Musical Characteristics
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and Burgundian Schools
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3-part polyphony
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Melodic and rhythmic interest
in top voice
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Solo songs with textless instrumental
parts below
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Melodic progression characterized
by numerous thirds
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Use of triple meter
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Homophonic polyphony
(chordal or familiar style)
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Fauxbourdon (Burgundian)
and English Descant
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Landini cadence still common
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Imitation used infrequently
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Cantus firmi used less frequently
than Franco-Flemish music
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Secular continued with polytextuality
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Franco Flemish Style
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Franco-Flemish (or Netherlands)
style spread throughout Europe in the 15th and 16th centuries
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Exemplified, dignified and sophisticated
musical techniques
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4-part writing (added part below
the tenor, melody on top, created conventional parts:
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superius
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altus
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tenor
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bassus
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Use of complete triads
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Balanced polyphony - stylistic
equality among parts
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Development of contrapuntal techniques
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Imitation important
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New types of canon
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Pairing of voices (duet style)
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Use of combined styles within
the same piece (alteration of chordal and contrapuntal passages)
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Fauxbourdon and Landini cadences
disappeared
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Authentic and
plagal cadences
most common
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musica reservata initiated
by composers
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National Schools (Roman, Spanish, Venetian, English)
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Continued spread of Franco-Flemish
style throughout Europe
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Development of other national
schools
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Vocal polyphony attained the
highest level of perfection
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Highest development of a cappella
for church music
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Vocal style was dominant, but
independent instrumental styles were beginning to emerge
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Religious music was still the
dominate over secular music, but this was decreasing
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Religious music still dominated
by the Roman Catholic Church, but protestant music began to increase
in Germany, France and England
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Secular music increased in importance
under the patronage system of the nobility
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Major/minor tonality gaining
in importance, but modality still influenced both sacred and secular
music
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Development of music printing
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Triad is the basic unit of composition
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Dissonances were prepared and
resolved
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Generally balanced polyphony
with equality of parts
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Use of both homophonic and contrapuntal
textures in same piece
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Use of cori spezzati
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Secular Music
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Gaining in importance because
of:
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Growing spirit of secularization
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Patronage System of the
nobility
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Flourishing of poetry
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Intended as entertainment for
amateur performers
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Composed and performed as chamber
music for small ensembles
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Italian secular music influenced
the French, German and English secular schools
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1565 - the use of castrati emerged
as a way to preserve the sound of a women's voice in Italian music
since St. Paul's dictum prohibited women from performing on stage
or in churches
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1588 - the English Madrigal School
is firmly established, led by Thomas Morley, and produces some
of the most delightful secular music concerning love and/or grief
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1590-1604 - The camerata was established
by Count Giovanni de Bardi
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Roman Catholic Music
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Equality of parts
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5-part texture most common, but
ranged from 3- to 8-parts or more
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Triad is basic unit of composition
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Use of both homophonic and contrapuntal textures in same piece
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Treatment of dissonant intervals
was strict and limited to a few devices
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passing tones
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neighboring tones
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anticipations
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suspensions
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cambiatas
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Music was written a cappella,
although instruments were most likely used in performance
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mostly diatonic, but chromaticism
began to appear
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Continued use of Latin, but some
places outside Italy began to use the vernacular
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1562 - Pope Pius IV's Counter-Reformation
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1574 - use of castrati became
common and were used in the Sistine Chapel choir
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Protestant Music
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Germany
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The chorale was the most
important new musical contribution of the Lutheran Reformation
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Chorales at first were
monophonic, then set in simple 4-part harmony with chorale
melody in the uppermost voice
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France
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Biblical psalms were translated
into French verse
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Unison congregational singing
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England
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The Anglican Church adapted
many of the styles of the Roman Catholic Church
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The Anglican Service took
the place of the Catholic Mass
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Anglican chant was largely
based on Catholic plainsong
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English text was used in
place of Latin
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Metrical organization was
given to the melodies
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