Renaissance

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Guillaume de Machaut

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(c.1300-1377) French, pre Renaissance, earliest known prominent composer, traveler, who first set the entire mass (1364), expressiveness of text in music

Hint 1

Oldest prominent

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Guillaume Dufay

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(c.1400-1474) Franco-Flemish composer, moved to Italy, traveler; ballata, cantus firmus, and chordal style; motets, 25 single mass movements and composed 8+ complete mass settings in 3-4 voices, 4 voices standard (superius, altus, tenor, bassus), one of the earliest masters of counterpoint, first composer to use secular melody as a basis for mass

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John Dunstable

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(c.1370-1453) pre Renaissance, English style to France; isorhythm in motets and mass settings with English discant, lightly flowing, expressive melodic lines, outlining triad, consonances on strong beats, dissonance on weak beats, natural rhythm of text, full-bodied sonorities with complete triads

Quam Pulchra Est

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Triad, text expressed

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Gilles Binchois

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(c.1400-1460) Franco-Flemish, isorhythm, fauxbourdon, furthered development of chanson in 3 part polyphony, cadence structures (dominant-tonic patterns with Dufay)

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Johannes Okeghem

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(c.1430-1495) French composer, student of Dufay, earliest polyphonic Requiem mass setting, added bass voice below tenor consistently (low, thick sonorities), long unbroken lines and chordal passages for contrast, "Missa Prolationum" puzzle canon

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Jacob Obrecht

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(c.1450-1505) Franco flemish, traveler, transitional composer between cantus firmus style and parody in which an extended polyphonic section or entire composition may be borrowed from another source

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Josquin des Prez

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(c.1450-1521) Franco flemish/Italian style, champion composer, traveler, earliest printed music, imitation with light texture, melodic, variety of vocal color through alternating texture, extended vocal ranges, strict imitation, sensitive to text - word painting, "Missa Pange Lingua," motets - point of imitation (section overlap)

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Cristóbal de Morales

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(c.1505-1553) Spanish composer in Rome, Franco-flemish style of Spanish music: restrained, conservative in counterpoint, avoiding excessive ornamentation, exact chant quotes

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Parody Mass

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Uses multiple voices of another pre-existing piece of music like a fragment of motet or secular chanson as part of melodic material, A variety of secular material introduced into liturgical music - Council of Trent didn't approve

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Council of Trent

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1545-1563 a general church council assembled to deal with issues in the church after Luther and Protestant Reformation, unintelligible text due to counterpoint, and secular tunes/madrigal fragments in sacred forms. Insisted on a restrained, pure, balanced style - Palestrina

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Giovanni Pierluigi Palestrina

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(c.1525-1594) Italian composer 100+ masses, 250 motets, 200+ sacred compositions, 83 madrigals. Mixture of counterpoint, canonic and chordal writing, easy melodiousness characteristic of Italian music, melodic leaps resolve by step in the opposite direction, rhythms within a narrow range of durational value, restraint, refinement, serenity=understand text, harmonies are logically ordered with build-up of tension followed by inevitable resolution, bass movement in 4ths and 5ths produce tonal cadences, vertically oriented polyphony as opposed to traditional linear polyphony, phrase structures are well balanced, ex. Pope Marcelli Mass

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Tomás Luis de Victoria

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(c.1549-1611) Spanish composer lived in Rome 1565-1584, emotionally rich and fervent style like Morales, no secular music, introduced dramatic and illustrative effects in motets, parody with imagination - altering borrowed melodies to reflect text

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Orlando di Lasso

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(c.1532-1594) Franco-flemish composer, lived in Italy, Antwerp, and Munich, expressed a variety of emotions in his music in many styles (Italian madrigals, French chanson, German lieder, Flemish motets) later more restrained (Protestant Reformation), free imitation form independent sections, circle of fifths & less cross relations

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Adrian Willaert

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(c.1490-1562) Venician composer, Chapelmaster at St. Marks, founder of cori spezzati (antiphonal choirs), mass style similar to Josquin

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Thirty Years War

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(c.1455-1485) political instability, isolated England bc Henry VII on throne, few Franco flemish composers moved to England so many stylistic elements were slow to appear in English music

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Mass c.1550

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Development of shorter mass (missa brevis), often eliminated Kyrie and sections of Credo, not many repetitions or melismas

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John Taverner

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(c. 1495-1545) English composer, organist at Oxford university, last prominent English composer to adhere entirely to Roman Catholic liturgy (before protestant Reformation - Anglican church), florid polyphony (melismatic)

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Christopher Tye

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(c. 1499-1572) English composer who made notable contributions to the new form of the anthem (Anglican)

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Thomas Tallis

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(c. 1505-1585) English composer, Father of English Cathedral music, member of Chapel Royal, close in style to Byrd, wrote motet for 40 voices "Spem in Alium," mastery of imitative counterpoint, anthem=If Ye Love Me, 47 latin masses, 17 English sacred service

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William Byrd

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(c. 1543-1623) most significant English composer, Chapel Royal, staunch Catholic, prominent motive begins each mass movement

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Jacob Arcadelt

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(c.1505-1567) French, traveled to Italy and worked for Pope Paul 3, madrigals, motets, masses, chanson, heavily influenced by Josquin

il bianco e doce cigno

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Andrea Gabrieli

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(1520-1586) Italian, influential in transition from Renaissance to Baroque, uncle of Giovanni Gabrieli, together they pioneered the use of orchestra in choral music

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Giovanni Gabrielli

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(c.1557-1612) nephew of Andrea, 2nd organist at St. Marks, developed a more chordal style bc of multi antiphonal choirs, added more instrument accomp-sinfonia (short passages instruments alone), eventually concertato, concerto; provided contrast, bridge Baroque

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Hans Hassler

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(c.1564-1612) German protestant, influenced by Lasso and Gabrieli, composed My Spirit is Troubled, a tune that became O Sacred Head Now Wounded, used 5 times by Bach in St. Matthew

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Martin Luther

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German, 95 Theses in 1517, Protestant Reformation, changed music to be more congregational, vernacular, his friend Johann Walter published Little Book of Sacred Songs, 38 songs eventually grew to be over 200 chorales, printing press circulated Theses, economics changed as capitalism grew causing growth in middle class who were finally able to participate in religious activities

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Anthem

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English composers active in the period after 1534 developed the anthem, a form that was particularly important in Protestant churches, translated texts from Rom Cath Offices and other portions of liturgy, chordal; full anthem=choir throughout, verse anthem=passages for solo voice/s, usually accompanied

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Orlando Gibbins

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(1583-1625) famous for secular music, imitation - builds to climax after chordal section, repeated section of text, verse anthem =This is the record of John

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Chanson

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genre appeared 15th cent by Franco-Flemish composer Binchois, treble/melody dominated, 3 voices, usually accompanied; underwent changes bc of Josquin & contemporaries at end of century, became extremely popular, contrapuntal 3-6 voices, but 5 being the norm; texts often humorous or ironic dealing with fidelity, faithlessness, fulfilled and unrequited love

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Parisian chanson

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French chanson, 4-part, mostly chordal, light lyric poems, sentimental or humorous, light lilting rhythm, syncopation, well separated phrases giving clarity of structure, Claude Sermisy (c.1490-1562) was among the earliest composers

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Program chanson

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Genre best represented in the works of Janequin, includes bird calls, street cries, and other imitated sounds, nonsense syllables fa-la-la ex. Cries of Paris

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Madrigal

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Genre destined to become perhaps the most influential secular vocal form of 16th cent, one of the tools that Italian composers threw off the domination of Franco-Flemish elements and developed an indigenous Italian style, preceded by frottola, 1st stage: (ca. 1500-40) Petrarchian poetry and poetry by Bembo, usually set for 4 voices in chordal style, melody dominated, simple ex. Willaert "Aspro core" (sections outlined by each line of text)

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2nd stage madrigal

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After 1540's until 1570's Willaert chose the sonnets of Petrarch (humanist in 14th cent) for his settings, refined and exquisite love poems, 5 voices, contrapuntal with chordal passages, Word painting, ex. Rore "Da le Belle"

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3rd stage madrigal

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After 1570's until 1620's, Marenzio and Gesualdo (Italians) employed every stylistic device of the time: a type of recitative, free counterpoint in some voices & chordal writing in others, advanced harmonic scheme, chromaticism, new techniques like groupo (embellishment), trillo (machine gun vibrato), esclamazioni (fz) - all used to enhance meaning of text, wide range of emotions (love, grief, anguish, death), high degree of word painting, required more trained singers, ex. Gesualdo "Moro lasso" (I die) -lament over wife's adultry

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English madrigal

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Musica Transalpina (book of Italian madrigals) 1588 inspired English composers (Morley, Weelkes, Wilbye, Gibbons) to begin writing madrigals during reign of Elizabeth I and constituted a high point in the history of English music, pastoral texts minor and popular poets (not masters like Italian madrigals), sung by everyone not just aristocrats, simple texture, dancelike rhythmic patterns, and melodies with simple clear harmonies, popularity only lasted about 20 years, ex. Morley Now is the month of Maying

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Humanism

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16th century movement in Italy, importance of the individual, leaders sought to openly rediscover the past by turning to works of Homer, Plato, Aristotle, Cicero, and other authors of classical Greece and Rome; believed music and poetry closely related in those times and sought to restore that connection, also believed music was an expressive, emotional art because it was imitative of emotions

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Carlo Gesualdo

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(1566-1613) Italian composer, 3rd stage madrigals, chromatic language, cruel and lewd, killed wife and her lover, 6 books of madrigals, Morro lasso, al mio duolo

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Luca Marenzio

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(1553-1599) Italian composer in late Renaissance, 17 books of 200 madrigals, 75 motets, employed every device of his time, 3rd stage madrigal

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Thomas Morley

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(c.1557-1602) English composer, madrigal like balletto, De Profundis, Now is the Month of Maying

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Michael Praetorious

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(1571-1621) German composer, transitional, 100 sacred Protestant works

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Cipriano De Rore

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(1516-1565) Franco-Flemish composer, 80 motets, 5 masses, St. John Passion, 2nd stage madrigals

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Jan Pieterszoon Sweenlinck

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(1562-1621) Franco-Flemish composer, transitional, 153 Psalms (5 voices), 39 motets, 33 chansons

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Thomas Weelkes

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(1575-1623) English madrigals, As Vesta Was

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Nicolas Gombert

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(1495-1560) Franco Flemish composer, dense, inextricable polyphony, pervasive imitation at very close intervals, musica ficta, harsh dissonances, 6+ voices, favored motet, valued musical design over expression, prior to Council of Trent

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Clement Janequin

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(1485-1558) French composer, 2 masses, one surviving motet, and 250+ chansons, best known for programmatic works ex. Les cris de Paris

Pierre Attaingnant printed five volumes with his chansons, increasing his popularity

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Ottaviano Petrucci

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First great printer of music, moveable type, multiple impressions required very precise control for accuracy, first printed anthology of music in 1501 -100 songs of harmonic music, published music of composers like Josquin, Obrecht, Brumel, la Rue, Isaac

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Pierre Attaingnant

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1520's French printer of single impression, type pieces made up of small fragments of the staff already combined with notes were assembled by a typesetter into a composite so each page was sent through only once, faster and cheaper