A polyphonic sacred work in English for Anglican religioius services
1540-1623. English composer, a master of all major genres of his time. Possibly a student of Thomas Tallis. Wrote music for both Anglican and Catholic services/masses.
French FORME FIXE in the pattern A bba A bba A bba A, in which a REFRAIN (A) alternates with stanzas with the musical FORM bba, the a using the same music as the refrain.
(from French mot, 'word') POLYPHONIC vocal COMPOSITION; the specific meaning changes over time. The earliest motets add a text to an existing DISCANT CLAUSULA. Thirteenth-century motets feature one or more voices, each with its own sacred or secular text in Latin or French, above a TENOR drawn from CHANT or other MELODY. fourteenth- and some fifteenth-century feature ISORHYTHM and may include a CONTRATENOR. From the fifteenth century on, any polyphonic setting of a Latin text (other than a MASS) could be called a motet; from the sixteenth century on, the term was also applied to sacred compositions in other languages.
(pl. rondeaux) (1) French FORME FIXE with a single stanza and the musical FORM ABaAabAB, with capital letters indicating lines of REFRAIN and lowercase letters indicating new text set to music from the refrain.
(Italian, short for mille trecento, "one thousand three hundred"; ) The 1300s (the fourteenth century), particularly with reference to Italian art, literature, and music of the time.
Repetition in a voice part (usually TENOR) of an extended pattern of durations throughout a section or an entire COMPOSITION.
In a isorhythmic composition, a repeated melodic pattern, as opposed to the repeating rhythmic pattern
a song for two or three voices without instrumental accompaniment. Form aab
Style of POLYPHONY from the late fourteenth or very early fifteenth centuries in southern France and northern Italy, distinguished by extreme complexity in rhythm and NOTATION.