"Motet", "a polyphonic vocal piece, with multiple texts (and often borrowing from<br /> another source)." "cantus firmus", "replaces “tenor” for the original melody (although<br /> occasionally “tenor” is still used)" "Franconian notation", "a rhythmic innovation; because voices grew to be<br /> increasingly independent, needed to expressing rhythm precisely. Franco of<br /> Cologne incorporated shapes for neume heads, to mark relative proportion for<br /> rhythm:" "ARS NOVA", "(“new art ” / “new technique”) by composer Philippe de Vitry (1291-1361) who<br /> penned a treatise Ars Nova (in 1320) on this new way of composing<br /> Ars Nova innovations:<br /> 1) duple meter: introduction of duple meter (symbolically, this can be read as the introduction<br /> of rational thought entering the sacred realm). triple = “perfect” duple = “imperfect”<br /> 2) isorhythm: a structuring method for motets: sections of musical material<br /> repeated at different rates and lengths during the piece<br /> talea: rhythmic repetition, color: pitch repetition<br /> Hocket: (“hiccup” - rapid exchange of voices)" "Guillaume de Machaut (1300-1377)", "1) composed more than 140 pieces, both sacred and secular<br /> 2) supported by aristocracy/royalty, while also working as a canon (cleric working<br /> with law)<br /> 3) ** Machaut famous for hocket/syncopation, so much that music history<br /> nerds have made memes about this:" "Francesco Landini", "composer, working in Florence<br /> NAWM 30 – Landini, a caccia (‘chase’) – like the English rota, a musical<br /> game of imitation between the parts" "Landini cadence:", "6th (still seen as dissonant) resolving out<br /> (contrary motion) to an octave, but first dropping to a 5th." "GUILLAUME DU FAY", "Prolific Burgundian composer who traveled extensively (even to the Italian courts).<br /> Exposed to musical styles of many places, fused several styles in his own work. He<br /> wrote many Masses, which were kind of strange because many used a previously<br /> composed secular melody (chansons, ballades) as the basis for the Mass texts (at<br /> times the tenor source wasn’t chant -the official music)."
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