University of Wisconsin-Green Bay

Literature and Styles in Music I

1. tendency toward major tonality
2. tendency toward greater fullness of sound shown in use of 3rds and 6ths as in
   • Gymel: 2 pt. counterpoint in 3rds and 6ths
   • Rota & Rondellus (e.g., "Sumer is Icumen In")
3. Thirds recognized as theoretical consonance as early as 1300; examples of parallel 3rds and 6ths occur in 12th and 13th century

1. borrowed chant sometimes from Sarum rather than Gregorian repertoire
2. uses a set of related phrases in tenor rather than a repetition of a single rhythm (as in Rhythmic Modes)
3. Voice exchange: Duplum and Triplum often exchange parts

1. new style of counterpoint, first seen in conductus-style tropes
2. Main melody (i.e., borrowed chant) is accompanied by 2 other voices, usually in parallel motion
   • results in a series of sixth chords (i.e., series of major and minor triads in first inversion)
   • consecutive perfect 5ths and octaves forbidden by "rules" of composition in England by late 13th century

1. Name given to continental adaptation of the English sixth chord texture heard in English Discant
2. Composition in 2 voices (parallel 6ths and octaves) which was performed with unwritten 3rd part inserted a perfect 4th below the top voice
3. Difference between Fauxbourdon and English Discant:
   • general effect similar, but fauxbourdon has more fifth-octave sonorities mixed in with sixth chords
   • in Fauxbourdon, principal melody in top voice, whereas in English Discant, principal melody in lowest or middle voice

1. 147 compositions from 1350-1420
2. Mostly settings from Ordinary of Mass; also motets, hymns, sequences
3. Some in isorhythmic style
   • some with cantus firmus (borrowed chant) above the contratenor part
   • some with "migrant" cantus firmus (C.F.)
   • Some in "cantilena" style: principle melody in top part

1. Isorhythmic Motets (12) and Movements from Ordinary of Mass
   • both use isorhythm in tenor part
   • full, triadic sonorities typical of Dunstable and English music in general
     • Example: "Veni Sanctus Spiritus"
2. Miscellaneous 3-pt settings of Biblical or Liturgical Texts (Hymns, Antiphons etc.)
   • varied use of C.F.: in tenor (lowest voice); in middle voice; in top voice in ornamented version
     • Example: "Ave Maris Stella"
       • freely composed (e.g., no borrowed tenor)
     • Example: "Quam Pulcra Es"
       • Form is "through-composed," follows organization of text, rather than any "fixed form"
       • typical Dunstable texture: mostly homophonic with many full triadic sonorities
   • Secular Songs (esp. "O Rosa Bella")

• Major composer: Walter Frye

• For 2, 3 & 4 parts
• In English & Latin
• Triplet rhythms with complex syncopations
  • often dance-like style
• Verse and "Burden" (refrain)