rosarum flores
color (i.e., pitch series) comes from Introit Terribilis est locus iste (see Bonds p. 110)
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Josquin’s Ave Maria...virgo serena and the Style of the Renaissance
• among the best-know and most widely admired music works of its time
• uses “points of imitation” linking the musical structure directly to the text
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Josquin’s Ave Maria...virgo serena and the Style of the Renaissance
• Use of a single text
• Treatment of the Text:
- extols Virgin Mary
- five internal strophes allude to five major feasts in honor of Mary
- text is not liturgical
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Josquin’s Ave Maria...virgo serena and the Style of the Renaissance
• Texture
- pervading imitation - musical ideas imitatively stated in all voices throughout an entire work or section of a work
- points of imitation help us delineate form
- each strophe moves between imitative counterpoint and chordal texture
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Josquin’s Ave Maria...virgo serena and the Style of the Renaissance
• Cadential Structure
- each section is generally self-contained depending on strength of its closing cadence
- no unifying themes or rhythmic patterns throughout the work
- paratactic form: the structure consists of a succession of closed, unconnected and unrelated units (Bonds p. 116)
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Josquin’s Ave Maria...virgo serena and the Style of the Renaissance
• Mode
- individual voices generally move within confines of particular mode
- written in transposed hypolydian (on C)
- later, “...16th-century theorist Heinrich Glarean cited this motet as an example of the hypoionian mode...” (Bonds p. 118)
- see Bonds p. 38 for modes
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Josquin’s Ave Maria...virgo serena and the Style of the Renaissance
• Melody
- use of conjunct motion - stepwise melodic motion with occasional leaps of more than a fifth
- large leaps are generally followed by move in opposite direction
- opening comes from plainchant melody(see Bonds p. 118)
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Josquin’s Ave Maria...virgo serena and the Style of the Renaissance
• Rhythm
- avoids strong sense of meter or consistently patterned rhythm
- sections become more animated as they progress, then slow down toward the close
• tactus about the rate of a human heartbeat (ca. 60 bpm)
- see Bonds p. 118 for definition
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Josquin’s Ave Maria...virgo serena and the Style of the Renaissance
• Harmony
- harmony perceived as a by-product of voice leading and not as an end
- our notion of triads did not yet exist
- intervals used to determine consonance and dissonance
- intervals of a 3rd and 6th are common
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