Renaissance music: music in Western Europe, 1400-1600

pt. I: The 1380s to the 1420s Included Brassart Ciconia B. Cordier Du Fay Dunstable Grenon Power Solage Zacharias De Teramo 1. The "English sound" Anglo-continental contacts Other English features A Dunstable work in detail The carol 2. Intermedio: 1414-1418 3. The Low Countries The French Ars nova The new Central Tradition Musical training Johannes Ciconia The significance of the Low Countries 4. Editing a chanson: the notation

pt. II: The 1420s to the 1460s

Included: Binchois

Du Fay

Feragut

Franchois

A. De Lantins

H. De Lantins

Power

5. French secular song

The Formes Fixes I

Aspects of the poetry

Du Fay's musical style

Performance practice

Gilles de Bins (dit Binchois)

6. Intermedio: 1424-1428

7. The old motet and the new

Definitions

An isorhythmic motet: Du Fay's Nuper rosrum flores

Mode and polyphony

A "tenor" motet: Du Fay's Ave regina caelorum (III)

Du Fay's life

9. The cyclic mass and vespers

The structure of the mass

The Fourteenth-century legacy

The early Fifteenth century

The cyclic Cantus-firmus mass: The English contribution

Du Fay's Cantus-firmus cycles

A fictive composition manual

Why the cyclic Cantus-firmus mass?

Proper and plenary cycles

Music for the Vespers service

Liturgical books

The liturgical calendar

Performance practice

10. Intermedio: 1453-1454

pt. III: The 1450s to the 1480s Included: Bedyngham Busnoys Caron Cornago Domarto Faugues Frye Guglielmo Ebreo Hayne Van Ghizeghem Martini Morton Ockeghem Paumann Ramos de Pareja Regis Serafino Dall'Aquila Tinctoris Touront Vincenet 11. Toward abstraction in mass and motet Artifice and complexity I The L'homme armé Tradition Antoine de Busne (dit Busnoys) Artifice and complexity II Johannes Ockeghem Some important music manuscripts Artifice and complexity III Ockeghem's style Artifice and complexity IV The five-voice tenor motet 12. Learning from documents: An ecclesiastical notice 13. The patronage of music The chapels The singers The patrons 14. More secular song The Formes fixes II The combinative chanson The "hit parade" The chansonniers England, Germany, and Spain Italy 15. Intermedio: 1467-1469 16. Instrumental music and two theories Keyboard music Instrumental ensemble music Dance music

pt. IV: The 1470s to the 1520s Included: Agricola Brumel Cara Compère Coppini Dalza Encina Escobar Févin Finck Ghiselin Hofhaimer Isaac Josquin La Rue Mouton Ninot Le Petit Obrecht Petrucci Pisano Richafort Schlick Spinacino Tromboncino Weerbeke 18. Inventions in style and transmission Pervading imitation New relationships between voices Josquin Desprez Music and the printing press 19. Intermedio: 1492 20. The virtuoso motet Music and text Canons Symbolism The function of the Motet 21. Editing a chanson: text underlay 22. Continuity and transformation in the mass The heart of the tradition Masses built on multiple Cantus firmi Three local mass types Performance practice 23. Intermedio: 1513-1521 24. Old ends and new beginnings in song The end of the Formes fixes The Courtly Tradition continued The Popular Tradition Josquin and the Popular Tradition Italy Spain Germany 25. Instrumental music Ensemble music The ensembles Keyboard music Lute music A trumpet manufacturer

pt. V: The 1520s to the 1550s Included: Arcadelt Attaingnant Berchem Browne Buus Cabezón G. Cavazzoni Claudin De Sermisy Clemens Non Papa Cornysh Crecquillon Fayrfax Festa Francesco Da Milano A. Gabrieli Gero Gervaise Gombert Goudimel Jacquet of Mantua Janequin Julio Segni Ludford Merulo Milán Morales - Narváez Nola Passereau Pellegrini Redford Sachs Senfl Taverner Tye Verdelot Walter Willaert 26. The Catholic Church and its music The motet Music for the mass Vespers psalms for cori spezzati The use of scores 27. National song styles The chanson The madrigal The lied 28. Intermedio: 1533-1536 29. The growth of music printing Printers Composers Consumers 30. Editing a chanson: Barring, Sources, Critical report 31. Instrumental music to the end of the century Transcriptions based on vocal models Settings of chant melodies Variations Performance practice The Ricercar - The Canzona Preludes and toccatas Dance music 32. Intermedio: 1543-1547 33. The Protestant Reformation Luther Zwingli Calvin The Dutch Souterliedekens 34. Early Tudor England The Tudor Dynasty Secular song at the Court of Henry VIII Pre-reformation sacred music The Eton Choirbook The mass between Eton and the Reformation Faburdens and squares The English Reformation Music for the Anglican Church

pt. VI: The 1550s to c. 1600

Included: Bull

Byrd

Casulana

Dowland

Farnaby

Ferra-bosco

G. Gabrieli

Galilei

Gastoldi

Gesualdo

Glarean

Kerle

Lassus

Le Jeune

Luzzaschi

Marenzio

Monteverdi

Morley

Mundy

Palestrina

Rore

Ruffo

Tallis

Vecchi

Vicentino

Victoria

Weelkes

Wert

Wilbye

Zarlino

35. Music theory

Glarean and the modes

Vicentino and chromaticism

Zarlino and counterpoint

36. Intermedio: 1560-1562

37. The Counter-Reformation in Italy and Spain

The Council of Trent I

Palestrina

The Council of Trent II

Venice

Spain

Performance practice

38. Music in the service of words

Antiquarianism

Lassus

The Italian madrigal

The lighter forms

The Ladies of Ferrara

Talking about music

39. Intermedio: 1588-1590

40. Elizabethan England

The late Tudors: Mary and Elizabeth

The centralization of music

Latin Church music

Music for the Anglican Church

Secular song

Instrumental music.