Part II The Renaissance Prelude Chapters 4 and

Part II The Renaissance: Prelude & Chapters 4 and 5

“Ave maria…virgo serena” (Anthology I/34) • “Ave maria. . . ” / Oxford Camerata • Published as first item in - O. Petrucci, Mottetti A (1502) • Pervasive imitation (equal voices) • “Points of imitation” (each new idea) • Attention to text setting (audibility/meaning) • Variety of textures • Paratactic structure (separate, unrelated units) • Exceptional control of all elements, e. g. , dissonance • Simultaneous composition (!)

Ottaviano Petrucci, Motetti A (1502) (earliest music printed w/ movable type)

Josquin de Prez (c. 1450 -1521) • Born in low countries (France/Belgium? ) • Chapel of Rene d’Anjou (Southern France) • Milan/Rome –Cardinal Sforza • Papal Chapel (1489 -1495) • Duke of Ferrara’s Chapel • Condé-sur-l'Escaut (N. France) - Provost of Church - Burial • The major figure of the High Renaissance

Mass Techniques (Josquin, et al. ) • Cantus firmus – pre-existing “fixed song” - chant - popular song - other (solfeggio syllables, soggetto cavato) • Canon – parts derived (or follow) exactly from leading line • Imitation (or Parody) – all voices can borrow or emulate the pre-existing sources (closely) • Paraphrase – borrowed material is freely elaborated and embellished

Examples • Imitation / Parody Mass - “Fortuna desperata” (Busnois chanson, Anth I/38) - Kyrie, Missa Fortuna desperata (Josquin, Anth. I/39) • Paraphrase Mass - Kyrie, Missa Pange lingua (Josquin, Anth. I/40) [see original hymn: Anth. I/4] • Soggetto cavato (“subject carved out of a name”) - Kyrie, Missa Hercules Dux Ferrariae - Subject = Re-Ut-Re-La-Mi-Re (DCDCDFED) (textbook Ex. 5 -3)

Secular Vocal Music (to 1520) • Homogeneous texture (equal parts) • Chanson (“song”) • Busnois, “Je ne puis vivre ainsy” (Anth I/43) • Lied (German: “song”) • Isaac, “Innsbruck, ich muss dich lassen” (Anth I/44) • Frottola (Italy) • Josquin, “El grillo” (w/ lute) (Anth I/46) A Concert (c. 1485/95) Lorenzo Costa (1459 -1535),