Renaissance
Style Traits
Dunstable
Quan pulchua es
- 3 voice motet
- text determines musical
phrases
- Unitextual
- 3rds, 6ths
- most vertical sonorities
are complete triads
- simultaneous rests
between parts
Burgundian
- Alternatum:
alternates monophonic & polyphonic passages
- 3-4 voices
- transitional rhythmic
traits: less complex than Medieval, more complex than 1st Generation
Flemish
- fair amount of syncopation
- small subdivisions
- texture: 3 kinds
- treble dominated
- layering (2+2)
- relatively equal four
parts
- verticality: many
complete triads, but seldom at final cadences; Landini cadence lasts until
1470
- bass becomes more
functional; 4ths, 5ths
- pre-functionalism;
cadential formulas
- some imitation between
voices
Faburden vs. Fauxbourdon
- parallel 6-3 chords
- what do you start
with; where is Cantus Firmus?
- mid 1300's:
Old Hall Manuscript
- written down or improvised
Faburden-England
Fauxbourdon-French adaptation
x
x
CF -Dufay
x
CF
x -"false bass"
CF x
x
Dufay: Conditor alme siderum
Dufay: Nuper rosarum
flores
- numerical significance
of 7
- layered: 2+2
- motet
1st Generation Franco-Flemish
- 4-5 equal voices;
increasing amounts of imitation
- cadence points?
more full triads as 1500 is approached
- extended range (Josquin)
- bass becomes supportive:
moves in 4ths, 5ths
- simpler rhythms; less
syncopation
- text=clear phrases
Josquin: Tu solus,
qui facis mirabilia (early)
- motet in 2
parts
- episodic
- block alternates
with imitation
- experimental;
everything not quite worked out