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Lecture 7

MUSIC 140A Lecture Notes - Lecture 7: Gilles Binchois, Guillaume Du Fay, Heinrich Isaac

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Robert W Inter

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Gilles Binchois (1400-1460) & Guillaume Dufay (1400-1474)
Rondeau: “Je ne vis onques la pareille” (“I have never seen the equal”)
Secular song, sung during “Feast of the Pheasants” held by Philip the Good in
Renaissance piece, all sung by voices in recording
Top and bottom voices intertwined
Contains Landini cadences
Remembered for secular songs
Heinrich Isaac (1430-1517)
Hapsburg prince, Maximilian - wanted Isaac as his court composer
Medieval times
Master of German lied
Lied, “Innsbruck ich muss dich lassen” (“Innsbruck, I must leave you,” 1510?)
Wrote the piece in the late 1400’s
Melody is in the upper voice, progressive in this time
Monophonic texture in first trope
Second trope is a little different, singing in canon
Voices are singing in Lydian mode, but accompaniment isn’t always
Joaquin des Pres
Frottola: “El Grillo” (“The Cricket,” before 1474?)
Ternary form (ABA)
Frottola - light, popular Italian song; precursor of Italian madrigal
Form is very much the same throughout, shape is slightly different even if the form is the
Early musicians had to make musical choices based on the words, there was no
indication of fermata, meno mosso, etc.
Four-part piece (SATB)
Perotin four-voiced organum (1198)
Machaut rondeau - but he almost never writes four-voice pieces
Joaquin: Canonic chanson, “Baisez moy” (“Kiss me,” 1500?)
One voice chases the other
Canon all the way through
Irony - two things happen that don’t seem to go together
Irony of writing a double canon a poem is that a poem isn’t usually worth writing a
double canon
10pt extra credit:
Write double canon by midterm or final (?)
find more resources at
find more resources at
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