Music History Terrible Three

Front 1

Quam Pulchra es

Back 1

Dunstable
first half of 15th century
Motet or cantilena

Front 2

Christe, redemptor omnium

Back 2

Du Fay
1430
Hymn in fauxbourdon style

Front 3

Se la face ay pale

Back 3

Du Fay
1430
Ballade

Front 4

Missa Se la face a pale: Gloria

Back 4

Du Fay
1450
Cantus-firmus mass

Front 5

Missa prolationum: Kyrie

Back 5

Ockeghlem
2nd half of 15th century
Mass

Front 6

Innsbruck, ich muss dich lassen

Back 6

Isaac
1500
Lied

Front 7

Ave Maria virgo serena

Back 7

Josquin
1485
Motet

Front 8

Missa Pange lingua: Kyrie and Credo

Back 8

Josquin
1515
Paraphrase mass

Front 9

Ein feste Burg

Back 9

Luther
1529
Chorale

Front 10

Ein feste burg

Back 10

Walter
Chorale
1524

Front 11

Pope Marcellus Mass: Credo and Agnus Dei

Back 11

Palestrina
1560
Mass

Front 12

O magnum mysterium

Back 12

Victoria
Motet
1570

Front 13

Missa O magnum mysterium: Kyrie

Back 13

Victoria
1580
Imitation mass

Front 14

Io non compro piu seperanza

Back 14

Cara
1500
Frottola

Front 15

Tant que vivray

Back 15

Sermisy
1527
Chanson

Front 16

Il bianco e dolce cigno

Back 16

Arcadelt
1538
Madrigal

Front 17

Solo e pensoso

Back 17

Marenzio
1590
Madrigal

Front 18

Io Parto e non piu dissi

Back 18

Gesualdo
1600
Madrigal

Front 19

My bonny lass she smileth

Back 19

Morley
1595
Ballett

Front 20

As Vesta was

Back 20

Weelkes
1601
Madrigal

Front 21

Flow, my tears

Back 21

Dowland
1600
Air or lute song

Front 22

Fauxbourdon

Back 22

Continental style of polyphony in the early Renaissance, in which two voices are written, moving mostly in parallel sixths and ending each phrase in an octave, while the other unwritten voice is sung in parallel perfect fourths below the upper voice. Forms 6/3 sonorities. Probably inspired by the English faburden.

Front 23

Motto mass

Back 23

a mass organized and held together by using common melodic material in all movements of the mass. Use of the head motive usually at the beginning of the movement, in one or more voices

Front 24

Cantus-firmus mass

Back 24

also referred to as a tenor mass, movements were linked by common melodic material placed in the tneor. Movements were constructed around this tenor. By second half of 15th century, became principal practice. Written with long notes, usually isoryhthmically. When melody was a chant, rhythm was composed. When melody was secular, original rhythm was retained, but in successive appearances, it could be altered. When multiple voices were borrowed from a chanson, cantus firmus/imitation mass

Front 25

Point of imitation

Back 25

multiple voices enter carrying the same melodic material.

Front 26

Martin Luther

Back 26

instigator of the reformation under the belief that people could be saved by faith alone. Printed his 95 theses against the current church, excommunicated in 1520, and started the Lutheran church.

Front 27

Jean Calvin

Back 27

another branch of Protestantism from the 1550s. Believed some people are predestined for salvation or damnation. Stripped churches of anything to distract from the faith. Liked the ability of song to unite in worship

Front 28

text depiction

Back 28

using musical gestures to reinforce or suggest images for the text

Front 29

text expression

Back 29

conveying or suggesting through music emotions expressed in text

Front 30

madrigalism

Back 30

is reference to the strong affiliation to text expression and text depiction by a piece

Front 31

reformation

Back 31

a theological dispute that developed into a rebellion against the Catholic Church. Started in Germany with Martin Luther but included Lutherism, Calvinism, and Anglicanism

Front 32

counter-reformation

Back 32

response of initiatives from the Catholic Church from losing a lot of Europe. Consolidation of leadership in the Vatican and foundation of the Jesuits. Council of Trent

Front 33

Lutheran Chorale

Back 33

Created to enhance participation through song. Metric, rhymed, strophic with simple rhythm, generally unison, but was enriched with harmony in larger musical forms. Chorales helped spread the Lutheran message. Inspiration came from existing plainchant, german devotional song, secular songs with new words (contrafacturm) and new compositions

Front 34

Contrafactum

Back 34

In Lutheran chorales, secular songs with new religious words

Front 35

Chanson

Back 35

secular song with French words

Front 36

Through-composed

Back 36

new music for every line of poetry

Front 37

Council of Trent

Back 37

1545 to 1563 council met for considerations of how to respond to the reformation. Agreed with original disputes, but cleared the church of abuses. Tropes and swquences were eliminated, leaving only the most widely used sequences. Music was left relegated to bishops

Front 38

Madrigal

Back 38

a musical genre in set with meaning and focus on humanism, music realized in accents, images, and emotions of the text. Italian origination. Evolved from the simple Italian frottola

Front 39

Paraphrase

Back 39

chant is elaborated in the top voice; the melody is given a rhythm and ornamented by adding notes around those of the chant

Front 40

Du Fay

Back 40

Se la face ay pale
Cantus firmus mass
application of an isorhythmic motet on a larger scale
Tenor (cantus firmus) is taken from Se la face ay pale
All 4 voices are functional

Front 41

Ockeghem

Back 41

Missa de plus en plus
Cantus firmus mass
Voice range expanded by a third
tenor is more varied in rhythm and notes
phrases are long with elided cadences

Front 42

Josquin

Back 42

Missa pagne lingua
Paraphrase mass
Secular cantus firmus
points of imitation
drives to cadences

Front 43

Palestrina

Back 43

Pope Marcellus Mass
Very sensitive to text
Long phrases with big curves
uses 6 voices

Front 44

Victoria

Back 44

Massa O magnum mysterium
Imitation mass
less florid, more cadences, more chromaticism
Contrasting sections
Imitation masses on his own works