Assignment: Grout and Palisca, Chapter
6
Skim: 152-163
Read: 163-182
Study Questions:
2. What types of works did Ockeghem write? Why are
there so many Masses? Be
able to describe
his style with respect to vocal range, texture, phrase structure,
and rhythm. How does
he achieve variety or contrast?--p. 164-165*
3. How does Ockeghem employ a cantus firmus
in his Masses? What is a Missa
sine nomine?--p.
165-166
4. What are some of the different canonic techniques
employed by Ockeghem?--p.
166-169 In 15th-century
terms, what was a fuga? What was a canon?--p. 166
5. How did the chanson change in style in the late
15th century? How were chan-
sons used to create
other works?--p. 171
6. What is the Odhecaton? What changes in
style appear in its 4-voice
chansons?--p. 172
(See also p. 160-161 for the historical significance of this
book)
7. How does Josquin’s chanson style differ from that of Ockeghem?--p. 172
8. How did the motet become particularly important
in the early 16th century?--p.
174-175
9. What is a soggetto cavato? An imitation
(or parody) Mass? A
contrafactum?--p.
175
10. In what ways did Josquin fit his music to the
text?--p. 176-179 What is musica
reservata?
How does it operate in the motet De profundis clamavi?--p. 177
11. How does Josquin employ imitation in his motets?--p. 177-178**
12. What are canti carnascialeschi? What is
their style? How did this Italianate
style influence Isaac’s
settings of German popular songs?--p. 181
13. What types of sacred works did Isaac write? What
is the Choralis Constan-
tinus?--p.
182
14. Be able to describe the new international style
of the early 16th century--p.
182***
**"Fugal imitation" (also known as
"through imitation" or "imitative points") is only one type of imita-
tion,
prominent throughout the 16th century. Another type, "paired imitation,"
in which a pair of
voices
is imitated by another pair (see ex. 6.6 and 6.8) is peculiar to Josquin’s
time.
***This paragraph very concisely summarizes the differences between 15th and 16th century style.