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16 Cards in this Set
- Front
- Back
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Bernard de Ventadorn
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ca. 1150 – ca. 1180
Can vei la lauzeta mover |
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Leonin
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1163 – 1190
Organum duplum Notre Dame school – Ars Antiqua |
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Perotin
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1180 – 1238
Organum quadruplum: Sederunt Notre Dame school – Ars Antiqua |
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Adam de la Halle
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ca. 1237 – ca. 1287
Jeu de Robin et de Marion – Rondeau of 1284 Last of the great trouveres |
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Philippe de Vitry
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1291 – 1361
Motet from Roman de Fauvel – 1310 13th century isorhythmic motet |
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Guillaume de Machaut
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ca. 1300 – 1377
Rondeau: Rose, liz, printemps, verdue Form: ABaAabAB |
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Jacopo da Bologna
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1300 - ?, 14th century
Madrigal: Fenice fu ~ 1350’s Two voices in canon |
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Francesco Landini
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ca. 1327 – 1397
Ballata: Non avra ma’ pieta 2-3 voice setting 2 line refrain (ripresa) surrounds 6 line stanza Form: AbbaA Landini cadence |
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John Dunstable
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ca. 1390 – 1453
Motet: Quam pulchra es 3 voice work, with voices moving mostly in same rhythm |
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Guillaume Dufay
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ca. 1400 – 1474
Ballade: Resvellies vous et faites chiere lye – 1423 Ballade is in AAB musical form Missa Se la face ay pale: Gloria – 1450’s Opens with typical duet style |
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Johannes Ockeghem
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ca. 1420 – 1497
Flemish Chanson : D’ung aultre amer 3 voice setting Polyphonic setting of secular French poems Pattern of medieval Rondeau: ABaAabAB |
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Josquin des Prez
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ca. 1440 – 1521
Chanson: Mille regretz French text 4 voice work “pairs” of voices respond to each other Motet: Tu solus, qui facis mirabilia – his early years 4 voice setting in Latin |
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Henrich Isaac
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ca. 1450 – 1517
Lied: Innsbruck, ich muss dich lassen Analagous to French chanson Primarily homophonic 4 voice in German |
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Marco Cara
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1470 – 1525
Frottola: Io non compro piu speranza – 1504 Melody in soprano voice 3 or 4 part chordal style Lower voices played on instruments |
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Hans Sachs
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1494 – 1576
Nachdem David war redlich und aufrichtig – Bar form AAB Most celebrated Meistersinger |
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Claude le Jeune
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ca. 1490 – 1562
Renaissance French chanson : Revecy venir du printans Freely composed, follows text, emphasized syllable elongated Chordal and in French 3 general styles: Fugal, Chordal, Solo w/instrumental polyphonic accomp. Lively rhythms |
