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Island to Mainland

Island to Mainland. Toward a Pan-European Style. Fragmentary Remains. Sumer canon [Anthology 1-35] Rota Pes (foot), Ground Tertian harmonies. Fragmentary Remains. Thomas gemma catuariae / Thomas caesus in Doveria [Anthology 1-36] Twin-song texture

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Island to Mainland

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  1. Island to Mainland Toward a Pan-European Style

  2. Fragmentary Remains • Sumer canon [Anthology 1-35] • Rota • Pes (foot), Ground • Tertian harmonies

  3. Fragmentary Remains • Thomas gemmacatuariae/ Thomas caesus in Doveria [Anthology 1-36] • Twin-song texture • Variations over a pes • Worcester Fragments (13th century)

  4. Kings and the Fortunes of War • 100 Years War • 1420s–early 1430: English occupation of Northern France • Duke of Bedford: effective ruler of France from 1422–1435 • John Dunstable (ca. 1390–1453): “musician with the Duke of Bedford”

  5. Dunstable and the “ContenanceAngloise” • The English Guise • Dunstable, Quam pulchraes[Anthology 1-37] • Cantilena motet • Full triadic harmony • Smooth handling of dissonance • Natural declamation • Homorhythmic texture • Faburden

  6. Du Fay and Fauxbourdon • Du Fay, Vos qui estis me • Communion antiphon • Chant in the cantus • Octaves and sixths • Third part created by singing a fourth down from the top voice: Fauxbourdon

  7. Du Fay and Binchois • Du Fay, Ave marisstella[Anthology 1-38] • Fauxbourdon • Chanson-style • Gilles de Bins (Binchois), Deuilangoisseux [Anthology 1-39]

  8. The Internationalism of the Upper Crust • “Elite” music • Johannes Tinctoris (ca. 1435–1511) • Dozen treatises on music theory • Chigi Codex (1498)

  9. The Internationalism of the Upper Crust • Johannes Ockeghem (ca. 1435–1511) • Busnoys (Bunois)

  10. Emulations • Compositional lineages • Ockeghem, Deploration on the Death of Binchois (1460) • In honor of Binchois • Busnoys, In hydraulis • Praise of Ockeghem • Ockeghem, Utheremitasolus • Compliment of Busnoys

  11. The Cyclic Mass • Mass Ordinary

  12. Caput Masses • Cyclic Mass • Melisma on “caput” from the antiphon Venit ad Petrum • Anon. Missa Caput (CA. 1440) [Anthology 1-40] • Four-voice texture: superius, altus, tenor, bassus • Possibly composed by Dunstable

  13. Patterns of Emulation • Ockheghem’sMissa Caput [Anthology 1-41] • Obrecht, Missa Caput

  14. The Man at Arms • L’Hommearmé song [Anthology 1-42a] • Composed after 1454 • A favorite of Charles the Bold • Over 40 cyclic masses based on this tune • Busnoys, MissaL’Hommearmé [Anthology 1-42b]

  15. “Pervading Imitation” • Points of imitation • Tenor tacet sections • Points correspond to portions of text • Each point comes to a full cadential close

  16. High, Middle, and Low • Tinctoris, Three musical styles • magnus • The mass • mediocris • The motet • parvus • The vernacular chanson

  17. The Marian Motet • Paraphrase • Cantilena style • Philippe Basiron, Salve Regina [Anthology 1-43] • Eton Choir Book

  18. Motettimissales • Milan 1470s • Sforza Family • Substitute motets for the mass • Gaspar van Weerbeke (ca. 1445–1516) • Ave Maria [Anthology 1-44]

  19. Love Songs • Chanson • Parvus, Tinctoris • bergerette • Ockeghem, Ma boucherit et ma penseepleure [Anthology 1-45]

  20. Instrumental Music Is Printed • Instrumental arrangements of chansons • Heinrich Isaac (ca. 1450–1517) • Martini, Josquin, Alexander Agricola (ca. 1455–1506) • OtavianoPetrucci, Odhecaton(1501) • Johannes Ghiselin, La Alfonsia [Anthology 1-46]

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