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Chapter 4: Island and Mainland: Toward a Pan-European Style I

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Chapter 4: Island and Mainland: Toward a Pan-European Style I Chapter 4: Island and Mainland: Toward a Pan-European Style I. Introduction A. As the title of this chapter indicates, European musical style of the fifteenth and sixteenth centuries moved from distinct national styles (particularly of the Ars nova and Trecento) toward a more unified, international style. B. English music figures in this mix as well, as the popularity of Sumer is icumen in illustrates. This work includes elements of the old (open and closed endings) as well as new (a harmonic style that sounds familiar to us but does not sound like the music we listened to in Chapters 1–3). II. English Music and Its Influence A. Fragmentary Remains 1. English music had a style that was distinct from continental music of the Middle Ages (especially in its use of thirds), but our evidence for it is fragmented. 2. Medieval commentaries describe English music, and Anon. IV suggests that English singers included the third among the consonant intervals. 3. Thirds existed in continental music, too, but not to the extent heard in English music. 4. The Thomas gemma Cantuariae/Thomas caesus in Doveria (Ex. 4-3) includes many features associated with English music, such as almost equal ranges in the top two parts and frequent voice exchanges. The lower two voices are also similarly matched. The harmonic framework also repeats. B. Kings and the Fortunes of War 1. The Old Hall Manuscript contains the earliest English polyphonic church music that can be read today. 2. Copied for a member of the royal family (notably that of Henry IV and V), most of its contents belong to the Mass Ordinary. a. Its 147 pieces include 100 with attributions amounting to twenty-four English composers. b. Triadic harmony features throughout the repertory. 3. Henry V, who is associated with the Old Hall Manuscript, holds a prominent place in history of this period. Famous names such as Joan of Arc are connected in some way to his legacy. 4. When Henry’s army occupied part of northern France in the early fifteenth century, his brother was in charge. This brother, John of Lancaster, Duke of Bedford, included the composer John Dunstable (ca. 1390–1453) among those who received part of his estates when he died. 5. Dunstable’s music influenced continental composers and may be seen as a watershed moment leading to a truly pan-European musical style. C. Dunstable and the “Contenance Angloise” 1. Dunstable’s arrival in Paris caused the major composers to follow his style, known as la contenance angloise (English guise). a. Major-mode tonality b. Triadic harmony c. Smooth handling of dissonance 2. Dunstable wrote in the old styles of the fourteenth century, including isorhythmic motets, but he imbued it with the new sounds listed above. The smooth sound associated with Dunstable can be heard in Quam pulchra es. 3. This is known today as a “declamation motet” because it declaims specific words by expressing them appropriate to the spoken language. 4. Only nine dissonant notes appear in this piece. 5. The triads stand out. [Suggested activity: back-to-back listening of Machaut Messe and Quam pulchra es] D. Du Fay and Fauxbourdon 1. Continental composers responded immediately to the English style, as can be demonstrated by Du Fay’s early Communion antiphon Vos qui secuti estis me. a. This work emphasizes sixths, which had previously been considered dissonant. b. A rubric tells the performer that it is possible to make this a three-part piece by adding a voice singing the uppermost part down a fourth. c. The result is called fauxbourdon. d. In this style, the melody is in the cantus (top part). E. Du Fay and Binchois 1. Du Fay (ca. 1397–1474) and Binchois (ca. 1400–1460) were the two leading song composers of the first half of the fifteenth century. 2. Du Fay’s career took him to Italy, Savoy, and Cambrai (on the Franco-Flemish border). a. He wrote songs in all the formes fixes. b. He based a lot of his sacred music on secular tenors, including some of his own pieces. c. Du Fay also wrote hymns that reflect different styles, including chant, courtly chanson, and fauxbourdon. 3. Binchois spent his career at the court of Burgundy, renowned for its magnificence. a. Of his more than sixty chansons, the most admired are his ballades. b. His setting of Christine de Pisan’s Deuil angoisseux exemplifies several characteristics of this style, and these sometimes contradict what we in the twenty-first century might expect of such a text, such as its tonality and rhythms. F. The Internationalism of the Upper Crust 1. Most of the fifteenth-century music studied in the course of music history was not heard by the average European of the period, but was reserved for an elite and educated audience. 2. The theorist Tinctoris (ca. 1435–1511) provides a list of the composers of note during his lifetime. a. Tinctoris did not think any music written more than forty years before 1477 was worth hearing. b. His preferred composers were Ockeghem (ca. 1410–97) and Busnoys (ca. 1430–92). These two have been paired ever since Tinctoris’s time. 3. Ockeghem wrote a lament on the death of Busnoys. He was the pre-eminent composer in Europe at the time of his death. a. The Chigi Codex contains almost all of Ockeghem’s known works, and some of Busnoys’s. That his works figure in such a beautifully prepared book signifies the respect accorded the composer. b. Busnoys may have studied with Ockeghem. He is the earliest composer for whom autograph manuscripts survive. c. Both composers wrote music that demonstrates highly organized technical prowess in composition. III. Organization and Polyphony A. The Cyclic Mass 1. During the fifteenth century, the cyclic Mass was the genre into which composers poured the most intellectual and creative energy. a. All five movements of the Mass Ordinary are set. b. Each movement began with a “head motive” (the same for each movement), announcing the connectivity among movements. 2. Other aspects might also be modeled on each other, such as a foundation melody or formal scheme. 3. The cyclic Mass unified the entire service. B. “Caput” and the Beginnings of Four-Part Harmony 1. Continental composers adopted the cyclic Mass from the English and developed it further. 2. A long melisma on the word “caput” in the antiphon Venit ad Petrum used at Salisbury Cathedral during Holy Week became the basis for a group of masses known as Caput Masses. 3. The first of these dates from around 1440 and is English. Constructed for four voices, the sound is particularly sonorous for this period. a. The top voice, superius, becomes known as the soprano. b. The lowest voice, bassus, occupies its own space in a manner typical of later bass voices: defining harmony by leaping and defining cadences. C. Patterns of Emulation 1. An emulation is an homage to an earlier composer/composition that seeks to surpass it as well. 2. Ockeghem and Obrecht wrote Caput Masses in emulation of the anonymous English one described above. a. Ockeghem’s is especially noteworthy in that he transposes the tenor down an octave, to the bass range. b. This transposition also has implications of the harmony as it forces reconciliation of the tritone B/F, as well as unexpected harmonic movement between successive triads. c. Ockeghem may have known who composed the English “original.” Because of astrological references, suspicion has fallen on Dunstable. d. Obrecht’s setting demonstrates that he knew Ockeghem’s. Fifteenth-century composers wrote pieces considered “tour de force” compositions. 3. Ockeghem composed several such pieces, including his Missa Prolationum (in which he exploited time signatures, with two canons sounding simultaneously) and the Missa cuiusvis toni (in any mode, so that singers can choose from clef combinations resulting in different modes). D. The Man at Arms 1. The most celebrated and numerous group of Masses from this period are those based on the L’Homme armé (“Man at Arms”) melody. a. More than forty Mass settings on this melody survive. b. The earliest Missa L’Homme armé dates from sometime after 1454. 2. Almost all of the composers recommended by Tinctoris composed at least one, as did Tinctoris himself. 3. The Missa L’Homme armé was initially tied to the Burgundian court, particularly the Order of the Golden Fleece. 4. A cycle of six Masses on the L’Homme armé that has been associated with Charles the Bold reflects the interest in numerical structures and highly technical compositional prowess seen in other works dating from the late fifteenth century. a. Busnoys’s Missa L’Homme armé is particularly illustrative of this approach. It contains unifying aspects on multiple levels as well as virtuoso feats in technical organization. b. His setting seems to have been highly respected by his contemporary composers and theorists. E. “Pervading Imitation” 1. In Busnoys’s Missa L’Homme armé, some sections have places where the tenor is absent. Composed without the organizing L’Homme armé melody, they demand an alternative organization. The composer accomplishes this through the use of brief imitative entrances known as “pervading imitation.” 2. The melodic lines of pervading imitation are known as “points of imitation” and are fitted to a phrase in the text. The point comes to a close, at which point a new text and point of imitation begins. 3. Busnoys’s Missa L’Homme armé contains a discrete ordering principle that is not heard in performance, but betrays a desire to tie the work closely to the Order of the Golden Fleece (through the number 31).
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