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10 Cards in this Set
- Front
- Back
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De plus en plus |
Binchois (Gilles de Bins); 1425 Secular- about courtly love or fine amoure -Rondeau - Countenance Angloise -polyphonic chanson -use of imperfect time and major prolation -melismatic at cadences -Landini cadence -use suspension |
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Missa prolationum: Kyrie |
Jean de Ockeghem 15th century -Religious (Mass) -notated in two voices but sung in four parts using four prolations. -polyphonic- four parts -uses triads -passing tones -reflects Italian and English influences with French style |
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Mille Regretz |
Josquin Desprez 16th Century- 1520 Secular- French- sad (painful distress) Chanson -Alternating voices and imitation -polyphonic - |
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Ein Feste Burg |
Martin Luther -16th Century (1529) -Religious- faith in God's power to protect believers -Unison; monophonic -Ionian mode -German/ Lutheran chorale/hymn |
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Pope Marcellus Mass (a) Credo |
Giovanni Pierluigi da Palestrina 16th Century- 1560 Religious- Mass -polyphonic (6 voices) - cadences at structural points -less dissonant -less melismatic |
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Oy Comamos y bebamos |
Juan del Encina 15 Century- (1495) Secular- Spanish feast song Villancico -homophonic texture -refrain -ABBA form |
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Flow, my tears |
John Dowland 17th Century (1600) Secular- English -Lute or Air song -Lute tabulation -poem AABBCC- functional dance music |
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Cruda Amarilli |
Claudio Monteverdi 16th Century- (1590) Secular- about bitter love -Madrigal; Italian -Polyphonic -imitation -published an optional basso continuo line -bass line creates dissonance |
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Armide: Excerpts (a) Overture |
Jean-Baptiste Lully 17th Century (1686) Secular -Consorts -French Overture -homophonic; slow (1st section) -Imitation; faster (2nd section) -Strings divided into 5 parts |
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Dido and Aeneas: Conclusion (b) Lament: When I am laid in earth |
Henry Purcell 17th Century (1689) Secular- about dying Opera -grounding bass (basso ostinato); chromatic (sad) -dissonant (suspensions) English style/ recitative |
