Machaut Motet Analysis

19. Who is Guillaume de Machaut? 14th century poet and musician who composed the first complete polyphonic setting of the entire Ordinary of the Mass.

Josquin’s career was defined by the invention of the printer which allowed his masses and other compositions to be printed and shared more easily among the country. In many of his pieces, he illustrates his gift of the pervasive imitation technique: a polyphonic piece with the repetition of a melody at different pitch levels than the original. Many scholars contribute his textural influences on the beginning of word-painting technique (music that reflects the emotion or meaning of the song). He wrote all different types of music throughout his lifetime such as: masses, motets, instrumental pieces, chansons, and even motet-chanson (a new form during the time). He had many techniques for his masses such as paraphrase and canonic masses. Many of his motets, he wrote for five or six voices instead of the standard four voices and often used imitation. The most famous of his pieces are Ave Maria… Virgo serena and Missa Pange lingua. Overall, Josquin des Prez was one of the most well-known and influential composer during the Renaissance period and many scholars credit him to be the first to master polyphonic music. He contributed tons to the Franco-Flemish school and helped lead the way for greater harmonic development. He is truly a well-rounded composer who helped push the Renaissance musical period to the next level and created many beautiful, well-known sacred and secular

Reality comes from creating an imagined thought - whether that thought stemmed from something that someone has seen to what someone has heard, or even felt. The composer that will be discussed throughout this essay composed Morir non può il mio cuore in 1566, this composer is none other but Maddalena Casulana. During the years in which Casulana composed music, she was always looking to present her dedications of her madrigal volumes in a way to provide a little more biographical information than most would at the time. Throughout 1560-1569, she began to publish what would ultimately become her three-volume collection of madrigals (1568; 1570; 1583) that were published the year of her death and which were the first three books of madrigals by a women composer to ever be printed (Franck, Brownstone, 1995. Page 46, 48). Casulana presented her music in a very dramatic way, she was different and unique, focusing and attracted to the topics of ones passing and perpetual dying (Sadie, 1980. Page 2). She was an Italian composer and singer who told a story through the pieces she had composed; expressing each piece in a distinct and narrative way. Maddalena Casulana contributed a great deal of music that till this day will be remembered and cherished.

The development of symphonic music during the Classical Period is greatly responsible for shaping today’s orchestral music landscape. Beethoven’s Fifth Symphony is often considered to be the cornerstone of the symphony genre evolution. While his grand gem is somewhat revolutionary and unique to a certain extent, such as ‘expanding the brass section in the final movement.’ [1] On the other hand Berlioz’s Symphonie Fantastique is filled with minor references to Beethoven’s Fifth Symphony

The article offers a unique view into Hughes’s poetry, revealing another side of Hughes’s expertise as a poet. Although she does spend a great deal of time on the discussion of the importance of Hughes’s diction to the rhythms he wanted to infuse into the aforementioned five pieces, Dickinson does more than the traditional literary analysis in order to explain Hughes’s talents as a writer. With special attention given to the five of his lesser-known works, she gives the reader an opportunity to hear the music within the lines of many pieces.

The eight-part collection for various combinations of trumpets and trombones, Canzona septimi toni no. 2 by Giovanni Gabrieli, employs antiphony as a means of taking advantage of church acoustics. His strategic separation of two instrumental groups illuminates the dialogic structure of Gabrieli’s composition. It’s meter alternates between duple and triple, finally returning to duple meter pending the completion of the piece . In terms of harmony, the work contains mainly homophony, again, alternating between both instrumental groups placed antiphonally within the church. The through-composed canzona exhibits Gabrieli’s cultivation of musical material in dialogue between instrumental groups. The timbre, meter, and antiphony utilized in Gabrieli’s

Giovanni Gabrieli was a legendary composer of the 16th century. As the fundamental structure and ideas of the Catholic Church were being challenged by the Protestant Reformation and the Counter-Reformation, Gabrieli’s compositions were given the opportunity to be successful and influential to music in the coming centuries. His works helped to transform not only church music of the Catholic Church, but also secular music as well. Giovanni Gabrieli wrote significant works that ultimately shaped the rise of the symphony, including the development of purely instrumental works, the art of orchestration, and the concerto style. Without his innovations in composition, it is arguable that instrumental music would not have developed as quickly, or developed

inspiration for the composition of the piece, as it was written in French to make use of the language’s sound and enhance its decadence.

“My composer is Guillaume De Machaut. People believe that he was born around the year 1300 but yet they don’t know what day he was born on. He died on April 13, 1377. He was both born and died in Reims, France. Very little is know for Guillaume but he was employed by John of Luxembourg, who was the king of Bohemia. He was named canon (a canon is someone that can play two or more instruments of something) of Verdun in 1330, Arras in 1332, and Reims in 1337. We don’t know too much about him because he was in the 1300’s where no one wrote any information about Guillaume De Machaut.

One of the greatest composers of music, even though it was only slightly notated at the time, was Guillaume de Machaut (d. 1377), “one of the undisputed pinnacle geniuses of Western music…” His most famous piece was the four-voice Mass of Notre Dame, which maintained his reputation through the changes in fashion (Roberge). After almost a millennium’s worth of music was composed and contributed, the style of music began to change with the next era.

In Alban Berg’s Traumgekrönt and Liebesode, one may observe these Wagnerian innovations at work: both the atonal approach developed further by Debussy and the Impressionists in the wake of Wagner and grand-scale composition by Mahler and Bruckner. Berg’s songs—like Mahler’s—simultaneously contain characteristics of music’s Romantic past and its post-Wagnerian future.

Josquin wrote sacred and secular music and composed many motets, masses, and chansons. In his motets especially, Josquin liked to polyphony and textures to highlight the emotion of the text that was in the motet. He used

Thus, it would anachronistic to suppose that by acknowledging that publishers of the Middle Ages printed music, they did it in the same way it is done today. Printing did, all things considered, increase the volume of publications, but it was still at a slow rate. This did not, however, hinder the new applications of printed music, but rather gave sheet music new life. Musical pieces could now be produced at higher volumes and spread throughout churches around the world. Printed music, moreover, was cheaper due to the higher quantity available, which enabled amateur and professional musicians alike to, as Grout and Palisca note, “form vocal, instrumental, and mixed ensembles to perform the available repertory.”3 Furthermore, higher quantities and easier reproduction of printed music ensured it

The Forty Part Motet is a sound installation created by Janet Cardiff, who is one of the most famous Canadian artists. Her works include a variety of media such as film, video photography. While working with George Miller in 2001, she represented her homeland Canada at the Venice, Biennale. Her sound installation is considered to be one of the best works of her generation and one of the most important works of Canadian contemporary art (sound art), while being a leading example of contemporary art and regularly hosting collections at cultural Centre’s such as the Museum of Modern Art in New York and the National Gallery of Art of Canada in Ottawa. This sound piece is also being borrowed by many other exhibitors around the world, and audiences

In what period was the work composed? List three aspects of the musical style of this period that apply to this work.