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Lecture 8

MUSIC 140A Lecture Notes - Lecture 8: Burgundian School, Guillaume Du Fay, Motet

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Robert W Inter

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Thomas Weelkes (1575-1623): “Those Sweet Beautiful Lilies” (1597)
English Madrigal
Written towards the end of the Renaissance
A section: about beautiful woman, consonant harmonies
B section: darker, uses “pain” and “anguish” often, not as consonant
Major 7th for the word “pain”
Resolves very nicely afterwards
Word technique
Tend to repeat parts
Uses a lot of suspensions, esp at cadences
Thick texture, 5 voices - but not all singing at the same time all the time
Uses a lot of triads
The English brought in 3rds and 6ths most in music
Would be sung in a home by family members, friends - more modest, personal
Woman’s name was Phyllis - popular name at the time
Relatively progressive
Instrumental dances:
1. Basse danse: La Gatta, La Magdalenga
2. Calata ala Spagnola
3. Branle de Champagne
4. Passamezzo d’Italye
a. Multiple parts, mostly 3-voice
5. Galliarde (1550)
Renaissance dances were in alehouses or taverns
Same line with different instruments
We don’t really know what the dance steps were
Guillaume Dufay: Motet, “Supremum est mortalibus bonum” (“The greatest good of
morals” 1433)
Commissioned piece
Through-composed piece: not really a pattern, no text repetition
Influenced by English composers, used 3rds and 6ths
The words are set sensitively - shapes music as the words flow
technique of musical harmonisation used in the late Middle Ages and early
Renaissance, particularly by composers of the Burgundian School
Joaquin des Prez: Credo from the Missa L’homme armé super voces musicales (Mass on
“The man at Arms” at all the difference pitches of the hexachord, 1500)
The tune was very popular at the time
Used as cantus firmus
Hexachord - 6-note scale, modal scale
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