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MU1711 Feb 15

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Western University
Music 1711F/G
Kate Helsen

Feb 15 – Consonance/Sonority Consonance and Dissonance Renaissance composers/theorists – In the shadow of the great – Trusted Greek sources about music having the power to win battles – Wanted to figure out what was wrong with music and how they could improve it to be like the music of the ancients – In the shadow of the great music of 'the ancients.' – Great music is heard, not simply believed – Music is to be judged empirically – in musical terms, judge it as 'good' if you like it, not because someone else simply tells you it is. Johannes Tinctoris – Music theorist and composer – New, 'Renaissance' style – Dismissive of medieval music Ramos de Pareja – Another theorist – If the ear can't tell that the third isn't a consonance, then it should be one – Changed ratios of 81:64 to 80:64 = 5:4 and 32:37 to 30:25 = 6:5. Third becomes a consonance The New sound: Contenence Anglois – English guise – Made up of a lot of 3rds (not 4 s and 5ths) John Dunstable – From England, works in France for most of his life – Writes about sonority. eg. Quam Pulchra Es (Feb 13 listening) Guillaume Du Fay – Franco-Flemish. Wrote in this new sonority too. – Fauxbourdon - “false bass.” Take melodic line – create a parallel line at a fourth below that melody. Add other voices English Equivalent: Faburden – Add a line a 4 higher than the melody, then ad
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