University of Wisconsin-Green Bay
Literature and Styles in Music I
Burgundian School
I Court of Dukes of Burgundy (late 15th century)
A. Court features many of the most famous musicians and artists in Europe
B. Cosmopolitan atmosphere assured by interchange between native Burgundians and Europeans of varied background
II Major Composers and Genres
A. Burgundian Chansons: Dufay and Binchois
- Dufay's background
- Cosmopolitan experience: educated at Cambrai, works at Papal Chapel in Rome, with Duke of Savoy, Pope's Chapel in Florence and Bologna
- Also a priest; final position as Canon at Cambrai Cathedral
- Principal composition types: chansons (with French texts), masses, Magnificats, motets
- Style of Guillaume Dufay's Burgundian Chansons
- Text generally typical of poetic tradition of courtly love
- Generally employs older "fixed forms" such as Rondeau (A B a A a b A B) and Ballade (a a b C)
- Texture also similar to ballade, i.e., "treble" or "discantus" with main melodic interest, tenor and contratenor (both played instrumentally
- Occas. brief points of imitation between parts
- Total effect combines full sonorities and smoothness of fauxbourdon style with greater melodic freedom in lower parts than found in English discant
- Near tonal effect produced by a new type of cadence which resembles dominant-tonic sound
- Style of Gilles Binchois' Burgundian Chansons
- Although a priest, composes secular music exclusively at Court of Philip the Good
- Specialist in Burgundian Chanson
- Known for "artificial" courtly style
B. Burgundian Sacred Works: Motets
- Originally no difference in style between scared and secular works: motets and masses both in chanson style
- But use of cantus firmus more obvious than in earlier works
- Now meant to be heard: often appearing in an ornamented version in the top voice
- Fauxbourdon harmony also typical of motets and masses
- Motets for special ceremonial occasions sometimes in older isorhythmic style
C. Burgundian Sacred Works: Masses
- Later Mass style develops which employs more specifically sacred style and is more obviously unified
- Means of unification:
- Missa Choralis ( or Plainsong Mass):
Each movement of mass employs chant as cantus firmus
- Motto Mass:
All movements unified by recurring motive
- Cyclic Mass (Tenor Mass or Cantus Firmus Mass):
Each movement uses same cantus firmus
- 4 Part Textures become common
- Borrowed cantus firmus is in second lowest part ("Tenor")
- Beneath is contratenor bassus
- Above is contratenor altus and cantus (or Discantus or Superius)
- Borrowed tenor part is written in longer note values, or in isorhythm or, if a secular melody, in modified proportional durations
- Examples:
- L'Homme Arme
- Se La Face Ay Pale
Last Update 6/21/06
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