Assignment: Grout and Palica, Chaper 4
Skim: 101-103
Read: 103-123
Skim: 123-127
Read: 127
Study Questions:
2. How does isorhythm work? What is color?
What is talea? What kinds of rela-
tionships exist between
color and talea?--p. 104-106
3. What is distinctive about the tenor of Garrit gallus?--p. 105 (and NAWM 20)*
4. What advances can be found in the motet style of Machaut?--p. 107
5. What various types of secular music did Machaut
write?--p. 107-108** What is
the form of a virelai?--p.
107 A ballade?--p. 108 A rondeau?--p. 108
6. How do Machaut’s harmony and melodic line differ
from those of the 13th cen-
tury?--p. 107
7. What is significant about Machaut’s Messe de Notre Dame?--p. 108-110***
8. How does Machaut use isorhythm in the Agnus Dei
of his Mass?--p. 110 (and
NAWM 22) How do the
Gloria and Credo differ from the other
movements?--p. 110
9. What are some of the questions regarding the performance
of Machaut’s
Mass?--p. 110
10. What are some of the reasons for the decline
in the composition of sacred music
in the 14th century,
especially in Italy?--p. 111
11. How does Italian music of the 14th century differ
from French music of the
same period?--p.
111
12. What is the Squarcialupi Codex? What does it contain?--p. 112
13. What is the form of a 14th-century madrigal?--p.
112 What is a caccia?--p.
112-113 What is the
form of a ballata?--p. 113 (and NAWM 24)
14. What types of pieces did Landini write?--p. 114
15. What is a "Landini" cadence? a double-leading-tone
cadence? a Phrygian ca-
dence?--p. 115-116,
121
16. What happened to Italian music near the end of the 14th century?--p. 116****
17. What are some of the performance possibilities
for secular songs of the 14th
century?--p. 116-117
18. What kind of music flourished around Avignon
late in the 14th century?--p.
117
19. Be able to describe the rhythm of late 14th-century French music--p. 117-121
20. Under what circumstances were notes altered by
accidentals in 14th-century
music?--p. 121-123
What is musica ficta?--p. 123
**The sub-heading "Machaut’s Secular
Works" is valid only to the bottom of p. 108, at which point a new
sub-heading,
"Machaut’s Messe de Notre Dame," present in the previous edition,
has been omitted.
***Because of the lack of strongly
unifying features, some scholars have suggested that Machaut wrote the
movements
at different times and only later compiled them into a cycle
****Johannes Ciconia’s dates have now
been revised to c. 1370-1412. There seem to have been two indi-
viduals,
father and son, with the same name. It was the father (not a musician)
who was born c. 1340.