Muar 211 Study Guide

MU Medieval Period * Hildegard von Bingen: Columba aspexit * Genre = plainchant * Text = sacred, Latin * Texture: monophonic throughout * Performance practice: responsorially, that is, the performance alternates between a single singer (soloist) and the larger choir, which “responds” * The piece becomes more melismatic as it continues. * Ensemble: female vocal soloist, female vocal choir, droning instrument that plays out one note (the final) * Guillaume da Machaut: Dame, de qui toute ma joie vient * Genre = chanson (general term for French secular song) * Text = vernacular (language French), secular * Texture = non-imitative polyphony (four voices with four independent melodies that never repeat the music of another voice part) * Ensemble: a cappella Renaissance Period * Guillaume Dufay: Ave maris stella * Fauxbordon style: a form of harmonization in three parts in which the second line follows the top line a perfect fourth below. The voices are often “moving in parallel thirds,” a relatively new sound and texture at the time. * Based in the Dorian mode * Homophonic/homophonic texture (multiple parts that move mostly in homorhytm, therefore creating a succession of chords) * The top line is an elaborated form of a Gregorian chant melody ie the top line is a cantus firmus. Latin * Genre: Hymn (harmonized hymn) b/c it is sacred and the same music is repeated over and over for changing verses of that sacred text * Josquin Desprez: Kyrie from Pange lingua Mass * Genre: Kyrie from a late Renaissance Mass * Texture: 4 part polyphony; imitative polyphony * Ensemble: a cappella; 4 part choir; SATB * Text: Ancient, sacred Greek prayer (only