Composers MuHis 330

995-1050. Victimae paschali laudes. Syllabic. Two lines text to same muisc (double versicle). Monophonic.

1098-1179. Ordo Virtutum, Conclusion, In Principio Omnes. No rhythm. Monophonic. Neumatic.

1130-1200. Can Vei La Lauzeta Mover. No rhythm. Neumatic. Monophonic. Strict rhyme. Canso. Fine amour. No repetition.

Flourished late 12th C to early 13th C. A chantar. Monophonic. Repetition - AAB. Canso. Syallabic. Rhyme. Fine amour. No rhythm.

1131-1201. Viderunt Omnes, Gradual. Polyphony - 2 voices. Discant and florid organum. Sometimes rhythm. Rhythmic modes 1 and 5.

Flourished 1180-1220. Viderunt Omnes. Polyphony - 2 to 4 voices. Rhythm. Rhythmic modes 1, 2, 3, 5. Florid and discant organum. Voice crossing. Dissonance.

Flourished 1250-1280. Notation

1240-1288. De ma Dame/Dieus, Comment porroie/Omnes. French. Motet. 3 voices. Franconian notation. Different text in the upper voice. Secular - about love. Stratified. Not isorhythmic. Quoted song.

1270-1300. Subdivisions of Franconian notation. Stratified. Most common rhythmic modes - 5 through 7.

1290-1360. In arboris/Tuba Sacre fidei/Virgo Sum. Isorhythmic. Motet. In Ars Nova. Has talea and color.

1300-1377. La Mess de Nostre Dame and Rose, Liz, Printemps, Verdue. Mass to polyphony. Isorhythmic. All Ordinary as polyphony. Hocket. Introduced contratenor. Important poet. Dissonance and syncopation.

Flourished 1370s. En Remirant Vo Douce Pourtraiture. Ballade - abbC. Voices different meter at the same time. Complex rhythm.

1340-1386. No al suo Amante. Madrigal - aab. Italian. Only 1 ending for a section. No musical rhyme. One stanza. B sectiong different meter.

1320-1362. Tosto che L'alba. Coccia "ab" irregular. No text in lower voices. Subject - outdoors. Onomonopia. Strict rhyme. 2 sections.

1325-1392. No Avrà Ma' Pietà. Ballata - AbbaA. Italian. Open and close in second ending.