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Secular
Ballads
Iais
Rondeaux
Virelais
Madrigals
Chant -
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Almost purely-functional music, for specific services, dances, or for entertainment. Melodies are confined to a small range of steady and regular rhythms. Technically harmonies are not yet established but, but common intervals used are 4ths, 5hts, and octaves. Monophonic. Text and poetic form determined musical structure.
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Roman writer and statesman; important as a music theorist with his De instituione musica ("The Fundmentals of Music, early 500s)
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Music theorist; he is credited with creating a system of precise pitch notation through lines and spaces on a staff; he advocated a method of sight-singing using the syllables, (ut, re, mi, fa, sol, la); His treaties, Micrologus, Is the earliest and best treaties on musical composition of chant and polyphony.
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Priest, poet, and composer.
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Duke of Aquitaine, Count of Poitiers, father of Eleanor; Earliest of the troubadours whose works survive; respected nobleman, but remembered for his womanizing.
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Composer of the first morality play; known as the Sybil of the Rhine; writer, composer, theologian; her counsel was sought after by rulers.
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(ca. 1130-40-ca. 1190-1200)
Famous troubadour; perhaps the finest of the troubadour poets; very important musically to us because more of his music survives than any other 12th-century poet. -
(Magister Leoninus II); Master of organum purum at the Cathedral of Notre Dame, Paris; Our information comes largely from anonymous IV's writing.
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Dante esteemed him above all other troubadours; master of the "difficult" style; He took the poetic style to new heights.
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One of the most important early trouveres; his works show up in multiple manuscripts.
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One of the earliest trouveres and most famous of poets; Melodies show influence of Gregorian Chant.
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Poet and Minnesinger; worked at the Viennese court; he wrote the earliest surviving minnesinger melody; his contemporaries considered him the leading composer and poet among Minnesinger.
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Master of discant organum at the Cathedral of Notre Dame, Paris; supposed student of Leonin; write 3 and 4-voice organum; his identity is regarded as speculative.
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One of the most celebrated troubadours of his time; He was fond of satirical criticism of contemporary nobility and clergy.
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Troubadour; eccentric character; wide-ranging melodies.
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Austrian Minnesigner; one of the earliest German poets; folk-like style; his works were the only Minnesinger songs printed in the Renaissance; sang in Vienna.
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(d. ca. 1212)
Famous female troubadour; She has left us the only surviving melody by a female troubadour. -
Trouvere; wrote in several genres and forms; monk at Arras.
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Spanish Monarch; King of Castile and Leon; brother in law of Edward I of England; patron of literature and art; initially did the study of music at Salamanca University; helped compile Cantigas de Santa Maria.
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The last of the troubadours; lived in Spain under Alfonso X.
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(ca. 1245-50-ca. 1285-8)
One of the last trouveres; wrote polyphony; studied in Paris. -
Known as the "inventor of a new art," French composer, poet, theorist, and bishop; established a new tradition of mensural notation.
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The leading composer and poet of the Ars Nova; his importance and innovations are extraordinary.
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(ca. 1320-25-1362/63)
Italian composer; ranks second in importance to Landini; priest. -
Know for his cadences; virtuoso organist; blind from early age; most celebrated musical personality of the Trecento; also an instrument maker.
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Italian composer; virtuoso harpist; theorist; teacher of Landini; wrote a treatise on notation.
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Austrian poet and composer; used French notation; wrote polyphony; used German texts.
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The leading English composer; created a new consonant style of 3rds and 6ths that became the Renaissance style; many works destroyed during the English Reformation 1536-40.
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Franco-Flemish; the first important Renaissance composer; used older medieval cadences.
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Early Renaissance composer, often paired with Dufay in importance; served at the Court of the Duke of Burgandy; Franco-Flemish.
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French composer; he wrote in the older style and in the new modern are subtilior; his rondeau, Belle bonne sage, was published in musical notation in the shape of a heart.
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Bass singer; served 3 Kings; very respected; did not use much imitation; born in Northeastern France; important teacher.
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The top voice was usually chosen as the melodic voice; rhythm was quite simple; progressions od 3rds and 6ths; dissonances were not encouraged; tonal system was modality; homorhythm; counterpoint; few forms; cantus firmus, poetic strophic, binary, madrigals; purpose shifted from function to beauty.
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Ballet, balletti, chant, masses, motets, hymns, secular, sacred.
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Franco-Flemish composer, singer; worked in France and Italy; perhaps one of the earliest composers to use imitation prominently.
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Franco-Flemish; worked in France and Italy; his music was widely distributed.
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Considered by Martin Luther to be the "best of the composers of our time' and 'the master of the notes;' he was said to have had no peer in music; French.
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Franco-Flemish composer who influenced German music; court composer to Holy Roman Emperor Maximilian I in Vienna; served in Florence as well
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Leading composer at the Burgundian court; never worked in Italy; very famous in his day; frequent use of canon and ostinato; preferred low sonorities.
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Made important contributions to large-scale forms and their unity; Dutch; important composer of masses in Europe.
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First music printer and publisher; preserved Renaissance music for us today.
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German theologian and composer; he was the founder of the Lutheran church.
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Complex, continuous polyphony; strong advocate of textual expression; studied with Jean Mouton; served in Italian courts; extraordinary teacher; worked in Venice at St. Marks Cathedral.
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English organist; taught Byrd; he was Catholic during Henry VIII's troubled years; wrote both for the Latin and thee reformed English liturgies.
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Dutch; worked in Rome and Paris; famous for his early madrigals and his 3 to 7-voice masses (often homorhythmic style); well published in the 16th century.
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Flemish; worked in Ferrara and Parma; associated with Willaert.
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At the Viennese and Prague courts; religious; Franco-Flemish; mixed polyphony and homophony; one of the most prolific composers of the Renaissance.
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Became an icon of Renaissance music for future generation; Roman style; responded to the requests of the Council of Trent to reform Catholic church music; mostly contrapuntal liturgical music.
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Also Roland de Lassus; widely traveled; employed G. Gabrieli in 1575; over 2000 compositions in all languages; one of the most versatile and prolific composers in the 16th century.
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Italian organist, composer, teacher, uncle of Giovanni; worked in Venice; pupil of Willaert; versatile and innovative.
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Leader of the Florentine Camerate in the late 1570s-90s; Italian critic, poet, composer, and playwright.
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Pupil of de Roree; served the Dukes of Manuta and Parma; stormy personal life; text declamation was important to him; he influenced Monteverdi; friend of the poet, Tasso; wrote madrigals for the Concerto della donne.
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English; Catholic composer writing both Protestant and Catholic music in England; greatest English composer of his time.
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Spanish; continued Palestrina's Roman-style in Spain; studied in Rome; sacred-music composer; the greatest Spanish composer in the Renaissance.
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The leading madrigal composer of the elate 16th century; worked in Rome, Ferrara, Florence, and Warsaw (serving the King of Poland); influenced the English madrigal.
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English; contributed to the development of the English madrigal; important for music publication and printing; probably a pupil of Byrd.
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Known for his chromaticism; leading composer of madrigals; extreme expressive intensity.
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Ahead of his time; took music into a new style.
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English organist; excessive drinking was a problem for him.