35 Sumer is icumen in/ Lhude sing cuccu!
- A round or canon, like “row row row your boat”
- Most famous piece of ancient music compiled around mid-13 century th
- Laid out over a pes (foot or ground) continuing melody
- No specified end and there is form is: A against B, B against A, and so on forever.
36 Thomas gemma Cantuariae/Thomas cesus in Doveria, mm. 1-10
- The motetus celebrates Thomas de la Hale, and the triplum celebrates St. Thomas of
- The text draws parallels between the two Thomases, who were both martyrs from more than a
- There are frequent voice exchanges and hockets. Contains a pes which is more harmonic than a
37 Quam pulchra es – John Dunstable
- Discant style, declamation motet or cantilena motet because it is similar to the lyrical texture of
the continental courtly chanson.
- It sounds so “sweet” largely because of its control of dissonance
- There are only 9 dissonant notes and this reminds us that we normally take for granted a much
higher level of dissonance as the norm.
- The homorhythmic texture of the old conductus is here adapted to the actual rhythms of spoken
language, the declamation is therefore with speech
38 Ave maris stella – Du Fay
- Opening leap of a fifth is filled in with what amounts to an original melody
39 Deuil angoisseux – Binchois
- Scarcely conforms to our conventional notion of what makes music sound “sad”
- Our present day thinks Extra low, extra slow, harmonically dark (minor), or dissonant, for sad
- Binchois is portraying grief, the mood is one of elevation in tone, in diction, and in delivery
40 Missa Caput, Kyrie (ca.1440)
- Two sections, first in a perfect time signature, second in an imperfect time signature
- There is the use of hockets, voice exchange
- Introitus at the beginning, this convention is still alive and well
- Chordal writing, definitely. There is also a perfect cadence
- This is where after being Anglicized the terms soprano, alto, tenor, and bass come from (SATB) - The bass voice occupies a pitch space all its own and behaves in a new harmony-defining way. It
makes disjunct leaps and has a newly standardized role at cadences, going from the fifth to the
41 Missa Caput, Krie (1450) – Johannes Ockgehem
- B natural never started a piece, here he did it. Ockgehem grew up on Machaut, so he could
- This results in an F a