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Started in 1314 by poet, Gerves de Bus. Later finished by Chaillou de Pesstain and Philippe de Vitry. All three were young notaries at the French royal court who knew the inside scoop on what happened behind the back of King Philip IV and wrote this poem as a warning for the next ruler. |
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Roman de Fauvel : how was music incorporated |
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Music interrupts the poetic nature. There is use of widely divergent rhythmic duration like the Ars Nova. Perfect mode. Imperfect timing. |
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One of the first to start isorhythm (same rhythm - usually repeated in the tenor voice) ; Notary in the royal court and an influential music theorist. Also Mathematician, astronomer, politician, soldier, diplomat, and bishop of the city of Meaux. |
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same rhythm ; rhythmic pattern is repeated again and again, usually in the tenor voice. |
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talea is the rhythmic pattern of isorhythm ; in isorhythmic motet the moelodic unit is the color |
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carole - singers and dancers grouped in a circle. soloist sang a strophe of text and then everyone joined in for the refrain |
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estampie : "stomp" ; dancers sang about love while they danced. during 13th and 14th centuries, text is often dropped, leaving purely instrumental piece, either monophonic or polyphonic. each punctum (phrase) is different but they all have the same ending, a refrain |
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like a 1st and second ending to each phrase. AxAyBxByCxCyDxDy. |
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Musical Instruments in the Medieval era. Sources? |
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Music theory treatises, poems, and paintings |
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most likely to accompany an estampie ; five-string fiddle capable of playing the entire Guidonian scale. |
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ancestor of the modern oboe ; double-reed instrument with a loud penetrating tone |
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earliest surviving collection of keyboard music; preserves 3 estampies and arrangements of 3 motets from the Roman de Fauvel. |
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small movable instrument that sounded at courtly entertainments, usually to accompany singers rather than dancers. |
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large stationary instrument that began to appear in large numbers in churches |
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keyboard instrument. sound produced is very quiet, the quietest of any instrument. |
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Avignon : importance in the late medieval era |
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Palace of the Popes. The towers at the palace were a continuation of families' towers in Italian city-states where families had sought refuge during the furious vendettas of the Middle Ages. This is where the most progressive music of the late 14th century was written. |
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almost 100 years when the papacy resided in Avignon |
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1378-1417. Period of time when there were two different popes. One in Avignon. One in Italy. Each claiming to be the next pope of Western Europe. |
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model structure that Pope Sixtus IV used to build the Vatican |
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a building consecrated for religious worship ; organized group of high trained musicians who sang at these services. |
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nickname of Baude Fresnel ; his scores were shapped like a heart, circle, harp, and a labyrinth to symbolize the meaning of the text. "tout par compas suy composes" (text of his rondeau found on the manuscripts in Avignon) ; music is marked by unusual rhythmic sophistication |
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the more subtle art ; style of rhythmically complex music. It is marked by the most subtle, sometimes extreme rhythmic relationships. |
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Italian composer who used complex rhythm in his works. During this time there is more use of syncopation which suggests that they were using polymeter, two or more meters sounding simultaneously. This also lead to proportions which is, time signatures that modified the normal value of notes. |
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"Wherever is the pope, there be Rome" ; referring to Avignon. the popes of Avignon. there are documents calling the palace of the popes in Avignon, Rome. |
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literally means "rule". In music the rule is that the 2nd voice must duplicate exactly the pitches and rhythms of the first. Ex. "Row, Row, Row your boat" |
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Italian poet who called the city of Avignon, "this profane Babylon that knows no shame". Because he compared Avignon to Babylon, the city of luxury and vice, historians named the period of time from 1309-1403, the Babylonian Captivity. |
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