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12-Final-Listen-Review - Music 12 Review for Final...

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Music 12 Review for Final: Listening CD 2 19 John Dunstable (c. 1390-1453), “Quam pulchra es” Marian Motet Contenance Angloise ”—the “English Countenance” for the sound of English Discant The Meane (the Melody) with improvised polyphony forming blocks of parallel 6/3 chords (including thirds and sixths) CD 2 22 Guillaume Dufay(c. 1400-1474), “Nuper rosarum flores—Terribilis est locus iste” Isorhythmic Motet Written for the completion of the Duomo (1436) in Florence Tenors (in canon) based on the proportions of 6 : 4 : 2 : 3, the measurements of the Temple of Solomon . CD 3 1 Guillaume Dufay, “Agnus Dei,” Missa ‘L’homme Armé’ Cantus firmus mass based on ‘L’homme armé” Cantus firms canzicrans in Agnus III: has tenor rubric —“ Cancer eat plenus et redeat medius ” (Let the crab proceed full and let it return half”) Retrograde with full value notes, then beginning to end at half value Beginning of L’homme Armé” Mass tradition: (over 40 masses based on this tune over 150 years. Uses a tune as basis to musically unify 5 part of Mass. Flemish Composers: CD 2 24 Johannes Ockeghem (c. 1410-1497), Kyrie, Missa Prolationum [“Prolation Mass”] o The four voices of the piece are generated from only two notated parts: each notated part (the unnamed ‘superius’ and the ‘contra’) generates two performed parts o “Kyrie” mass movment in the typical three sections o “Christe” features reduced forces (duets) CD 3 2 Josquin Desprez (c. 1440-1521), “Ave Maria…virgo serena” “Prayer” motet to the Virgin Mary o Opening phrase based on a chant tune (but only the opening) o Pervading imitation o Counterpoint ’: writes music with new phrase of music for each line of text (i.e. point to point) o Overlapping phrases for a continuous flow, increased rhythmic and harmonic activity at the ‘ drive to cadence o Personal plea at the end of the piece in homophony CD 3 3 , Josquin (?), “Absalom, fili mi” [motet] o Low tessitura (range) o Key signature of mode (two flats, three flats, four flats) and sequence at end of motet (“sed descendens in infernum plorans”) creates a series unusual musica ficta , including g-flat, d- flat, a-flat moving to the extreme molle (‘soft’) side of solmization.
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