Presentation on theme: "Chapter 17 Continuous Forms. Continuous Forms- Vocal Music Some vocal music is based on non-repetitive texts and are therefore considered “continuous”"— Presentation transcript:
Chapter 17 Continuous Forms
Continuous Forms- Vocal Music Some vocal music is based on non-repetitive texts and are therefore considered “continuous” form. Majority of examples of text-based continuous forms are Western European— e.g., Renaissance music
Continuous Vocal Forms Motet (Sacred text) One of the most important forms of polyphonic music from circa 1250 to Through-Composed (Secular text)
The Motet From “mot”--French for “word” Medieval Motets Upper voice called “motetus” Renaissance Motets Polyphonic settings of Latin Texts Baroque Motets Any piece of liturgical vocal music
The Motet Sometimes two upper voices had different words. At first Latin texts, mainly concerning the Virgin, were used, but French secular texts became common as the motet shed its connection with church and liturgy.
Renaissance motets The name of the motet was preserved in the transition from medieval to Renaissance music, but the character of the composition was entirely changed. While it grew out of the medieval isorhythmic motet, the Renaissance composers of the motet generally abandoned the use of a repeated figure as a cantus firmus.
Renaissance motets Guillaume Dufay was a transitional figure; he wrote one of the last motets in the medieval, isorhythmic style, the Nuper rosarum flores which premiered in 1436 and was written to commemorate the completion of Filippo Brunelleschi's dome in the Cathedral of Florence.
Josquin Desprez [ca ] One of the greatest Renaissance composers His works were among the first printed music Composed over 100 motets, 18 masses, and 70 secular pieces. During his lifetime he acquired immense popularity and fame, and was much in demand.
Absalon, fili mi Motet by Desprez (ca. 1497) “Absalon, my son” The tonal content of Absolon, fili mi is striking as it continually sinks flatward on the phrase "sed descendam in infernam" (but I will descend into the inferno). This passage, startling in its time, may have influenced multiple generations of composers developing the new musica reservata style of chromaticism, word-painting, and other imagery.
Characteristics of Absolom a cappella Uses imitative counterpoint Explores entire chromatic scale Low in pitch Written in “Part Books” rather than full score