Spencer Dawson

Choral Literature
Worksheet #1

Medieval Era (c.476-1400) / Renaissance Era (c.1400-1600)

Definitions:

1. Discant – “part singing”; a French technique (not a style of genre) used in the 12th century Notre Dame organum, whereby the
upper voice moves in contrary motion against the plainchant tenor; first improvised, then written out; it was late given the
name of the highest part in a polyphonic setting, which eventually became the soprano part; eventually, it became the part
above the soprano line in a hymn
2. Ars Antiqua – “old art”; the medieval Western European music style, based on plainsong and organum, employed by
composers (notably Leonin and Pérotin) of the Notre Dame or Parisian school in the 12th and 13th centuries; this period saw
the conception and notation of rhythm
3. Ars Nova – “new art”; the new style of music composing originating in France and Italy in the 14th century; restrictions of ars
antiqua were replaced by greater variety of rhythm, duple instead of triple time, and increased independence in part-writing
4. Burgundian School – term used to refer to the great succession of 15th- and 16th-century composers who were born and
trained in the Low Countries (present-day Holland, Belgium, and northern France) but were often resident elsewhere in
Europe during their adult careers; the succession was most likely the result of the rigorous training that boy choristers
received in the churches and cathedrals of the Low Countries
5. Cantus Firmus – “fixed song”; a melody, usually taken from plainsong, used by composers in the 14th-16th centuries as the
basis of a polyphonic composition and against which other tunes are set in counterpoint
6. Cantus Firms Motet – 13th-century musical vehicle; motet that featured a cantus firmus in the tenor line; the cantus firmus
motet was the beginning of polyphony
7. Chanson – a song setting French words; the term is used chiefly of French polyphonic songs of the Middle Ages through the
Renaissance
8. Council of Trent – a council of the Roman Catholic Church convened by Pope Paul III that met from 1545 to 1563 in Trent
(then in the South Tyrol, now in northern Italy); the intention of the council was to clarify doctrine and legislate disciplinary
reforms within the church; the council’s pronouncements on music included rather general condemnations of unintelligible
and impure settings
9. English Madrigal – influenced by the light madrigal style that flourished in Italy in the 1580s that; the popularity of Italian
madrigals in translation combined with developments in English poetry encouraged English composers to write madrigals
setting English verse; usually lighthearted in tone, setting pastoral and amorous texts full of Petrarchan imagery suitable for
depicting in music, and use a mixture of light imitative and chordal writing; famous English madrigal composers include
Thomas Morley and Orlando Gibbons
10. Eucharist – communion; the Christian ceremony commemorating the Last Supper; bread and wine (or a form of) are
consecrated and consumed
11. Franco-Flemish School – several generations of major northern composers who, from about 1440 to 1550, dominated the
European musical scene with the flourishment of polyphony; composers included Flanders, Brabant, and Hainaut
12. Gregorian Chant – solo and unison plainsong choral chants associated with Pope Gregory I; these chants became the
fundamental music of the Roman Catholic Church
13. Homophony – a term used to describe music in which one voice or part is clearly melodic, and the others accompanimental
and chiefly chordal; music in which the parts or voices move in rhythmic unison, instead of exhibiting individual rhythmic
independence and interest
14. Isorhythm – term coined in 1904 by F. Ludwig to describe the principle found in medieval music whereby the same rhythmic
pattern recurs in successive repetition of the melody; isorhythm was usually applied to the tenor part of a motet, which would
consist of a short repeated rhythmic pattern
15. Italian Madrigal – in the 14th-century, the Italian madrigal had a musical form that basically followed that of the verse, it
settled into a standard length of two or three stanzas, each of three lines and each being set to the same music, the final stanza
closing with a ‘ritornello’ of one or two lines, usually in contrasting meter; in the 16th- and 17th century, the Italian madrigal
set a variety of verse types using polyphonic, often imitative textures and chordal writing, and places strong emphasis on
tunefulness and on reflecting the mood and meaning of the text in its music
16. Liturgical Year – the church or Christian year; the liturgical year consists of six seasons (Advent, Christmas, Epiphany, Lent,
Easter, and Pentecost) that follow the life of Christ
17. Liturgy – a pre-established order of worship based in tradition and the Bible; communal and corporate worship praise,
thanksgiving, repentance, and supplication together
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Choral Literature
Worksheet #1

18. Medieval Mass – the earliest musical settings of the mass in the form of Gregorian chant; the ordinary gradually came into
the liturgy beginning with the Kyrie and the Gloria; in short, a medieval mass would include the ordinary performed in a
monophonic, Gregorian-chant style
19. Renaissance Mass – the Ordinary of the Mass was the pivotal vehicle for the Renaissance Mass; in contrast to the Medieval
Mass, the Renaissance Mass is known for the use of polyphony
20. Medieval – of or pertaining to the Middle Ages (c. 476-1400); in music, the medieval times saw the rise of Gregorian chant
and, as a result, polyphony; in addition, the foundation for music theory and notation was set in the medieval times
21. Monophony – music that has a single melodic line of notes without harmonies or melody in counterpoint; the oldest type of
music being the only type performed in ancient Greece and early church music
22. Renaissance Motet – a motet that does not heavily rely on the use of a cantus firmus; the Renaissance motet is a polyphonic
musical setting with (usually) a sacred, Latin text
23. Neumes – system of music notation from the 7th-14th centuries; originally generating forms were grave and acute accents with
a horizontal line, but developed into elaborate system for plainsong manuals of the church; gave precise indication of pitch,
but at first were merely approximate indications to singer of shape of the melody
24. Notre Dame School – at least three generations of composers, active in Paris c.1160-1250, including the first known
composers of polyphony, Leoninus and Perotinus;
25. Ordinary of the Mass – the sections of the Mass whose texts do not vary; the five sections of the Ordinary Mass are Kyrie,
Gloria, Credo, Sanctus, Agnus Dei
26. Organum – an early form of melodic harmonization which flourished from c.900-1200; in plainchant, the melody was
harmonized by addition of 1-3 parts, usually parallel
27. Parody Mass – a polyphonic cyclic setting of the Ordinary of the Roman Mass based on the imitative texture of a pre-existing
polyphonic composition; the mass incorporates material derived from a motet, chanson or madrigal
28. Plainsong – the large body of traditional ritual melody of the Western Christian Church, in its final form called Gregorian
chant; compromised of a single line of vocal melody (usually unaccompanied) in free rhythm which arises from the
unmetrical character of the text
29. Polyphony – many sounds; music in which several simultaneous voices or instrument parts are combined contrapuntally
30. Proper of the Mass – the sections of the Mass whose texts change according to the church calendar; sections of the Proper
Mass include the Introit, Collects, Antiphons, and the “Alleluia”
31. Protestant Reformation – the 16th-century religious, political, intellectual and cultural upheaval that splintered Catholic
Europe, setting in place the structures and beliefs that would define the continent in the modern era; in northern and central
Europe, reformers like Martin Luther, John Calvin and Henry VIII challenged papal authority and questioned the Catholic
Church’s ability to define Christian practice; they argued for a religious and political redistribution of power into the hands of
Bible- and pamphlet-reading pastors and princes
32. Renaissance – a movement or period of vigorous artistic and intellectual activity; the transitional movement in Europe
between medieval and modern times beginning in the 14th century in Italy, lasting into the 17th century, and marked by a
humanistic revival of classical influence expressed in a flowering of the arts and literature and by the beginnings of modern
science
33. Requiem – the Roman Catholic Mass for the Dead beginning ‘Requiem aeternam’ (rest eternal); text follows that of normal
Mass but with Gloria and Credo omitted and Dies Irae added
34. Roman School – a group of composers of predominantly church music, in Rome, during the 16th and 17th centuries;
influenced by the Franco-Flemish school, the Roman School also enhance polyphony; famous composers of the school
include G.P. Palestrina and Gregorio Allegri
35. Troubadours and Trouvères – troubadours were French, poet-musicians often of noble birth of the 12th- and 13th century; the
written legacy of the troubadours is one of the earliest substantial literatures of western Europe, and is therefore of
considerable cultural and literary importance; trouvères were the successors of the troubadours; these non-literate composers
and performers invented and transmitted songs within an oral tradition; however, many of their manuscripts were collected
by professional scribes which, in turn, kept the repertory of the trouvère song survives reasonably intact
36. Venetian School – composers working in Venice from about 1550 to around 1610; the Venetian polychoral compositions of
the late sixteenth century were among the most famous musical events in Europe, and their influence on musical practice in
other countries was enormous; the innovations introduced by the Venetian school, along with the contemporary development
of monody and opera in Florence, together define the end of the musical Renaissance and the beginning of the Baroque
period
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Choral Literature
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Medieval Composers:

1. Leonin – (c.1150-1201), French; associated with the Notre Dame School of Polyphony and the first significant composer of
the style of composition known as organum; he is credited with writing the Magnus Liber, the Great Book of Organum
2. Guillaume Machaut – (1300-1377), French; outstanding practitioner of ars nova; one of the first to compose polyphonic
settings of poetry in fixed forms, to write in four parts, and to compose integrated settings of entire Ordinary of the Mass;
famous works include Messe de Notre Dame and Voir Dit
3. Hildegard Bon Bingen – (1098-1179), German; founded monastery on the Rupertsberg; wrote lyrical poetry and set it to her
own music; her music showed strong individuality and complexity; she collected her music together in the 1150s under the
title Symphonia armonie celestium
4. Pérotin – (c.1160-1205), French; leader of what became known as the Notre Dame School; wrote liturgical music in the style
known as ars antiqua and took leading part in the revision of Léonin’s theoretical trestise Magnus liber; known for his Beata
viscera
5. Adam de la Halle – (c.1245-1306), Italian; composer of monophonic chansons and polyphonic motets; his Le jeu de Robin et
de Marion anticipated the genre of opéra-comique

Renaissance Composers:

1. Adrian Willaert – (c.1490-1562), Franco-Flemish; famous for his church music, much of which is written in a highly
individual and sonorous style that was eminently suitable for grand, solemn occasions; his vesper psalms were important for
establishing the practice writing for double choir; also known for his serious-style madrigals and light chansons
2. Andrea Gabrieli – (c.1533-1585), Italian; became very popular with the Venetian publishing houses, contributing to many
anthologies of madrigals as well as producing his own books of motets, madrigals, and lighter forms, his most famous work
is his grand music of the splendid festivals of St. Mark’s, using the cori spezzati (“broken choirs”) arrangement which he had
learned from the former venetian maestro, Willaert; Gabrieli added an instrumental ensemble to the choir and contrasting
solo voices to the work, as well as simplified the harmony of the previous work
3. Clement Janequin – (c.1485-1558), French; composed over 250 chansons throughout his career as well as two parody
masses; he is best known for his La Bataille de Marignan, which imitates warriors’ cries, the clashing of swords and other
battle sounds
4. Don Carlo Gesualdo – (c.1561-1613), Italian; madrigal composer known for experimenting with chromaticism; in his own
six books of five-voice madrigals he took chromatic harmony to extremes; much of his music represents his manic-
depressive nature and his texts are frequently erotic
5. Giaches de Wert – (c.1535-1596), Franco-Flemish; madrigal composer and important forerunner of the chromatic and
dissonant style of Monteverdi’s seconda pratica in his concentration on the creation of expressive melody; sixteen volumes
of madrigals by him were published between 1558 and 1608
6. Gilles Binchois – (c.1400-1460), French; one of the most able and yet thoroughly traditional composers of the 15th century,
Binchois is known for his songs which feature the use of under-3rd cadences, triple rhythm, and the apparent repetition of
material; he is also credited with 28 mass movements, 32 psalms, motets and small sacred works, and 54 chansons
7. Giovanni Pierluigi da Palestrina – (c.1525-1594), Italian; celebrated church music composer; famous for his many masses
and other choral works that display his masterful use of polyphony; notable works include Missa ‘Ecce sacerdos magnus’
and Missa Papae Marcelli
8. Gullaume Dufay – (c.1400-1474), French; Dufay was one of the last continental composers in the medieval churchly
tradition; some of his works display the warm harmonies, symmetrical phrasing, and directly expressive melodies
characteristic of the early Renaissance; Dufay was also known for his close harmonies derived from the fauxbourdon
technique in works such as Missa ‘Ave regina coelorum and Missa Sancti Jacobi
9. Hans Leo Hassler – (1562-1612), Germany; after studying with Gabrieli her returned to Germany to compose Latin
polyphonic and polychoral works; a Protestant himself, Hassler is known for his Lutheran liturgy including works such as O
Haupt voll Blut und Wunden and All Lust und Freud
10. Heinrich Isaac – (c.1450-1517), Flemish; one of the most prolific and influential composers of his time, Isaac is known for
his 36 masses; his massive cycle of mass Propers, built round plainchant melodies, was composed partly in response to the
Konstanz commission; his best-known work is also his shortest and simplest, the lied Innsbruck, ich muss dich lassen
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11. Jacob Obrecht – (1457-1505), Franco-Flemish; famous church music composer who focused on the Low Countries; most of
his masses (such as Missa ‘Sub tuum presidium’ and Missa ‘Maria zart’) are constructed round either plainchant melodies or
secular songs; his motets are considered his most approachable works that vary in technique from complex canonic structures
and luxuriantly sonorous polyphony
12. Jacobus Clemens – (c.1510-1555), Franco-Flemish; popular chanson and church music composer; he was the first to set
Dutch translations of the psalms polyphonically, using popular melodies taken from love songs and drinking songs, ballads,
and sacred tunes
13. Jacobus Gallus (Jacob Handl) – (c.1550-1591), Slovenic; supervised the publication of Opus musicum containing 445 motets,
psalms for All Saints, three Passions and settings of the Lamentations; he also composed 20 masses an most of his secular
music sets the Latin poets of classical antiquity; his composition style was a mixture of the Netherlands polyphonic music
and the Venetian polychoral
14. Jacques Arcadelt – (1505-1568), French: one of the earliest madrigal composers with over 200 compositions; his first book of
four-voice madrigals was among the first major successes of the printing trade; he is also known for his 126 homophonic
chansons
15. Jan Pieterszoon Sweelinck – (1562-1621), Dutch; organisy of the Oude Kerk in Amsterdam; composed numerous chansons
and Italian madrigals, motets (Cantiones sacrae), and polyphonic settings of the entire Genevan Psalter
16. Jean Mouton – (1459-1522), French; famous for his church music including 15 masses and more than 100 motets; several of
his masses are early examples of parody technique, deriving their material from the entire texture of polyphonic models
17. Johann Walther – (1684-1748), German; his compositions include sacred vocal music and organ chorale preludes of a quality
to bear comparison with those of Bach; he is now particularly remembered for his Musicalisches Lexicon, the first German
music dictionary
18. Johannes Ockeghem – (1410-1497), Franco-Flemish; church music composer whose style is characterized by its rich
polyphonic texture in which all voices are melodically significant, hierarchically equal, and thematically independent of one
another; he is also known for his quality chansons such as Fors seulement l’attente and Ma bouce rit
19. John Dowland – (1563-1626), English; a composer and lutenist, Dowland was a conservative who preferred the old-
fashioned style of Giovanni Croce; many of his compositions have a quality of sadness such as In darknesse let me dwell and
A Musical Banquet; while not respected in his day, Dowland is now ranked among England’s finest composers
20. John Taverner – (1490-1545), English; Taverner’s church music stands as one of the pinnacles of the Tudor tradition; he is
known for transcending the length and complexity of the Eton Choirbook repertory; famous works of his include Missa
‘Corona spinea’ and ‘Western Wind’ Mass
21. John Wilbye – (1574-1638), English; known as one of the finest of the English madrigal composers; in his two collections of
madrigals, Wilbye displays his unerring melodic gift that makes his music as pleasing to sing as to hear; famous works
include The Lady Orianna, Adieu, and Sweet honey-sucking bees
22. Josquin des Prés – (c.1450-1521), Franco-Flemish; the towering composer of the Renaissance, he was profoundly influential
on 16th-century music; his compositions of masses, motets, and chansons display his true independence of mind, strongly
innovatory tendencies, and a concern for the clear, rhetorical declamation of the words; famous works include Miserere mei,
Deus and Ave Maria…virgo serena
23. Luca Marenzio – (c.1553-1599), Italian; Marenzio’s madrigals reveal his mastery of singing style and his fondness for
drawing attention to each detail of the pastoral verse he chose; however, in his later madrigals themes of death and decay are
explored with jagged or chromatic melodies and dissonant in harmony; many of his madrigals were published in Musica
transalpine
24. Marc Antonio Ingegneri – (1547-1592), Italian; composed many madrigals that were published in seven volumes in Venice;
his style was old-fashioned and influenced his pupil, Monteverdi, with their clear, well-worked-out structures
25. Martin Luther – (1483-1546), German; monk who started the Protestant Reformation; Luther is credited for the creation of
congregational singing; as a composer, Luther is most known for his hymns, including A Mighty Fortress Is Our God
26. Orazio Vecchi – (1150-1605), Italian; while Orazio composed church music, he is best known for his light madrigals and
canzonettas, written in an eminently singable and attractive style; his best-known work is the madrigal comedy
L’Amfiparnaso
27. Orlando di Lasso – (c.1532-1594), Franco-Flemish; Lasso was a gifted vocalist and composer who is known for his
madrigals, bawdy villanelles to Neapolitan dialect texts, French chansons, and Latin motets for Tylman Susato in Antwerp;
he is also known for his parody masses and his cycle of religious madrigals, the Lagrime di S. Pietro
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28. Orlando Gibbons – (1583-1623), English; one of the most versatile composers of his generation, Gibbons was a serious
madrigalist in favor of a moralizing, strictly contrapuntal manner in the tradition of Byrd and the consort song; famous works
include The Silver Swan and Hosanna to the son of David
29. Philippe Verdelot – (c.1480-1530), French; key figure in the early history of the Italian madrigal; his pioneering essays in this
genre include settings of texts by Petrarch and Machiavelli; he was also a prolific composer of motets including his Si bona
suscepimus
30. Pierre Certon – (c.1500-1572), French; Certon was clerk at Notre Dame and a celebrated chanson composer with over 285
pieces having great influence on the development of the genre; one of the earliest Catholic composers to write psalm tunes,
which were arranged for solo voice and lute, he also wrote masses and motets
31. Thomas Luis de Victoria – (c.1548-1611), Spanish; Victoria was the greatest Spanish composer of the Renaissance; he is
most known for his motets including O magnum mysterium and O quam gloriosum
32. Thomas Morley – (c.1557-1602), English; Morley is remembered for his English-texted madrigals, and for his treatise A
Plaine and Easie Introduction to Practicall Musicke; Morley virtually reinvented the genre of madrigals to suit the tastes of
the English market; his madrigals are light, often narrative, and strongly indebted to Italian models; famous madrigals of his
include Now is the Month of Maying
33. Thomas Tallis – (c.1505-1585), English; Tallis was among the first composers to write English-texted anthems and canticles
for the new Protestant liturgy; famous works include If ye love me
34. Thomas Weelkes – (c.1570-1623), English; best known as a prolific composer of madrigals and ballets; his works often stand
out for their brilliant sonority, rich texture, and at time daring use of dissonance and chromaticism; famous works include
Thule, the Period of Cosmograph and Lavoravi in gemitu meo
35. William Byrd – (c.1540-1623), English; Byrd was the foremost English composer during the reigns of Elizabeth I and James
I; he is known for his composition of many masses, motets, polyphonic songs, and works for keyboard and instrumental
consort; famous works include Sing Joyfully Unto God and Ave Verum Corpus

Medieval Song: a. four male voices, a cappella

b. polyphonic
1. Viderunt Omnes (plainchant) c. polyphonic writing, medieval harmony
a. solo voice (tenor), a cappella d. top parts are more complex, repeated
b. monophonic phrases
c. Gregorian chant, ars antiqua
d. Simple yet complex Renaissance Motet:
2. Viderunt Omnes – Perotin (organum)
a. four male voices, a cappella 1. O Magnum Mysterium – T.L. de Victoria
b. polyphonic a. SATB, a cappella
c. polyphonic writing, medieval harmony b. polyphonic
d. lowest voice serves as a drone (like an organ c. polyphonic writing, counterpoint
would) d. all parts have distinct lines that are also
3. Spiritus Sanctus – Hildegard of Bingen thematic
a. solo voice (soprano), a cappella
b. monophonic English Anthem:
c. church plainchant, ars antiqua
d. Simple yet complex 1. This is the Record of John – Orlando Gibbons
4. Je vivroie liement/Liement me deport – Guillaume de a. keyboard, tenor solo voice, ATTBB
Machaut b. monophonic, homophonic
a. bagpipes, solo voice (soprano) c. English text, post-madrigal elements
b. monophonic d. solo voice call, chorus response
c. ars nova, a development of the plainchant 2. If Ye Love Me – Thomas Tallis
d. voice is accompanied by a drone bagpipe a. SATB, a cappella
5. Agnus Die, from Missa Notre Dame – Guillaume de b. homophonic
Machaut c. English text, song of gladness
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d. polyphonic points, but the majority of parts Chanson:

line up
1. La Guerre – Clement Janequin
Italian Madrigal: a. SATTB, a cappella
b. polyphonic
1. Solo e pensoso – Luca Marenzio c. light and fun
a. SATBB, a cappella d. superb polyphonic writing, not one line
b. polyphonic, homophonic prevails over the other
c. four parts derived from a cantus firmus 2. Margot labourez les vignes – Clement Janequin
d. cascading parts a. STTB, a cappella
2. Matona Mia Cara – Orlando di Lasso b. monophonic
a. SATB, a cappella c. chordal writing with renaissance harmony
b. homophonic d. strophic form
c. light and playfull 3. Il est bel et bon – Pierre Passereau
d. very fun, repetitive a. SATB, a cappella
3. Il bianco e dolce cigno – Jacques Arcadelt b. polyphonic
a. SATB, a cappella c. light and fun, independent lines
b. homophonic d. repetitive themes displayed in every line
c. counterpoints derived from cantus firmus
d. smooth, elastic Josquin des Prés:

English Madrigal: 1. L’homme armé (Chanson)

a. solo voice, a cappella
1. Now is the month of maying – Thomas Morley b. monophonic
a. SATTB, a cappella c. chant
b. homophonic d. cantus firmus for the mass
c. light and fun, English text 2. Angus Dei, Missa L’homme armé sexi toni
d. repetitive, some polyphonic phrases a. SATB, a cappella
2. Fair Phyllis I Saw Sitting – John Farmer b. polyphonic
a. SATB, a cappella c. independent lines derived from cantus
b. monophonic firmus
c. light and fun, English text d. bottom line serves as both a drone and an
d. clever use of music to represent text independent line
3. The Silver Swan – Orlando Gibbons 3. Ave Maria
a. SATTB, a cappella a. SATB, a cappella
b. polyphonic b. polyphonic
c. independent lines but not one is more c. independent lines, renaissance harmony
important than the other d. thematic lines heard in all four parts
d. great melismic lines
G.P. Palestrina
German Madrigal:
1. Kyrie, Missa Papae Marcelli
1. Tanzen und Springen – Hans Leo Hassler a. SATTBB, a cappella
a. SSATB, a cappella b. polyphonic
b. homophonic c. independent lines, renaissance harmony
c. imitative texture and chordal writing d. masterful melodic lines with consonant
d. strophic form skips
2. Ach Elslien, lieves Elselein – Ludwig Senfl 2. Agnus Dei, Missa Papae Marcelli
a. SATB, a cappella a. SATTBB, a cappella
b. Homophonic b. polyphonic
c. chordal writing and renaissance harmony c. independent lines, renaissance harmony
d. strophic form d. thematic elements first displayed in the
Kyrie found in these lines
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3. Nigra Sum – Jean Lhéritier

a. SATTB, a cappella
b. polyphonic
c. independent lines derived from a cantus
firmus
d. lines have similar rhythms but different
pitches
4. Kyrie, Missa Nigra Sum – Palestrina
a. SATTB, a cappella
b. polyphonic
c. independent lines
d. melismic lines
5. Gloria, Missa Nigra Sum – Palestrina
a. SATTB, a cappella
b. polyphonic
c. independent lines, renaissance harmony
d. tenor chant to begin the piece
6. Exultate Deo
a. SAATB, a cappella
b. polyphonic
c. independent lines working together
d. faster tempo than most of his pieces

William Byrd:

1. Sing Joyfully Unto God

a. SSAATB, a cappella
b. polyphonic
c. polyphonic lines set to English text
d. polyphony allows for the moments when the
parts sing together to be extremely effective
2. Ave Verum Corpus
a. SATB, a cappella
b. polyphonic and homophonic
c. renaissance harmony
d. mixture of chordal writing with moments of
independent lines
3. Kyrie, Mass for 4 Voices
a. SATB, a cappella
b. polyphonic
c. independent lines with renaissance harmony
d. very Palestrina-like