University of Wisconsin-Green Bay

Literature and Styles in Music I

• This is even more true of next generation, e.g., Netherlands chansons by Ockeghem, Obrecht and Josquin Des Prez

• Netherlands chansons sometimes use the older fixed forms but more frequently employ strophic forms with refrains

• Older works normally in 3 parts
• More recent works usually in 4 parts and show:
  • fuller texture
  • more extensive imitation
  • clearer harmonic structure
  • greater equality of voices
  • duple meter common
  • C.F. often from popular tune or earlier chanson
  • C.F. often in highest voice, or broken up & distributed between voices in imitation

1. frequent use of secular melody as C.F.
2. Elaborate technical treatment of C.F.
   • e.g., transposing melody to successive degrees of hexachord for each movement
   • also use of Soggetto Cavato (musical anagrams based on vowels)

1. Refers to borrowing from a pre-existing source several motives, phrases, progressions, or even entire sections (extension of Cantus Firmus Mass principle)
   • borrowed material than placed in new context: new imitative texture produced, borrowed material alternated with new material
2. Composers use this approach as a challenge to their ingenuity, as an intellectual challenge
   • borrowing secular material sometimes preferred over chant because of clearer harmonic implications of former
   • More concern with showing skill than originality
3. While older forms of mass organization continue, "Parody Mass" ("Imitation Mass") becomes favorite approach

• Each phrase given its own musical motive, presented in imitation by each voice in turn, followed by a cadence (usually concealed by overlapping voices) and then repetition of the process

• repetition of phrases (often varied by changes in texture)
• division of entire motet into large sections (often 3) marked by simultaneous cadences & changes of mode, meter & texture
  • often a rounded 3-part form ( A B A') in which the third section is a repetition of the first or resembles it

1. Josquin makes effort to make the text clearly understood
   • generally follows natural word accent
2. Reacts against highly melismatic style of Ockeghem and more casual approach of other predecessors in setting of text
3. Some use of word-painting gestures
   • anticipates Musica Reservata: style in which music provides detailed reflection of the text by use of chromaticism, ornaments and contrasts of rhythm and texture

• Use of imitation standard in first section; contrasting sections may be more homophonic
  • tonality unusually clear

• based on Italian models

1. Known for Canti Carnascialeschi (Carnival Songs) associated with Florentine holiday pageants
   • characterized by lively rhythms and homophonic textures
2. Also known for setting of German popular song "Innsbruck, I Must Leave Thee," based on the chorale "O World, I Must now leave thee."
3. Choralis Constantinus: cycle of motets in typical Netherlands imitative style based on liturgical texts and chant melodies from the proper of the Mass
4. Missa Carminum: involves "quodlibet-like" treatment of secular melodies