Textbook Notes (367,969)
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Music (17)
MUS2331 (7)
Chapter 4

Chapter 4 Listening.docx

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Department
Music
Course
MUS2331
Professor
Laura Matthews
Semester
Fall

Description
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 Canterbury. - The text draws parallels between the two Thomases, who were both martyrs from more than a century apart. - There are frequent voice exchanges and hockets. Contains a pes which is more harmonic than a melodic idea. 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 - Ballade - 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 music - 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 final 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 handle this - This results in an F a
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