University of Wisconsin-Green Bay
Literature and Styles in Music I
Franco-Flemish Generation of 1520-50
(Successors to Josquin Des Prez)
I Some Conservative Reaction Against "Personal Expression" and Innovative style of Josquin
A. Conservative reaction mostly in sacred music
- return to continuous, unemotional style of Ockeghem (although without the "puzzle canons")
II Parody ("Imitation") Masses Replace Cantus Firmus Mass as Primary Means of Organization
A. Liturgical chants as well as secular melodies continue to be used but treatment is increasingly free
B. Number of voices expanded to 5 or 6
III Major Composers: 1520-50
A. Nicolas Gombert (ca. 1500 - ca. 1556)
- Former pupil of Josquin
- Attached to Court of Charles V
- Motet Style (Approx. 170 motets)
- generally conservative, but motets described as "dark and intense"
- music reflects general mood of text, but no dramatic examples of word-painting
- typically makes use of a series of points of imitation, but contrasting middle section often more homophonic (in fauxbourdon style)
- Also composes some secular works, e.g., in style of Spanish Villancico
B. Jacobus Clemens (Clemens Non Papa) (ca. 1510- ca. 1556)
- Works in a wide variety of styles and genres:
chansons, masses (15), motets (200), 4 books of Souterliedeken, settings of the psalms with Dutch text in simple, 3-pt. counterpoint incorporating "popular melodies"
- Motet style comparable to Gombert but phrasing clearer than Gombert; melodic motives follow natural rhythm of words more closely
C. Ludwig Senfl (ca. 1490-1543)
- Swiss pupil of Isaac
- Works primarily at Bavarian Court in Munich
- Masses and Motets generally conservative, but known for distinctive style in secular songs and works for Lutheran Church
III The Progressive Tradition
A. Adrian Willaert
- Netherlander working primarily in Italy
- Renown director of music at St. Mark's Cathedral in Venice
- Known for distinctive style in motets and (especially) frottola (later called madrigals)
- rich chromatic harmony
- short, rhythmically distinctive phrases
- textures are more homophonic than for most Netherlanders
- words set syllabically with many repeated notes, following natural accents
- bass functions as much or more as harmonic foundation as an equal polyphonic voice
- Sacred works more conservative but still more chromatic and more sensitive to expressive nuances in the text than earlier Netherlanders
Last Update 6/21/06
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