1. Renaissance continued

2. Influence of English music on Continental Style
Contenance angloise
Martin le Franc used this term to describe the pleasing sound of English music in 1440

3. English Polyphony Music based on chants
One common style has three voices with the chant in the middle
Credo
Melody is an English variant of the Credo melody
Chant voice is in the middle
Lowest voice is a 3rd below
Top voice is a parallel 4th above the chant voice
Results in a stream of parallel 6-3 sonorities

4. English Polyphony Cont.
Faburden
Improved 6-3 sonorities
There are few notated examples
Word might derive from “burden” for the lowest voice and “fa” for the need to use Bb, “fa” in the hexachord used.
Cantilena
Freely composed piece, and not based on chant
Homorhythmic settings of Latin texts
Streams of 6th records alternate with other consonances

5. English Polyphony cont.
Isorhythmic motets were used until c. 1400
There were polyphonic settings of Mass Ordinary texts
The Old Hall Manuscript is the primary source of 15th century English polyphony
Largest number of pieces are settings from the Mass Ordinary
It also includes motets, hymns, and sequences

6. Carol Religious songs in Latin or English
Favorite topics were Christmas and the Blessed Virgin Mary
Solo and choral sections alternate
The refrain is called the “burden”

7. Alleluia: A newë Work https://www.youtube.com/watch?v=VDR7UEtNI1E
Anonymous carol
Survives only in a manuscript containing thirty-two carols that was copied around 1450
Text mixes the Latin “Alleluia” with an English poem and incarnation of Jesus
This is a frequent theme for carols

8. John Dunstable (c. 1390-1453) Biography
Most highly regarded English composer of first half of the 15th century
Served many noble patrons, including the Duke of Bedford, who was the Regent of France in 1422
Probably spent part of his career in France
English composer most often cited as influencing continental composers

9. Dunstable’s style Paraphrases No two measures have the same rhythm
Embodies English preference to have 3rds together with 5ths or 6ths
Chant is now up to date

10. Quam pulcra es Not based on any existing melody
Three voices are similar in character and nearly equal in importance
Form is based on the phrases and sections of the text
Faburden appears in a few phrases, leading to cadences

11. Redefining the motet
Term was applied to any setting of a liturgical text, whether the original melody is used or not
Former motet had fallen out of fashion by 1450
Quam pulcra es is an example of the new type of motet

12. Music in Burgundian lands
Chapel
Philip the Bold (ruled ), 1st Duke of Burgundy, established a chapel in 1384
By 1445 the chapel had 23 singers under Philip the Good (ruled )
Band of Minstrels
Instruments including trumpets, shawms, vielles, drums, harps, organ, and bagpipes
Charles the Bold (ruled )
Amateur instrumentalist and composer
Charles the Bold died without an heir so the duchy was absorbed into France

13. Genres Four principal types Secular chansons with French texts Motets
Magnificats
Settings of the Mass Ordinary
Three voice texture dominates
Cantus, spanning a wide range, contained the melody
Tenor and contratenor within the same range, but about a 6th lower

14. Burgundian Chanson Chanson in 15th century
Any polyphonic setting of a French secular poem
Stylized love poems in the courtly tradition
Rondeau (AB aA ab AB) was the most popular form

15. Binchois (c. 1400-1460) Also known as Gilles de Bins
Worked for Philip the Good at the Burgundian court ( )
Works include mass movements, motets, and secular songs
Works are widely copied and imitated

16. De plus en plus Composed around 1425 Uses hemiola
Cantus declaims text in a mostly syllabic setting
Tenor is smooth but slower moving, forming counterpoint in 3rds and 6ths
Contratenor leaps to fill in harmony