University of Wisconsin-Green Bay

Literature and Styles in Music I

• stimulated by discovery of "lost" works of art and literature
  • attempts to revive Ancient Greek music less prevalent (and less successful)

• concentration on secular pleasures as well as attaining eternal salvation
  • general tendency toward this world view even in late Middle Ages
  • sacred and secular mixed in accomplishments of Botticelli, Da Vinci, Michelangelo, Raphael, Ariosto & Machiavelli

• many scholars flee to the West, stimulating renewed interest in Greek scholarship and philosophy

• as a result, composers and performers gain higher prestige and social status

• instructional manuals become important
• new repertoire appropriate to non-specialists

1. Gutenberg's movable type printing press (1450)
2. First chant books printed (1473)
3. Petrucci publishes first collection of polyphonic music (1501)
   • By 1523, 59 volumes of vocal & instrumental music
   • Most church choirs still use large handwritten choirbooks, although a few printed ones exist

1. i.e., homogeneous texture rather than heterogeneous texture of the Middle Ages
   • Composing of all parts simultaneously becomes norm
2. All lines of equal melodic importance
   • but outer voices may sometimes be given special prominence

1. Triads in root position and first inversion become standard (except for cadences)
2. Harmony conceived in terms of collections of consonant intervals in connection with melodic and modal requirements

1. Musica Ficta tradition continues, in some cases employed extensively
2. Chromaticism used more liberally for "shaping" of melody and for "word-painting"

1. Fluid rhythm, marked only by subtle Tactus
2. Strong, heavily accented rhythm in dance music

1. tendency toward obvious expression of images and feelings in text; toward elaborate examples of word-painting
2. Trend away from abstract, hidden devices of organization

• Their style is widely imitated by composers throughout Europe

1. Student of Dufay
2. Becomes Master of the Chapel for King of France
3. Limited output: 13 masses, 10 motets, 20 chansons
4. Musical style:
   • Texture
     • similar to Late Dufay with bass part extended lower in the range for darker, fuller sound than Burgundians
     • texture varied by reducing it to trios and duets to contrast with full 4-part harmony t free polyphony is standard, but some passages in more homophonic texture
   • Melodic Style
     • flexible, long winding phrases as in chant
     • few obvious cadential pauses
   • Harmonic Style
     • less "modern" than the Burgundians, from the desire to create a clearly distinguishable sacred style
     • more obviously modal than Burgundians (e.g., less chromaticism)
     • harmonic "successions" don't seem methodical
   • Use of Imitation
     • no heavy reliance on imitation
     • brief passages occur unsystematically, usually not involving all voices
     • Occasionally complex canonic counterpoint is heard in masses (e.g., Missa Prolationum)
   • Formal Organization
     • Cantus Firmus Masses (C.F. may be sacred or secular; treatment usually quite free)
     • "Motto" Masses (different movements linked by recurring theme or motives)
     • Ockeghem's Masses demonstrate a mystical, archaic quality

Antonine Busnoys (Busnois) (ca. 1430-92)

•     In the service of Charles the Bold, Mary of Burgundy & Maxilian of Hapsburg
•      Like Ockeghem, more imitation, (not always puzzle canons), longer melodic phrases, greater equality between voices and greater use of duple rhythm   

1. Holds positions at Cambrai, Bruges, Antwerp & Court of Ferrara
2. Works: 29 masses, 28 motets, misc. chansons & instrumental pieces
3. Musical style:
   • Less "mystical and archaic" than Ockeghem; more obviously expressive of text
   • Texture: more influenced by simpler, homophonic textures of Italian style (incl. Frottola)
   • Melody:
     • smooth, melismatic lines but divided into relatively clear, short phrases with periodic cadences
     • melodic lines have greater sense of direction than Ockeghem's
     • more obvious use of unifying motives and sequences
   • Harmony
     • harmonic successions clearer and more systematic
     • more frequent use of chromaticism
     • fondness for more "modern sounding" Aeolian and Ionian modes
   • Use of imitation
     • more frequent use of free imitation
     • occasional canons in masses but lacks Ockeghem's fascination for "puzzles"
   • Formal Organization
     • Masses most often Cantus Firmus type
       • but great variety in use of cantus firmus: entire melody may be quoted or just first phrase
       • C.F. may permeate all voices in motets
       • Occas. more than one C.F. used