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| "English Quality" Based on full triads |
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| In music, a cantus firmus ("fixed song") is a pre-existing melody forming the basis of a polyphonic composition |
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| Cantus Firmus Mass (Tenor Mass) |
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| Constructing Each Movement around the same melody of Cantus Firmus. This melody is normally placed in the tenor. First Composed by the english. 15th Cen. |
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| Home of Guillaume Du Fay. Center of polyphonic Compositions of the time. 15th Cen. |
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| Some polyphonic setting of a sacred text in latin or another language. |
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| Dufay's music “formed the central musical language of the Renaissance” |
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| Initial passage or motive of a piece of music. Used a lot at the start of cantus firmus masses. |
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Responsible for the Contenance Angloise
14th Cen |
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| Most famous composer of his time (15h Cen) Music is that of an international style of the time. |
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| Composer less traveled then DuFay but essential in the creation of the Burgundian style of music. |
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| rebirth in music theory, leads to many Greek based musical treatises |
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| Petrucci is credited with producing, in 1501, the first book of sheet music printed from movable type: Harmonice Musices Odhecaton, a collection of chansons. |
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| Ockeghem (Missa prolationum) |
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| Celebrated Singer/ Composer. Mentor to many of the leading composers of the time 14oo's |
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| the first printed Anthology of Chansons |
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| a cannon where the voices move at a different rate of speeds. |
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| Josquin and his contemporaries will also use all voices of a polyphonic model (often the model is imitative) as the pre-composed material for another work |
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| a musical setting of the Ordinary of the mass, using as its basis an elaborated version of a cantus firmus, typically chosen from plainsong or some other sacred source. |
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| Tinctoris, Liber de arte contrapuncti |
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| Instruction book on counterpoint in the 15th cen. |
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| Henricus Glareanus, sanctioned the coexistence between the old church modes and the emerging major and minor modes. In his Dodecachordon (1547; from Greek dōdeka, “twelve,” and chordē, “string”), perhaps the most significant musical treatise of the time |
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| Zarlino, Le istitutioni harmoniche |
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| Zarlino wrote an exact treatise on the meantone tuning method. |
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| (c. 1490 – 7 December 1562) was a Flemish composer of the Renaissance and founder of the Venetian School. [1] He was one of the most representative members of the generation of northern composers who moved to Italy and transplanted the polyphonic Franco-Flemish style there. |
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| The frottola was the predominant type of Italian popular, secular song of the late fifteenth and early sixteenth century. It was the most important and widespread predecessor to the madrigal. The peak of activity in composition of frottole was the period from 1470 to 1530, after which time the form was replaced by the madrigal. |
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| A chanson is in general any lyric-driven French song, usually polyphonic and secular. A singer specialising in chansons is known as a "chanteur" |
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first to use single-impression movable type for music-printing
French 1494 |
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| German for song, romantic in nature with high literary aspiration. |
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| Italian Madrigal (16th Cen.) |
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| unlike trecento italian madrigal was through-composed setting of a short poem. |
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| In England, the madrigal became hugely popular after the publication of Nicholas Yonge's Musica Transalpina in 1588, a collection of Italian madrigals fitted with English translations |
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| was a group of professional female singers in the late Renaissance court of Ferrara, Italy, renowned for their technical and artistic virtuosity. |
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| (from Italian toccare, "to touch") is a virtuoso piece of music typically for a keyboard or plucked string instrument featuring fast-moving, lightly fingered or otherwise virtuosic passages or sections |
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| is a type of late Renaissance and mostly early Baroque instrumental composition. The term means to search out, and many ricercars serve a preludial function to "search out" the key or mode of a following piece. |
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| 16th-century multipart vocal setting of a literary canzone and a 16th- and 17th-century instrumental composition. |
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| usually refers to the English keyboard composers of the late Tudor and early Jacobean periods |
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| is one of the most popular instrumental dance forms in Baroque music, and a standard element of a suite. Originally, the allemande formed the first movement of the suite, before the courante, but, later, it was often preceded by an introductory movement, such as a prelude. |
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