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    Conductus and Motet During The 13 Century (Stolba, Pp. 81-88)

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    The document provides an overview of medieval music modules covering: 1) The 13th century conductus and motet genres, their origins and compositional structures. 2) The 14th century motet which shared some elements with its predecessor but also had differences in texture and rhythm. Key terms like color, talea, and isorhythmic are defined. 3) Significant composers and theorists of the time like Philippe de Vitry and Guillaume de Machaut who wrote influential treatises and helped establish new genres such as isorhythmic motets and Machaut's innovations in secular music.

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    Conductus and Motet During The 13 Century (Stolba, Pp. 81-88)

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    The document provides an overview of medieval music modules covering: 1) The 13th century conductus and motet genres, their origins and compositional structures. 2) The 14th century motet which shared some elements with its predecessor but also had differences in texture and rhythm. Key terms like color, talea, and isorhythmic are defined. 3) Significant composers and theorists of the time like Philippe de Vitry and Guillaume de Machaut who wrote influential treatises and helped establish new genres such as isorhythmic motets and Machaut's innovations in secular music.

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    The document provides an overview of medieval music modules covering: 1) The 13th century conductus and motet genres, their origins and compositional structures. 2) The 14th century motet which shared some elements with its predecessor but also had differences in texture and rhythm. Key terms like color, talea, and isorhythmic are defined. 3) Significant composers and theorists of the time like Philippe de Vitry and Guillaume de Machaut who wrote influential treatises and helped establish new genres such as isorhythmic motets and Machaut's innovations in secular music.

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    4 views1 page

    Conductus and Motet During The 13 Century (Stolba, Pp. 81-88)

    Uploaded by

    ham
    The document provides an overview of medieval music modules covering: 1) The 13th century conductus and motet genres, their origins and compositional structures. 2) The 14th century motet which shared some elements with its predecessor but also had differences in texture and rhythm. Key terms like color, talea, and isorhythmic are defined. 3) Significant composers and theorists of the time like Philippe de Vitry and Guillaume de Machaut who wrote influential treatises and helped establish new genres such as isorhythmic motets and Machaut's innovations in secular music.

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    MUH 3300: Medieval Review, Module 3 (13th-14th centuries)

    Conductus and Motet during the 13th century (Stolba, pp. 81-88):

    1. How does the conductus differ from Parisian organum? In what ways is it similar?

    2. Discuss the origins of the thirteenth century motet. Once it went beyond this point of origin to its
    mature stage by the mid-thirteenth century, how was it constructed and composed? What are the
    three ways in which the polyphonic lines are differentiated from one another?

    Fourteenth-Century Music (Stolba, pp. 104-121):

    3. In what ways is the fourteenth-century motet similar to the thirteenth century motet, and how
    does the fourteenth century motet differ from its predecessor (in terms of texture, rhythm, etc.)?
    Define the terms color, talea, and isorhythmic.

    4. Discuss Philippe de Vitry (period of activity, and significance as a theorist and as a composer).
    Explain the significance of the treatise that he wrote, and also give its title and approximate date.

    5. Give the distinguishing characteristics of each genre that Guillaume de Machaut is significant for:

    a. Discuss his isorhythmic motets (talea pattern, relationship between instrumental and texted
    voices, etc.).

    b. Discuss the significance of his one polyphonic cyclic Mass, and explain how the movements
    with short texts (Kyrie, Sanctus, Agnus dei) differ from the movements with longer texts
    (Gloria, Credo) in terms of use of a cantus firmus, texture, etc..

    c. Secular music set to French texts: What are the three innovations that he made in this new
    genre that he created? What are the three poetic forms that he used in this new type of
    polyphony, and how can you distinguish each of them using capital and small-case letters)?

    6. List the three types of fourteenth century Italian secular polyphony, along with their main stylistic
    features (texture, form, etc.). Who is the main madrigal composer, and who is the most significant
    ballata composer? During which part of the fourteenth century was each genre (madrigal or
    ballata) most prevalent? What are the distinctive traits of the caccia?

    7. Discuss mannerism in late fourteenth century music (melody, harmony, rhythm, etc.).

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