C.

Review Questions for this lecture:

1. What does the term “Renaissance” mean?  Where did the historical period called
the “Renaissance” start, according to Jacob Burckhardt?  What city was viewed as
being an early center of the artistic Renaissance?  What artistic discipline was first
to employ the concept of “Renaissance” to describe the history of the 14th-
16th centuries? 
2. Why have modern scholars applied the term “Renaissance” to music of the 15th-
16th centuries?  What are some of the intellectual problems with applying the term
“Renaissance” to this music?
3. In what country was a new approach to consonance cultivated in the early
15th century?  What French poem from the 1440s articulated the debt of French
musicians to John Dunstaple?
4. When was the “high Renaissance”?  What musical techniques particularly
advanced during this period?  Name three of the most prominent composers of the
“high Renaissance”.
5. What factor profoundly affected musical composition during the late
Renaissance?  In what genre was this new approach to composing particularly
developed?

1. Renaissance – Rebirth , 1300, Florence. Literature.

2. Because the style the most caracterizese the Renaissance was composed
between 15 and 16 centuries, for instance, Josquin des Prez, Palestrina… The
problem is that only in 1590-1600 that the musicians really start compose looking back
to the Greek and Romans and this conflict with what the term Renaissance mean.
3. England.
4. High Renaissance was c.1480-1560. The counterpoint, the rhymhy
notation and the text notation.  Josquin Desprez, Orlando de Lassus and Palestrina.
5. The use of word painting, the composers were interested in the
meaning of the texts. Madrigals.
 
Review questions:
1. Define the following compositional/performing techniques:  gymel; faburden.
2. Translate the term “La contenance angloise”.  What aspect of this music
differentiated it from earlier musics according to Martin Le Franc?
3. Approximately when was the Old Hall manuscript created, and for whom?  What
types of music appear in it?  Which of these is the most forward-looking?
4. What is isorhythm?  What are talea and color?  What is isomelism? 
5. What is a cantus firmus?  A cantus prius factus?
6. What two countries fought in the battle of Agincourt in 1415?  Who won?

1. Gymel was a type of improvisation when two voices were singing in parallel
thirds and fourths, Faburden was a type of improvisation used in the music of the
offices when a voice sings a parallel fourth above and other a fifth lower to the
middle voice, similar to the organum.
2. La contenance angloise – English Manner. Simpler than the Ars subtilior and
more consonant.
3. c. 1410-20; retrospective by  Dunstable,Power, and  appr. 48 other named composers. 147 sacred pieces, including Mass
movements; Song Motets, Votive Motets, Votive Polyphonic Antiphons, and Isorhythmic Motets
 4. Isorhythm is a single rhythm that is repeated. Talea is a repeated rhythm pattern
and color is a repeated melody pattern.
5. A cantus prius factus is a pre composed melody and the cantus firmus is a cantus
prius factus that is slower that the other voices.
6. France and England, France won.
 

Review questions:
1. What are the three sections of the Catholic Mass? How does an Ordinary chant differ from a Proper chant?
2. What is the difference between feasts of the Sanctorale and the Temporale?
3. Identify the 8 daily monastic Offices. What is the primary activity in these Offices?
4. What five movements of the Mass Ordinary were most often set polyphonically during the 15th-16th centuries?
5. Why is it that most English Masses from the Renaissance don’t have polyphonic Kyries?
6. What features typically unify cyclic cantus firmus Mass Ordinaries such as Leonel Power’s Missa Alma redemptoris mater?

1. Opening & Entrance; Teaching; the Eucharist

2. The temporale are the feasts that celebrate Jesus, and the Sanctorale are the feasts that celebrate the saints.
3. Matins, Lauds; Prime, Terce, [Mass], Sext, None; Vespers, Compline. Chant and pray.
4. Gloria, Credo, Sanctus, Agnus Dei and troped kyries.
5. Because they are more in the middle age style.
6. The final pitches, the sight, the number of sequence, there all in the same tune and same style.

Review questions:
1. How did French musicians such as Binchois and Dufay become acquainted with the “La contenance angloise”?
2. How is fauxbourdon different from faburden compositionally?
3. What does the term alternatim suggest about a piece when it is applied to liturgical music?
4. Who was Dunstaple’s principal employer during the 1420s? Who was Binchois’s principal employer for most of his career? Where did Dufay grow
up and die? For what patron did Dufay work during much of the 1430s?
5. How did the pursuit of ecclesiastical benefices affect the development of European music during the 15th and 16th centuries?

1. The influence of the church and the benefices and the 100 years war help this composers.
2. In the farburden the chant melody is in the middle voice while in the fauxbourdon the chant melody is in the top voice.
3.
4. Dunstaple - The Duke of Bedford. Binchois- Burgundian Court. Dufay- grow up and died in Cambrai, patron was the church.
5. The benefices were use as money in exchange of products the worth spirituals places in the haven.

Review questions:
1. What does the word “para-liturgical” mean?  To what genre is it applied most
often?
2. For what purpose was Dufay’s Nuper rosarum flores composed, and
when?  How does the structure of this work relate to the purpose for which it was
composed?
3. What is unusual about the text of Dufay’s third and final setting
of Ave regina caelorum?  How does the musical structure of this work differ
from Nuper rosarum flores?
1. Paraliturgical celebrations are those which draw on the ceremonies and the form of the liturgical celebrations but are not officially
authorized or especified. An example of paraliturgical services are certain novenas (the ones that consist of more than the novena
prayer); it is not liturgical it is para liturgical,. Magnificats, motets…

2. It was homage to the cathedral that he worked. The structure is based in the structure of
the cathedral, some researches says that is knew the arctecty.

3. He uses texture to outline the isorhimic structure of the piece.

 
Review questions:
1. Identify two ways that Dufay’s lone “plenary” Mass, the Missa Sancti Jacobi,
differs from the majority of his Mass Ordinary settings?
2. How did Dufay’s Caput Mass get its name?
3. What is the melodic basis for Dufay’s Missa Se la face ay pale?
4. The final Agnus of Dufay’s Missa L’homme armé has the following canonic
inscription: “Canon:  Cancer eat plenus sed redeat medius.”  What does this mean in
English, and what does it tell us about the treatment of the cantus firmus in this
movement?
 
1.

2. All mvts. based on c.f. drawn from final melisma of Sarum antiphon Venit ad Petrum (for Maundy Thursday in the Sarum rite), which
ends w/ the word “caput”

3. The same cantus firmus for all the movements. Based in a secular love song.

4. Its similar to a retrograde it means go until the mid and come back forward.

 
Review questions:
1. What are the three fixed-form poetic types most often used in France during the
14th and 15th centuries?
2. What is the repetition scheme of a ballade?  a rondeau?  a virelai?
3. What argument did the scholar Christopher Page make concerning the
performance of late medieval vocal music?
4. What stylistic feature is typical of Dufay’s Italian music and some of his early,
Italian-influenced French works (such as Resvelliés vous)?
5. How many voices did Dufay and Binchois typically employ for polyphonic
settings of French secular poetry?
 

1.  ballade, rondeau and virelai.

2. rondeau ABaAabAB; ballade aabC strophic; virelai AbbaAbbaA etc. (strophic)

3.
th
4. a3; opening instr. intro. (typical of 15  c. chanson); virtuosity; double leading tone cadences; treble dominated within S/T framework;
mensural change & rhythmic & harmonic play (m. 3) (Trecento, Subtilior); sweet harmony, melodic imitations (m. 15-16); recap. mm. 15-22
= 60-67; Gematria on “Colonne” = 73 (no. of breves in piece)

5. 3 and 4 voices.
Review questions:
1. In what city did Busnoys work during the early 1460s?  What colleague and
possibly mentor did he meet there?  Who was his employer from 1467-76?  For
whom did he work after that employer’s death?
2. In what sacred genres did Busnoys work?
3. Describe the constructive devices used by Busnoys for his
motet In hydraulis.  Who does this motet honor?  When was it written, and how do
we know when it was written?
4. L’Homme armé Masses are particularly associated with what European court in
the 1460s-70s?
5. What are some of the most distinctive musical features of
Busnoys’s  l’homme armé Mass?

1. He worked at St. Martin, in Tours. Johannes Ockeghem. Busnois was at the Burgundian court by 1467

2. Missa, Motets..

3. Ockeghem, 1467 .

4. Charles I the bold

5. “Confiteor”:  rhythmic complexity, Agnus:  Verbal canon:  “Where the

scepters descend, there ascend, and vice versa”, Cantus prius
factus augmented in bassus, in inversion, accel. of bassus cpf in Agnus I, II,
III
Head motives; motivic, sequential melodies, rapid, long-breathed, sinuous
melodic lines

Review questions:
1. In what city did Ockeghem work as a young man?  For what musical
establishment did he work from 1446 until his death?
2. Speculate as to why so few works by Ockeghem survive to the present.  What is
one of the principal sources of Ockeghem’s Masses and motets?
3. Describe in detail the overall structure of Ockeghem’s Missa Prolationum.
4. How do Ockeghem’s melodic lines differ from those of Busnoys?
5. What is unusual (for its time) in the imitatio in Ockeghem’s Missa Fors
seulement?

1. ND in Antwerp. To the church.

2. Because of the war. The Chigi Codex.

3. It is a mass ordinary in 4 voices. Ockeghem uses the technique tempo and prolation, using
different patterns of rhythm based in the same rhythm formula.

4. He uses all the kinds of mesurations in the double canon. All movements of the missa are
double canons each one based in one interval, unison, second, third… until octave.

5. it is a parody mass.

 
Review questions:
1. What factor determined the structure of the poem set by Busnoys in Je
ne puis vivre?  What is an acrostic?
2. What is a combinative chanson?  Cite one.
3. Who was Hayne van Ghizeghem’s primary patron?  What is his most famous
song?  What is its form?  What composer active in Italy, the French royal court, and
the court of Philip the Fair of  Burgundy and Spain composed at least 5 instrumental
arrangements of this song?
 
1. It is a love poem. An acrostic is when you take the first letters of each phrase as the letters of
a name.

2. A chanson that combines two different texts, Il sera pour vous – Robert Morton

3. Charles the bold, De tous biens plaine , rondo, Alexander Agricola.

Review questions:
1. What is problematic about studying English secular song from the second half of
the 15th century?
2. What is the normal form of a Tenorlied?  What are its 3 parts called, in
German?  What distinguishes its texture from other contemporaneous secular songs?
3. How did a substantial amount of Spanish secular music get in Italy during the
15th century, and to what city did it primarily go?
4. What are the three parts of a poetic cançion from the 15th century?
5. Why have scholars posited that there was an “unwritten tradition” that affected
the dissemination of Italian music during the 15th century?  What was the nature of
this tradition?
6. Who was Serafino de’Ciminelli dall’Aquila (1466-1500).  Describe a lira
da braccio.

1. Most of the score were lost.

2. A polyphonic song popular it consisted of the tenor line, which had the melody, and one or more other lines as
contrapuntal accompaniment.
3. Italy were good point because it had more life opportunities to musicians , so, a lot of
musicians went to there in this period.

4. ballade, rondeau and virelai.

5. Because of the complexity of the pieces written after this period. They found out the mostly
were based on easy songs of an oral tradition.

6. Poet and musician creator of Petrarch

 
Review questions:
1. Identify four types of keyboard instruments used during the 15th and
16th centuries.  Identify two sources of German keyboard music from the mid-
15th century.
2. How do Renaissance trumpets differ from modern trumpets?
3. Identify three stringed and three wind instruments used during the 15th-
16th centuries.
4. What type of dance is La Spagna?  What is distinctive about the way it is danced?

1. harpsichords, church organs, portative organs, positive organs

2. Renaissance didn’t have the pistons so they had a less expanded range.

3. Wind: trumpets:  trompettes  de guerre, trompettes  de  ménestrals. Stringed: Lute, viol da gamba, krumhorns

4.  basse-danse. It is a court dance.

Review questions:
1. What was the political situation in Italy during the second half of the 15th century,
and how did this situation affect musical patronage there?
2. Who first published frottola books, and when did he publish them?
3. How do a barzelletta, strambotto, and a canzone differ in musical and textual
form?
4. What does the term Canti carnaschialeschi  mean?  How were such works used,
and when?
5. What is a motetti missales?  Identify three composers who worked in this genre.

1. There were a lot of courts and they competed with each other who has the best artists and
more rich…

2. Petrucci

3. The barzelleta is a refrain type of frottola; strambotto is a single strophe of eight 12 syllable lines, and cancione is astrophic, but
irregular 7 & 11 syllable lines. The cancione is Irregular rhyme poetic forms = irregular musical forms while the two other are with an
Poetic rhyme schem

4. Cantos de carnaval, in celebration in the carnival period.

5. Motet cycles to the Virgin and the piety of Galeazzo Maria Sforza of Milan, Josquin Lebloitte Desprez and Gaspar
van Weerbeke, Loyset Compère