14th Century Polyphony

7/16/2019 14th Century Polyphony

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MOTET

Musicians at Nôtre-Dame created this

new genre in the

early thirteenth century



MOTET

Motets originally consisted of newly written Latin words

added to the upper voices of discant clausulae.The earliest texts were often a textual trope of the clausula.



MOTET

The French word for “word” MOT

inspired the name for the genre.



MOTET

The Thirteenth-Century Motet is a

polyphonic works withone or more texted voices added to a pre-existing tenor,

which is set in a modal rhythm.



MOTET

Motets are identified by a

compound title

comprising the first words of each voice fromhighest to lowest.



MOTET

Motets are identified by a

compound title

comprising the first words of each voice fromhighest to lowest.

Factume est salutare / Dominus



MOTET

The motet became the leading polyphonic

genre for both

sacred and secular music.



MOTET

The Early Motet (to ca. 1250)



MOTET

Based on the discant clausula



MOTET

Based on the discant clausulaThe new text tropes the original chant text

Phrasing of original clausulashapes phrases of added text



MOTET

Sung during the Mass or as independent entertainment



MOTET

Factum est salutare / Dominus



MOTET

These existing motets were reworked

New texts added to duplum in Latin or French

no longer linked to liturgical context



MOTET

These existing motets were reworked

New texts added to duplum in Latin or French

no longer linked to liturgical context

Other voices (triplum) added

with texts of their own



MOTET

Early Motets (to ca. 1250)

Double Motet: a motet with two addedtexts above the tenor(Double motet = three voices)



MOTET

Early Motets (to ca. 1250)

Triple motet: a motet with three addedtexts above the tenor (Triple motet = four voices)



MOTET

The “Additive” Motet

Original duplum discarded andanother one (or more) composed.



MOTET

“Original” Motets composed “from scratch”



MOTET


Chant tenor from clausula set in modal rhythm



MOTET


Chant tenor from clausula set in modal rhythmDuplum / Triplum added above tenor



MOTET

on “Dominus” of

“Viderunt omnes”



MOTET

melisma



MOTET

“Factum est salutare / Dominus”

∨“Fole acostumance / Dominus”

same tenor (2x)



MOTET



same tenor (2x)

new duplum…



MOTET



same tenor (2x)

new duplum…with secular text...



MOTET



same tenor (2x)

new duplum…with secular text...in French



MOTET

“Super te / Sed fulsit / Dominus”Tenor “Dominus” (first half 2x)

Duplum / Triplum with texts from Latin poem



MOTET

“Super te / Sed fulsit / Primus Tenor / Dominus”

based on“Super te / Sed fulsit / Dominus”



MOTET

“Super te / Sed fulsit / Primus Tenor / Dominus”

based on“Super te / Sed fulsit / Dominus”

with added untexted “primus tenor”



MOTET

Motets in later thirteenth century



MOTET

Motets in later thirteenth centuryBy 1250 three voices are typical



MOTET

Motets in later thirteenth centuryBy 1250 three voices are typicalUpper voices with texts in Latin

or French, or French & Latin



MOTET

By 1270 the tenor is now called the

CANTUS FIRMUS



MOTET

By 1270 the TENOR is now called the

CANTUS FIRMUS=

A pre-existing melody



MOTET

By 1270 the TENOR is now called the

CANTUS FIRMUS=A pre-existing melody

Melody predominantly CHANT



FRANCONIAN NOTATION

Franco of Cologne Ars Cantus Mensurabilis (c. 1280)Innovations in notating RHYTHM



FRANCONIAN NOTATION

Noteshape signifies relative duration



FRANCONIAN NOTATION

Noteshapes are:



FRANCONIAN NOTATION

Noteshapes are:

+ Double long



FRANCONIAN NOTATION

The tempus (pl. tempora) is the basic unit

Long = 2 or 3 tempora Breve = 2 or 3 tempora



FRANCONIAN NOTATION

The tempus (pl. tempora) is the basic unit

Long = 2 or 3 tempora Breve = 2 or 3 temporaFranconian system included signs for rests



FRANCONIAN NOTATION



FRANCONIAN NOTATION



FRANCONIAN NOTATION



FRANCONIAN NOTATION

With Franconian notationscore notation not needed

voices written in parts rather than score format



FRANCONIAN NOTATION

DUPLUM

TRIPLUM

TENOR



FRANCONIAN MOTETS

Motets written in Franconian Notation

Written in style made possible by Franconian Notation



FRANCONIAN MOTETS

Motets written in Franconian Notation

Written in style made possible by Franconian NotationEach voice has distinctive rhythm

Rhythm no longer shaped by Modal Rhythm



FRANCONIAN MOTETS

Adam DE LA HALLE

(c. 1240-1288?)

De ma dame vient / Dieus comment porroie /

Omnes



FRANCONIAN MOTETS

Tenor “Omnes” > Gradual Viderunt Omnes

(4) x 3



FRANCONIAN MOTETS


(4) x 3Duplum (Motetus) > Dieux, comment porroie



FRANCONIAN MOTETS


(4) x 3Duplum (Motetus) > Dieux, comment porroie

Triplum > newly composedwith quotes from songs



FRANCONIAN MOTETS

Each voice has its own paceDuplum = woman’s point of view

Triplum = man’s point of viewParts are independent



FRANCONIAN MOTETS

Harmony allows thirds and other dissonances

P 4 now being treated like a dissonanceCadences still demand “perfect” consonances

Cadence patterns developing



ROTA

English culture was tied to that of France after

the Norman Conquest in 1066



ROTA

English culture was tied to that of France after

the Norman Conquest in 1066 Although they adopted French culture,

English musicians created a distinct musical style



ROTA

Prominent “imperfect consonances” Improvised partsinging in close harmony

documented as early as 1200



ROTA

Prominent “imperfect consonances” Improvised partsinging in close harmony

documented as early as 1200Emphasis on

harmonic thirds and triads

including the final sonority



ROTA

Voice-exchange evolved into elaborate

techniques



ROTA

Voice-exchange evolved into elaborate

techniquesThe RONDELLIUS

two or three phrases are heard simultaneously,

with each voicesinging each one in turn



ROTA

Rondellus

Triplum: a b cDuplum: c a b

Tenor: b c a



ROTA

A ROTA is a perpetual canon

or round at the unison



ROTA

Sumer is icumen in



ROTA

Sumer is icumen in

Two voices sing a voice-exchange pes (Latin for “foot” or “ground”).



ROTA

Sumer is icumen in

Two voices sing a voice-exchange pes (Latin for “foot” or “ground”).Four upper voices in canon

producing alternating triadic sonorities of F–A–C and G–B-flat–D



POLYPHONY

By 1300, “composition” meant creating

polyphony, not monophony.



POLYPHONY

Writing down music of multiple parts in coordinating vertical sonorities to create a

sense of direction that would be a hallmark of Western tradition and set it apart from almost all other

musical traditions.



FOURTEENTH CENTURY

Difficult conditions in Europe



FOURTEENTH CENTURY


“Mini Ice Age”Floods



FOURTEENTH CENTURY



The BLACK DEATH



FOURTEENTH CENTURY



The BLACK DEATH



FOURTEENTH CENTURY

BUBONIC PLAGUE

killed one third of the Europe’s population1347-1350



FOURTEENTH CENTURY

BUBONIC PLAGUE

killed one third of the Europe’s population1347-1350

Victims died within daysSurvivors fled urban areas



FOURTEENTH CENTURY

GREAT SCHISM

1378-1417 King Philip IV of France

French Pope in Avignon Corrupt clergy bureaucracy



FOURTEENTH CENTURY

SCIENCE & SECULARISM

William of Ockham (c.1285-1349)Knowledge from experience and the senses

Eyeglasses, Mechanical clocks, Magnetic compass



FOURTEENTH CENTURY

compassWilliam of Ockham



FOURTEENTH CENTURY

VISUAL ARTS

The Florentine painter GIOTTO achieved morenaturalistic representation

and a sense of depth and symmetryPERSPECTIVE



FOURTEENTH CENTURY

VISUAL ARTS

Giotto, Arena Chapel, Padua



FOURTEENTH CENTURY

LITERATUREIncreased literacy led to

more literature in the vernacular. Dante Alighieri and Giovanni Boccacio in Italian

Geoffrey Chaucer in English



FOURTEENTH CENTURY

MUSICIncreased attention to secular song,

though much sacred music continuedto be composed.



FOURTEENTH CENTURY

ROMAN de FAUVEL

F latterie (Flattery) Avarice (Greed)

V illanie (Villany)

V ariété (Fickleness)

E nvie (Envy) Lâcheté (Cowardice)



FOURTEENTH CENTURY

ROMAN de FAUVEL

F latterie (Flattery) Avarice (Greed)

V illanie (Villany)


E nvie (Envy) Lâcheté (Cowardice)



ROMAN de FAUVEL

F latterie (Flattery)

Avarice (Greed)

V illanie (Villany)


E nvie (Envy)

Lâcheté (Cowardice)Fond Français 146, Paris, Bibliothèque Nationale



ARS NOVA

Philippe de Vitry (1291-1361)

Ars Nova (c. 1320)“This completes the ars nova of Magister

Philippe de Vitry”



ARS NOVA

Philippe de Vitry (1291-1361)

Ars Nova (c. 1320)“This completes the ars nova of Magister

Philippe de Vitry”Vitry compositions among the 169 pieces of

music in Fauvel



ARS NOVA

MENSURATION SIGNS

MODE = Division of the LongTIME = Division of the Breve PROLATION= Division of the Semibreve

Major / Minor



ARS NOVA

Shifting emphasis to duple meters was criticized

by Jacque de Liège

“Perfection is brought low, and imperfection

exalted.”



ISORHYTHM

Motets of Philippe de Vitry some of the earliest

uses of ISORHYTHM



ISORHYTHM

Motets of Philippe de Vitry some of the earliest

uses of ISORHYTHM

Rhythmic structure of the tenor of motet



ISORHYTHM

TALEA

“cuttings” (pl. taleae) Rhythmic pattern

COLOR“color” (pl. colores)

The melodic notes of the tenor



ISORHYTHM

TALEA


The tenor is laid out in segments of identical

rhythm.



ISORHYTHM

TALEA


Taleae in tenors in 1200s = short patterns Taleae in tenors in 1300s = longer patterns



ISORHYTHM

TALEA


The slow pace of the tenor makes it less a

melody and more of a foundational structure.



ISORHYTHM COLOR

“color” (pl. colores)

The melodic notes of the tenor

The color and may repeat,

but not necessarily with the rhythm.



ISORHYTHM

“In arboris / Tuba sacre fidei / Virgo sum”

attributed to Vitry



ISORHYTHM


attributed to Vitry

Tenor refers to the Virgin MaryDuplum ( Motetus) and Triplum refer to Mary



ISORHYTHM


attributed to VitryThe tenor includes

two statements of the color 6 repetitions of the talea



ISORHYTHM


attributed to Vitry Coloration indicates changes from duple to triple

Introitus



HOCKET

“Hiccup”

Two voices alternating in rapid succession, each resting while the other sings

The device was developed in the thirteenthcentury



ARS NOVA HARMONIC PRACTICES

Greater prominence of imperfect consonancesCadences required perfect consonances,but their resolution could be sustained

Parallel octaves and fifths continued to be used



GUILLAUME de MACHAUT

(c. 1300-1377)




(c. 1300-1377)The leading composer of the French Ars Nova

Born in northeastern France, middle-class family

Educated as a cleric and took Holy Orders




(c. 1300-1377)1323–1340, worked as secretary for John

of Luxembourg, King of Bohemia,

Resided in Reims after 1340Royal patrons supported him, including the

kings of Navarre and France




(c. 1300-1377)First composer to compile his complete works

and to discuss his working method

He wrote his poems first, then the music




(c. 1300-1377)First composer to compile his complete works

and to discuss his working method

He wrote his poems first, then the musicLiked music “sweet and pleasing”




(c. 1300-1377)He paid for the preparation of several

illuminated manuscripts of his works

He composed many major musical works andnumerous narrative poems




(c. 1300-1377)23 motets, most from early in his career

20 are isorhythmic, 3 which usesecular songs as tenors.Often include hockets




(c. 1300-1377) Messe de Nostre Dame

“Mass of Our Lady”




(c. 1300-1377)Probably the earliest polyphonic setting of the

Mass Ordinary to be composed by a single

composer and conceived as a unitKyrie, Gloria, Credo, Santus, Agnus Dei

&

Ite missa est




(c. 1300-1377)In the fourteenth century, anonymous

composers in France, England, and Italyset individual movements polyphonically.A few mass “cycles” were assembled from

individual movements




(c. 1300-1377)Composed for the cathedral in Reims

Performed at a Mass for the Virgin Marycelebrated every Saturday

After Machaut’s death, an oration for

Machaut’s soul was added to the service,and performed until fifteenth century




(c. 1300-1377) UNIFYING DEVICES

Recurring motivesTonal focus on D in the first three

movements and on F in the last three





All six movements are for four voices, including a contratenor (“against the tenor”)

that moves in the same range as the tenor.





Kyrie, Sanctus, Agnus Dei, and Ite, missa est are isorhythmic.




(c. 1300-1377) KYRIE

Chant Kyrie Cunctipotens Genitor




(c. 1300-1377) KYRIE

TENOR: 28 notes of chant, 4-note talea x 7




(c. 1300-1377) KYRIE

TENOR: 28 notes of chant, 4-note talea x 7 Contratenor also isorhythmic




(c. 1300-1377) KYRIE

TENOR: 28 notes of chant, 4-note talea x 7 Contratenor also isorhythmic

Upper voices partially isorhythmic




(c. 1300-1377) Kyrie I: Polyphony, Chant, Polyphony

Christe: Chant, Polyphony, ChantKyrie II: Polyphony, Chant

Kyrie III: Polyphony




(c. 1300-1377)Polyphonic songs (chansons, “songs”)

in the formes fixes




(c. 1300-1377)“Treble-dominated” songs major

innovation of the Ars Nova

The treble or cantus carries the text

Slower untexted tenor supports the cantus.A contratenor may be added,

Triplum in same range as cantus




(c. 1300-1377) RONDEAUX

Two musical phrases ( A and B) Text includes a “refrain” (AB)

Form: ABaAabAB




(c. 1300-1377) RONDEAUX

“Rose, liz, printemps, verdure”



A Rose, liz, printemps, verdure,Fleur, baume et tres douce odour, B Bele, passés en douçour, a Et tous les biens de Nature, Avez dont je vous aour.

A Rose, liz, printemps, verdure,Fleur, baume et tres douce oudour.

a Et quant toute creature Seurmonte vostre valour,

b Bien puis dire et par honnour: A Rose, liz, printemps, verdure,

Fleur, baume et tres douce oudour,B Bele, passés en douçour.



ARS NOVA … ARS SUBTILIORComposers at the court of the Avignon pope

across southern France and northern Italy cultivated complex secular music.



ARS NOVA … ARS SUBTILIOR

ARS SUBTILIOR a continuation of Ars Nova

in

secular polyphonic songs in the formes fixesand

developing the complexities of Ars Nova notation



ARS NOVA … ARS SUBTILIOR

Love songs intended for an elite audience

Pieces notated in fanciful shapes

Rhythmically complex



“Belle, bonne, sage”Baude Cordier



“Tout par compas”Baude Cordier



Performing Fourteenth-Century Music

There was no uniform way to perform

polyphonic music.Pictorial and literary sources indicate vocal,

instrumental, and mixed groups.All vocal performance was most common.



INSTRUMENTS

Instruments separated into 2 categories:

HAUT and BAS



INSTRUMENTS

HAUT (“high”) instruments were loud,

for outdoors and dancing. Cornetts TrumpetsShawmsSackbuts



INSTRUMENTS

BAS (“low”) instruments were soft in volume

and were played indoors Stringed instruments: harps, lutes, and vielles

Portative organsTransverse Flutes

Recorders



INSTRUMENTS

Percussion instruments were common in all

kinds of ensembles



“FALSE MUSIC”

MUSICA FICTA, or Chromatic Alterations



“FALSE MUSIC”

Raising or lowering a note by a half-step

to avoid the tritonePitches altered to make a smoother melodic line,

especially at cadences.



“FALSE MUSIC”


to avoid the tritonePitches altered to make a smoother melodic line,

especially at cadences.The resulting pitches lay “outside the gamut” andwere thus “false”, or ficta



“FALSE MUSIC”


to avoid the tritonePitches altered to make a smoother melodic line.The resulting pitches lay “outside the gamut” and

were thus “false” or ficta



“FALSE MUSIC”

Medieval singers were trained to recognize

situations in which a ficta were needed,so accidentals were rarely notated.

(Modern editions ficta accidentals above the staff,

to indicate editorial intervention)

WHITE NOTATION



WHITE NOTATIONWhite Notation uses a five-line staff,

and three clefs—G, C, and F. Usually the only accidental notated as a ‘key’

signature is B-flat, though later composers

experimented with more

WHITE NOTATION



MEASURES AND BARLINES

There are no barlines or measuresBut the length of the breve usually acted as a time unit

analogous to the modern concept of a measure

WHITE NOTATION



WHITE NOTATIONNOTE VALUES and RESTS

WHITE NOTATION



WHITE NOTATIONMENSURATION

Mensuration deals with the

division of the Breve (called Tempus or “time”) and the Semibreve (Prolationis Species or

“prolation”)

WHITE NOTATION




Breve divisions (Tempus) are either

“perfect” (division into 3s) or “imperfect (divisioninto 2s).

Semibreve divisions (Prolation) are either

“major” (3) or “minor” (2)

WHITE NOTATION




A line through the mensuation symbol indicates

that all note values are cut in half (alla breve).

WHITE NOTATION



WHITE NOTATIONCOLORATION

The value of a note in a mensuration can be

changed by coloring in the white space of breve,

semibreve, or minim and by dotting. In determining a note’s value, coloring is

calculated before dotting.

WHITE NOTATION



In Perfect Time

—where a breve has the value of 3 semibreves—

coloring a breve will subtract a 1/3 or its value

and imperfects its value and makes a breve equalto 2 semibreves (a duplet)

WHITE NOTATION



In Imperfect Time

—where a breve has the value of 2 semibreves—

coloring 3 consecutive semibreves creates a triplet

and perfects their value, momentarily making 3semibreves equal the value of 1 breve

WHITE NOTATION



Josquin uses coloration for all the notes in his

lament on the death of Ockeghem, Nymphes des Bois

to create “eye music”where the blackened notes indicate mourning.

WHITE NOTATION



Josquin uses coloration for all the notes in his

lament on the death of Ockeghem, Nymphes des Bois

to create “eye music”where the blackened notes indicate mourning. In doing so, Josquin limits himself to longs,

breves, semibreves, and minims, since semiminimand fusa values are already “black



WHITE NOTATION



WHITE NOTATIONLIGATURES

White Notation is complicated by several factors,

one of them being the continued use of theLIGATURES (multiple-note units)

and the conventions associated with their use

carried over from neumes.

WHITE NOTATION



WHITE NOTATION“BREVE” ligatures

At the tempus level, each two-note ligatures has

the value of a breve followed by a long (indicated

by the downward tail).

WHITE NOTATION




WHITE NOTATION




WHITE NOTATION



WHITE NOTATION“SEMIBREVE” ligatures

The two-note ligatures that begin with an upward tail are semibreves,

and each two-note pes or clivis has the value of

two semibreves,both the square or oblique forms.

WHITE NOTATION



WHITE NOTATION“SEMIBREVE” ligatures

WHITE NOTATION



WHITE NOTATION

CANONS

WHITE NOTATION



WHITE NOTATIONIn his

Missa ‘L’homme armè’

Dufay writes “Cancer eat plenus et redeat medius”

(Let the crab proceed full, and let it return by half )

in the tenor part of the third section of the

“Agnus Dei.”

WHITE NOTATION



WHITE NOTATION

WHITE NOTATION



WHITE NOTATION

This indicates that the singers perform this part retrograde

(crabs where thought of as walking “backwards”)with full rhythmic value,and then forward (or “returning” for the crab)

with the notes at half value.

WHITE NOTATION



WHITE NOTATION

Dufay composes his motet “Nuper rosarum flores”

as an isorhythmic motet, built on two tenors

WHITE NOTATION



WHITE NOTATION

Dufay composes his motet “Nuper rosarum flores”

as an isorhythmic motet, built on two tenors

WHITE NOTATION



WHITE NOTATIONDufay notates each tenor part with

four mensuration signs and a repeat, indicating that each performer plays their tenor

line four times, each time with a differentmensuration

WHITE NOTATION



Dufay notates each tenor part with

four mensuration signs and a repeat, indicating that each performer plays their tenor

line four times, each time with a differentmensuration

WHITE NOTATION



The numerical value of the breve changes from

6 : 4 : 2 : 3

WHITE NOTATION



The numerical value of the breve changes from

6 : 4 : 2 : 3

WHY?

WHITE NOTATION



Dufay wrote this motet for the consecration of the

Duomo in Florence.

WHITE NOTATION



WHITE NOTATION



Filippo Brunelleschi

(1377-1446)S. Maria del Fiore, begun 1296

Dome (1420-1436)consecrated by Pope Eugenius IV on

March 25, 1436

WHITE NOTATION



WHITE NOTATION



WHITE NOTATION



WHITE NOTATION



The numbers refer to the dimensions of

Solomon’s temple described in the Third Book of

Kings, 6:1-20(reduced to their lowest common denominators).

WHITE NOTATION



2 And the house, which king Solomon built to the

Lord, was threescore (60) cubits in length, and

twenty cubits in breadth, and thirty cubits in

height…16 And he built up twenty cubits with boards of

cedar at the hinder part of the temple, from the

floor to the top: and made the inner house of the

oracle to be the holy of holies.

WHITE NOTATION










WHITE NOTATION










WHITE NOTATION



6 : 4 : 2 : 3

6 (the Temple’s total length) 4 (the length of the nave)

2 (the length of the sanctuary and width of the

building)

3 (the height of the building)

WHITE NOTATION



6 : 4 : 2 : 3

6 (the Temple’s total length) 4

WHITE NOTATION



6 : 4 : 2 : 3

6 (the Temple’s total length) 4 (the length of the nave)

2 (the length of the sanctuary and width of the

building)

3 (the height of the building)

Documents

14th Century Polyphony