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Brown, Leeanne Denise MUSI 352 Midterm Essay 3/9/18

1. What is meant by the “International Style” of the fifteenth century? How did it come about and how is it evident in the music of Du Fay? (Chapter 7-10)

International music is defined as a general category term for global music, for instance folk music, traditional music and etc. This music is often created and played by talented and indigenous musicians and usually share the same connection with their place of origin. Guillaume Du Fay was the most famous composer of the early 15th century. He was the leading composer of his time and one of the most widely traveled. Du Fay's international style can be seen in his chansons. there is definitely a blending of all three styles, English, French, and Italian in his music. Within the French style, there were long melismas, syncopation, free dissonances. Within the Italian there are smooth vocal melodies, melismas, meter change at the b section. With the English style, there came both tenor and cantus, which are equally tuneful stepwise, and syllabic. It reflects how the composers at the time were forming reputations. English music made important contributions to the development of an international style in the first half of the fifteenth century. The influence of English style on Continental composers was celebrated around 1440 in a poem that praised the contenance angloise (English quality) of "lively consonance.".

2. Explain the variety of ways composers active ca. 1480–1520 incorporated existing music (monophonic or polyphonic) into their new works.

The Protestant Reformation was a religious movement of the 16th Century, that began as an attempt to reform the Catholic Church, and resulted in the creation of Protestant Churches. Martin Luther was a prominent person involved in the spread and development of Protestantism. It was a major 16th century European movement aimed initially at reforming the beliefs and practices of the Roman Catholic Church. Its religious aspects were supplemented by ambitious political rulers who wanted to extend their power and control at the expense of the Church. The Reformation ended the unity imposed by medieval Christianity and, in the eyes of many historians, signaled the beginning of the modern era. A weakening of the old order was already under way in Northern Europe, as evidenced by the emergence of thriving new cities and a determined middle class. The term Protestant was not initially applied to the reformers, but later was used to describe all groups protesting Roman Catholic orthodoxy. Martin Luther (1483–1546) — In 1517, nails his 95 Theses onto a Wittenberg Church door. These theses were Latin propositions opposing the manner in which indulgences (release from the temporal penalties for sin through the payment of money) were being sold in order to raise money for the building of Saint Peter's in Rome. Based on the text and music set by Martin Luther, Ein' feste Burg was first printed in a 1529 collection of chorales. The piece is in bar form (AAB) which was the common practice in Germany. The words are based on Psalm 46. Many composers were making chorales into four-part settings, and Johann Walter was the leader in doing so, compiling his first collection in 1524 called Geystliches Gesangk Buchleyn.

3. Lutherans, Calvinists, and Counter-Reformation leaders espoused different attitudes toward the role of music in worship. Demonstrate how these attitudes affected compositional styles in repertory created for each of those movements. (start with each explain what their beliefs were, and how their application Chapter 10) The instigator of the Reformation was Martin Luther. He was a professor of biblical Theology at the university of wittenberg and his approach

*Martin Luther believed in the educational and ethical powers of music. He wanted the congregation to participate in the services. Luther would retain some aspects of the Catholic liturgy, but would alter some. Much of the service was translated into German, but some portions remained in Latin. Music in larger churches with trained choirs kept much of the Latin liturgy and its polyphonic music. Smaller churches however adopted a German Mass, that was published by Luther in 1526. It followed the main outline of the Roman Mass. Most elements of the Proper and Ordinary were replaced with chorales. Through chorales (hymns), the congregation learned the tenets of their faith and celebrated religious holidays. The calvinists understood that Calvinists distrusted the allure of music. They prohibited the singing of texts not found in the Bible. John Calvin rejected the Catholic liturgy, He believed that music might lead people astray. Musical instruments and polyphonic music were forbidden. Psalms were sung to monophonic tunes was the only music allowed in church. However, for devotional use at home, polyphony was allowed. Many had four or more parts, with the tune in the soprano or tenor. Settings were often in chordal style, but some had more elaborate motetlike arrangements. The Counter-reformation would lead to the Council of Trent which was a series of meetings held in Trent to purge the Church of abuses and laxities. Here they made complaints about music Secular cantus firmi, Complicated polyphony that obscured words, Bad pronunciation, Irreverent musicians,Use of instruments. Ultimately the final decision was vague, leaving it to bishops to regulate music.

Counter-Reformation leaders

2.

Movement in Catholic Church to win back those who left

■

Numerous liturgical reforms resulted.

■

The role of polyphonic music in the Church was reaffirmed.

Palestrina (1525/6-1594) ■ ■

He captured the essence of the musical Counter-Reformation. His style became a model for church-music composition and is even used by students of counterpoint even today.

●

Lutheran Church 1.

2.

●

The Lutheran Church initially maintained ties to the Catholic service. ■

Some music kept the original Latin texts.

■

Other melodies had Latin texts translated into German.

■

Contrafactum: new texts fitted to old melodies

Chorale ■

Strophic hymn intended to be sung by the congregation in unison

■

Some tunes were borrowed; others were newly composed.

■

Chorales became source material for later Lutheran composers, such as J. S. Bach.

Other Protestant Churches 1.

Calvinists distrusted the allure of music (see Figure 8.1). ■

They prohibited the singing of texts not found in the Bible.

■

Only notable contribution: rhymed metrical translations of the Book of Psalms set to music, either newly-composed or borrowed

■ ●

Psalm tunes were rarely expanded into larger musical works.

Counter-Reformation 1.

2.

Movement in Catholic Church to win back those who left ■

Numerous liturgical reforms resulted.

■

The role of polyphonic music in the Church was reaffirmed.

Palestrina (1525/6-1594) ■ ■

He captured the essence of the musical Counter-Reformation. His style became a model for church-music composition and is even used by students of counterpoint even today.

1.

John Calvin (1509-1564) rejected the Catholic liturgy (see In Context, p. 150 and Figure 8.2). ○

He believed that music might lead people astray.

○

Musical instruments and polyphonic music were forbidden.

○

Psalms sung to monophonic tunes was the only music allowed in church.

2.

The tunes appeared in collections called Psalters.

3.

The principal French Psalter was published in 1562.

4.

○

All 150 psalm texts were translated into strophic, rhyming, and metrical verse.

○

Loys Bourgeois (ca. 1510-ca. 1561) selected or composed the melodies.

○

Melodies move mostly by step.

○

Psalm 134 (see Example 8.2 and NAWM 43a) is known as "Old Hundredth."

Polyphonic psalm settings ○

5.

6.

For devotional use at home, polyphony was allowed.

○

Many had four or more parts, with the tune in the soprano or tenor.

○

Settings were often in chordal style, but some had more elaborate motetlike arrangements.

Leading composers of polyphonic settings ○

Claude Goudimel (ca. 1520-1572), France

○

Claude Le Jeune (ca. 1528-1600), France

○

Jan Pieterszoon Sweelinck (1562-1621), Netherlands

Influence of the French Psalter ○ ○

Translations of the Psalter appeared in many countries. Other Reformed Churches, including the Lutheran Church, adapted Psalter melodies for their own services.

○

The French Psalter influenced the English Psalter and the Psalter brought to New England by the Pilgrims in 1620.

●

.

The Counter-Reformation ○

Council of Trent (1545-1563) 1.

Series of meetings held in Trent (Northern Italy) to purge the Church of abuses and

2.

Complaints about music

laxities

3. ○

■

Secular cantus firmi

■

Complicated polyphony that obscured words

■

Bad pronunciation

■

Irreverent musicians

■

Use of instruments

The final decision was vague, leaving it to bishops to regulate music.

Adrian Willaert (ca. 1490-1562) 1.

Flemish composers remained prominent throughout Europe.

2.

Willaert was among the best-known composers of his time.

3.

He held several positions in Italy. ■

Director of music at St. Mark's Cathedral in Venice for thirty-five years

■

He trained many eminent musicians, including Zarlino, Cipriano de Rore, and Nicola Vicentino.

4. ●

.

Willaert carefully molded his music to the pronunciation of the words.

Giovanni Pierluigi da Palestrina (1525/6-1594) ○

Reputation (see Biography, p. 153 and Figures 8.4 and 8.5) 1.

Credited with saving polyphony ■

According to legend, his Pope Marcellus Mass (NAWM 45) proved that sacred words could be intelligible in polyphonic music.

■

Palestrina said that the Mass was composed "in a new manner."

■

The six-voice Mass is reverent and attentive to the words.

2.

Palestrina's style is the first in Western music to have been consciously preserved

3.

Few composers before Bach are as well-known today.

and imitated (see Examples 8.3 and 8.4).

○

Mass types (see Figure 8.6) 1. 2.

Half of his works are parody Masses. Several use the old-fashioned cantus-firmus method, including two on the L'homme armé melody.

○

3.

He composed a small number of canonic Masses.

4.

He wrote six free Masses, including the Pope Marcellus Mass.

Pope Marcellus Mass, first Agnus Dei (NAWM 45b) 1.

○

■

Stepwise motion

■

Few repeated notes

■

The range is limited to a ninth.

■

Melodies often form an arch.

■

Leaps are followed by notes in the reverse direction.

2.

Diatonic modes are maintained, and chromaticism is rare.

3.

Each phrase has its own motive that is treated in overlapping points of imitation.

4.

Overall unity ■

Systematic repetition of phrases

■

Cadences on scale degrees that define the mode

Pope Marcellus Mass, Credo (NAWM 45a)

Music during Facts about

The melodies are similar to chant

1.

Attention to text setting is clear.

2.

Voices often pronounce a phrase together rather than in staggered polyphony.

3.

ariety is achieved by dividing the choir into smaller groups.

4.

Use of the full six voices is reserved for climactic passages or significant words.

Bryan A. Flippin MUSI 352 Sheryl Linch-Parker 9 March 18 1. In order for one to fully understand the depth of what is meant by the “International Style” of the fifteenth century one must first understand the fifteenth century music. An International Style emerged in the fifteenth century. Characteristics of fourteenth century French and Italian music were mixed with new sounds of english composers. By 1500 composers from northern France and the Low Countries had assimilated the new style. As a result secular genres were cultivated and influenced by sacred music. Historically during this 1500’s we see the english winning wars and becoming a stronger world power. It is also during the fifteenth century that we see English music influencing the world in great fashion through its flourishing of polyphony in latin texts, carols, and the redefinition of the motet. Through this we can see its impact on composers compositional style. For this particular scenario we will spotlight light its impact of Du Fay. As we look at Guillaume Du Fay he is noted as one of the most famous composers of the early fifteenth century. He was the leading composer of his time and one of the most widely traveled. Du Fay's international style can be seen in his chansons. there is a blending the

English, French, and Italian styles in his music. His Style can be traced within his chansons. Du Fay’s blending of of national traits can be seen through his chansons. French traits being seen as the ballade form (aabC) long melismas, frequent syncopation and free dissonances. Within the French style, there were long melismas, syncopation, free dissonances. Whereas the Italian there are smooth vocal melodies, melismas, meter change at the b section. Within the English style, there came both tenor and cantus, which are equally tuneful stepwise, and syllabic. It reflects how the composers at the time were forming reputations.

Bryan A. Flippin MUSI 352 3. Lutherans, Calvinists, and Counter-Reformation leaders espoused different attitudes toward the role of music in worship. Each leaders of these had a distinctly different Martin Luther believed in the educational and ethical powers of music. He wanted the congregation to

participate in the services. Luther would retain some aspects of the Catholic liturgy, but would alter some. Much of the service was translated into German, but some portions remained in Latin. Music in larger churches with trained choirs kept much of the Latin liturgy and its polyphonic music. Smaller churches however adopted a German Mass, that was published by Luther in 1526. It followed the main outline of the Roman Mass. Most elements of the Proper and Ordinary were replaced with chorales. Through chorales (hymns), the congregation learned the tenets of their faith and celebrated religious holidays. The calvinists understood that Calvinists distrusted the allure of music. They prohibited the singing of texts not found in the Bible. John Calvin rejected the Catholic liturgy, He believed that music might lead people astray. Musical instruments and polyphonic music were forbidden. Psalms were sung to monophonic tunes was the only music allowed in church. However, for devotional use at home, polyphony was allowed. Many had four or more parts, with the tune in the soprano or tenor. Settings were often in chordal style, but some had more elaborate motetlike arrangements. The Counter-reformation would lead to the Council of Trent which was a series of meetings held in Trent to purge the Church of abuses and laxities. Here they made complaints about music Secular cantus firmi, Complicated polyphony that obscured words, Bad pronunciation, Irreverent musicians,Use of instruments. Ultimately the final decision was vague, leaving it to bishops to regulate music....