MEDIEVAL Ordo Romanus, early form of Mass as per Bishop of Rome, 7th C. 1100 Notre Dame School: Leonin, Perotin Daily Offices: Matins, Lauds, Prime, Terce, Sext, Nones, Vespers Chant notation: clefs indicate relative pitches; notes called 1110 ORGANUM: passages of florid Neumes; earliest chant notations from 9th C. organum alternation of livelier Psalm tones (two balanced phrases sung antiphonally); strophic 1120 discant clausule; properly refers (used in hymnody); free form to style in which lower voice Antiphons intended for group of singers; sung at ends of Psalm 1130 holds long notes stanzas or canticles (Magnificat, Hodie, etc.) DISCANT = both parts moving in Gradual kind of responsorial psalm; occur in 7 of 8 modes 1140 similar rhythm Tracts are longest chants in liturgy; all tract are either in mode 2 or 8 Clausuale became quasi-independ- Tropes: newly composed addition; neumatic style with poetic text; 1150 ent—evolved into MOTET mostly used in Introit; Monastery of St. Gall important trope point; flourish 10th-11th C.; dissipate by 12th C. 1160 Notre Dame Cathedral erected ORGANUM: CONDUCTUS: Sequences: long recurring passages recurring in different contexts; defi- 13th C. sacred & secular genre; nitely shaped melodies either in melismatic form or underlaid with 1170 ARS ANTIQUA: chief polyphonic conductus written text; additions to Alleluia called Sequences; flourished 10th-13th C.; genres are ORGANUM, for 2,3,4 voices in organum; first Form = a bb cc dd…; Dies irae most famous of retained sequences 1180 CONDUCTUS and expression of newly composed Modes: Authentic are even numbers—Plagal odd: Dorian, MOTET (1250–1300) polyphonic music Phrygian, Lydian, Mixolydian 1190 MOTET: term first applied to French Hexachords: pattern of six notes where half-step falls between 3–4 Leonin—1159–1201 Period dominated by French texts added to duplum of clausu- steps 1200 composers centered la; Montpelier Codex, Bamberg HOCKET properly describes technique, not form; melody flow around Paris Codex, Las Huelgas Codex;texts interrupted by rests, which missing notes are supplied by other 1210 have no connection between voice Perotin—1170–1236 Achievements: upper voices and Cantus Firmus ARS NOVA:treatise title, Philip de Vitry, c. 1322; music continues to 1220 codification of rhythmic become secularized; most monophonic; Isorhythmic motet modal system; new nota- includes Color & Talea 1230 tion for measured rhythm; growth of secular genres SUMMARY of 14th C. music: 1240 • continued shift from sacred to secular composition • greater diversity of rhythm 1250 Ars cantus mensuralibis, Franco of • growing sense of harmonic organization Cologne; in use until 1325 • imperfect consonancies (3rds & 6ths) favored on strong as 1260 well as weak beats although final sonority was ALWAYS uni- MUSICA FICTA: use of accidentals in performance son, octave or 5th 1270 & notation; used “for the sake of beauty;” 14th • passages of parallel 5ths and 8ves become rarer Thomas Aquinas—1225–1274 & early 15th C. manuscripts contained acciden- • Musica ficta makes cadential points more emphatic and 1280 tals; 1450–1550 accidentals scorned melodic line more flexible • vocal ranges extended upward 1290 • new genres include: CACCIA, MADRIGAL, BALLATA, indicat- ing motion towards “popular” models 1300 leading Ars Nova com- • Formes fixes poser; greater secular- • French and Italian styles start to merge ity, length and rhyth- 1310 mic complexity; lots of Hocket; 25 chan- RENAISSANCE sons balladees (vire- ENGLISH: close connection with folk style; tendency toward major 1320 lai)uses duple time rather than modal tonalities; more homophonic; basic chant MEDIEVALdivision; Rondeaux was Sarum rite (Salisbury cathedral); (ABaAabAB); Messe foremost Italian musician of 14th CONDUCTUS: melodic line accompanied by two voices in par- 1330 de Notre Dame: four C.; leading composer of bal- allel motion—3rds & 6ths; voice setting, with Ite late; wrote NO sacred music; FAUXBOURDON: English may have provided example for missa est; four other more than 130 ballate 6th–3rd successions that became prevalent on the Continent 1340 Guillaume de Machaut—1300–1377 complete mass cycles Squarcialupi Codex most bountiful from 1420–1450; DISCANT, where melody in middle voice; precede it; USE OF source of 14th C. Italian music, importance stems to creation of new three part writing FOUR VOICES WAS with 352 works; OLD HALL MANUSCRIPT: chief collection of early 15th C. 1350 UNUSUAL AT TIME Philip de Bishop of Vitry, Meaux—1291–1361 MADRIGALs for two voices; Caccia English music; more than 147 compositions from 1370–1420 (1345–70), lively pictorially MOTET: 13th C. French motets; 14th C. isorhythmic style, descriptive words set to popu- which disappears after 1450: means almost any polyphonic 1360 Fransisco Landini—1325–1397 lar melody, usually hunt scenes; composition on Latin text OTHER than Mass ordinary; from used HOCKET to bring out 16th C. includes Latin sacred texts shouts, bird songs, horn calls; BURGUNDY: Dijon capital; leading patron of music in mid-15th C. 1370 strict canon CHANSON: general term for any polyphonic setting of secular French poem; almost always love poetry; rondeau form BALLATE: last developed form of MOTETS and MASSES written in manner of chanson with freely 1380 three; monophonic dance composed treble coupled with tenor and supported by con- songs with choral refrains; tratenor; MASSES: 15th C. established complete settings of resembles French virelai Ordinary as standard practice; impetus was desire to give 1390 coherence to large musical form; MISSA CHORALIS (plainsong mass) uses chant melodies form Gradual, more liturgical than musical; MOTTO MASS uses same thematic material for each 1400 movement; CANTUS FIRMUS MASS first cyclical masses by John Dunstable—1370–1453 MUSIC PRINTING: liturgical English; lowest voice free to function as harmonic foundation; books with plainchant nota- bass, tenor, also and superious standard by mid-15th C. 1410 tion printed by 1473; NORTHERN: Dominance of Northerners begins early 15th C.; Ottaviano de’Petrucci pub- OCKEGHAM: late 15th C. Mass is principal form of composi- lished 59 vols. of vocal and tion; OBRECHT: most masses use CF based on secular songs or 1420 instrumental music by 1523; plainsong; frequent use of canonic passages; Odhecaton (1501) triple impression: one for important source of chanson from generation of Obrecht, Isaac staff lines, one for words and and Josquin; published by Petrucci; includes four-voice chan- 1430 Jacob Obrecht—1400–150 one for notes sons with fuller texture; more imitative counterpoint; clearer Guillaume Dufay—1400–1474 harmonic structure; greater equality of voices; JOSQUIN: culmi- nating figure of Renaissance; worked for Sforzas in Milan, papal 1440 chapel, then Ferrara; IMITATION MASS (or Parody mass) takes over not merely single voice but several of pre-existing chan- son, mass or motet; CONTRAFACTUM puts new words under 1450 old music; MUSICA RESERVATA: suiting music to meaning of words; used in 16th C. to denote “new style” with chromati- cism, modal variety, ornaments and rhythmic and textural con- 1460 trasts ORLANDO GIBBONS father of Anglican church music Johannes Okeghem—1430–1495 MADRIGAL most important form of Italian secular music in 16th C. 1470 MONTEVERDI: through MADRIGAL Monteverdi makes transition from polyphonic vocal ensemble to instrumentally accompanied solo & duet; five books of madrigals; musical motives are Leonardo—1452–1519 1480 Heinrich Isaac—1450–1517 declamatory; texture often becomes duet; ornaments and Josquin des Prez—1450–1521 embellishments previously improvised now written in score GERMANY: Orlando di Lasso: chief among international German 1490 composers; HASSLER; Pierre de la Rue—1460–1518 ENGLAND: madrigal continues to flourish; MORLEY; WEELKES; Triumphs of Oriana (1601)—25 madrigals; 1500 REFORMATION: Lutheran chorale; Catholic music outgrowth of plainsong, Lutheran music of chorales; Contrafacta; polyphonic chorale settings; CANTIONAL style: plainly chordal, rhythmically 1510 straightforward; CHORALE MOTET COUNTER-REFORMATION: Council of Trent (1545–1563); Martin Luther—1483–1546 Palestrina’s style codified by FUX in Gradus ad Parnassum 1520 (1725); later referred to as “stile antico;” VICTORIA: second in Clément Janequin—1485–1560 importance to Palestrina; LASSO ranks with Palestrina as great- est composer of 16th C. sacred music; BYRD: last great Catholic 1530 composer of 16th C. VENICE: WILLAERT; GABRIELLI; Venetian polychoral motets; most often for double chorus; mostly Psalms were set this way; Thomas Tallis—1505–1585 1540 important PUPILS of Gabrielli: SCHÜTZ and HASSLER SUMMARY: 1. contrapuntal voice parts 2. growing homophony Clemens non Papa—1510–1556 towards end of 16th C.; 3. Alla breve duple became basic rhyth- 1550 mic medium; 4. MUSICA RESERVATA: pictorial and expressive touches in madrigal, Gesualdo’s chromatic aberrations and RENAISSANCE sonorities of Venetian massed choruses 1560 BAROQUE Orlando di Lasso—1532–1594 Orlando di Lasso—1532–1594 Impulses towards wider range and greater intensity of emotional 1570 content; Monteverdi: PRIMA prattica represented by works of Queen Elizabeth I—1633–1703 William William Byrd—1543–1623 WILLAERT; music dominates text; SECONDA prattica: text dominates music; style of modern Italians like himself; Stile 1580 Giovanni Pierluigi de Palestrina—1525–1594 antico v. stile moderno AFFECTATIONS: technique used by Baroque composers to repre- sent a wide range of ideas and feelings through musical Thomas Morley—1557–1602 1590 Luis