The Renaissance
The "English Manner"
15th c. Burgundy
Mass Appeal
Second half of 15th c. (ca. 1450-1500)
International Style of the 15th c
Instrumental music in 15th and 16th c
Reformation
100

In 1450, this man developed movable type

Johannes Gutenberg

100

The name of this category, when translated into French

"Contenance Angloise"

100

This word, meaning international or worldly, came to describe both the courts and music of 15th century Europe

cosmopolitan

100

This type of mass uses a head-motive as its primary linking device, beginning each movement with the same melodic motive

motto mass


100

These medieval dances were brought to an end by the generation of European composers born around the mid-15th century, as interest in imitative and homophonic textures grew

formes fixes

100

This theorist's Book on the Art of Counterpoint was published in 1477, and included a hierarchy of genres/styles

Johannes Tinctoris

100

this genre is a compilation of all the sections of a mass for organ

organ mass

100

This religious man believed that salvation was granted through faith alone

Martin Luther

200

In 1501, the first book of polyphonic music printed with movable type was published by this man, now immortalized on IMSLP

Ottaviano Petrucci

200

The contenance angloise used these two types of parallel intervals, resulting in pervasive consonance

thirds and sixths
200

Once in undergrad, Kate was asked to identify this iconic English/French improvisational technique involving parallel first inversion triads on a music theory exam, despite not having taken the corresponding music history survey yet. Her professor was nice, so she let Kate Google it, but Kate clearly still holds a grudge.

fauxbourdon (faburden)

200

This type of mass constructed all movements around the same tenor line, sometimes combining this technique with a head-motive for extra unity. 

cantus firmus mass (or tenor mass)

200

Along with Ockeghem, this "B" composer was one of the most famous composers of the late 15th century.

Antoine Busnoys

200

This sacred genre of polyphony was considered an example of "high" style by Tinctoris.

polyphonic cyclic masses

200

From the Italian word for “to touch”, this is a virtuosic
keyboard piece in improvisatory style first written in the 16th century

toccata

200

Renaissance Christians could pay endowments in exchange for these acts of the Church that would shorten the person's time in purgatory

    

indulgences

300

This was the dominant discipline of the humanities in the Renaissance

rhetoric

300

English composers' preference for simple melodies, regular phrasing, syllabic text setting, and homorhythmic textures is rooted in polyphony from this century.

13th century

300

This form of cadence is constituted by a major 6th that expands to an octave

Landini cadence

300

also called a parody mass, this form of mass composition uses the musical material of a preexisting polyphonic work.

imitation mass

300

later 15th century chanson featured a blend of traditional and new features, combining the formes fixes with an increased use of this "echoey" texture/compositional device.

imitation

300

Famous for his bass voice and 13 cyclic masses, this Franco-Flemish composer was frequently emulated by his peers, who often used his music as a cantus firmus.

Ockeghem

300

This is an ensemble consisting of 3-7 similar instruments

consort

300

these strophic translations of Biblical texts were set in the vernacular and featured mostly stepwise motion

metrical psalms

400

Thanks to this cultural movement, both language and music began to be seen as innately expressive

humanism

400

This composer/mathematician/astronomer's harmonies and asymmetrical rhythms are now understood as the pinnacle of the "English Manner"

John Dunstable

400

This composer, despite having a shorter career than Du Fay, had his work recopied more frequently in the 1420s and 30s, leading historians to believe that he had a greater and more direct musical impact on culture.

Gilles Binchois

400

One of Josquin's last works, this paraphrase mass was written in 1515 using the melodic material from a chant traditionally sung during second vespers on the feast of corpus christi

Missa pange lingua

400

This composer was widely recognized as the "Prince of Music" during his lifetime, and has had a lasting impact on Renaissance polyphony

Josquin <3

400

In grad school, Kate had to learn how to read this form of renaissance notation, in which the rhythmic relationship of various notes changed depending on what notes came before or after it.

mensural notation

400

Written as an advertisement, this collection of dance songs was marketed toward amateur performers

the danserye

400

These were the two principle forms of Anglican music developed during the Renaissance

Service and Anthem

500

This European nation is often understood to have been in conversation with the rest of Europe's musical cultures during the Renaissance

England

500

This poet, claric, and secretary to Amadeus VIII praised both Du Fay and Binchois in his 1442 poem "Champion of Women"

Martin Le Franc (1410-1461)

500

This Burgundian leader lost a multinational war and ended the Burgundian state. (Oops!)

Charles the Bold

500

In 1453, Du Fay wrote a cantus-firmus mass based on this ballade from the 1430s

Se la face ay pale

500

This composer wrote the first mass based on secular music to honor the acquisition of the Holy Shroud (or Shroud of Turin) by his patron

Du Fay

500

also known as a mensuration canon, this type of canon involves multiple voices singing the same melody at different speeds

prolation canon

500

This is a large brass instrument made possible by the development of bent tubing

sackbut
500

This man, along with William Byrd, had a two decade long monopoly on music publishing in England thanks to Elizabeth I

Thomas Tallis

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