Recently, biographers of Josquin des Prez have been playing a game something akin to "Where's Waldo? Quentin, France, and was given first employment at the cathedral of Milan in There have been unconfirmed sightings of youthful Josquin also in Nancy, Troyes, Blois, and Paris-it turns out that more than one musician had the name "Josquin," or "Jossequin," or "Jodocus," or "Josquinus. What his biography does affect, however, is the way we view the development of the musical style of an individual who was surely one of the greatest composers of the Renaissance some would say the greatest.

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Notes from Monday of Week Music of the Renaissance. See Chapter 4 of the online textbook for details. Background: Questioning the Norm :. Nearly every traditional aspect of European life was challenged by new discoveries, technologies and ways of thinking see Chapter 4, p. Even the central authority of the Western church was questioned Protestant Reformation. Musicians created new musical approaches that were highly expressive. Renaissance music sounds fuller and more consonant than that of the Middle Ages.

Renaissance style is smoother, more triadic, and with careful control of dissonance. Summary of Renaissance Sacred Music:. Summary of Critical Terms from Today's Lecture:. Josquin Desprez : Ave Maria Counterpoint is primarily a RHYTHMIC phenomenon the voices have to be rhythmically independent , and the lines must have good voice-leading avoid consecutive leaps, voices should not all move in parallel motion, etc.

The following intervals were considered dissonant in the Renaissance:. Suspensions in an upper voice are numbers indicate the interval between the upper voice and lower voice in the suspension :. Example: See Resource Guide , p. Some highlighted examples of dissonances in Josquin's Ave Maria


Ave Maria … Virgo serena (Josquin des Prez)

Language: Latin Instruments: A cappella. Even today, it is considered one of the most nearly perfect compositions of its era. It was so popular during Josquin's life that an anonymous composer, probably Ludwig Daser , working after Josquin's death, circulated a version with two new added voices Ave Maria … Virgo serena, a 6. Ludwig Senfl also wrote a 6-part Ave Maria parody based on this piece. Other Ave…serena texts have been set by Mouton and Regis. Latin text. Ave Maria, Gratia plena, Dominus tecum, Virgo serena.


Ave Maria... virgo serena, motet for 4 parts

Virgo serena " is a motet composed by Josquin des Prez. It is regarded as Josquin's most famous motet and one of the most famous pieces of the 15th century. The piece rose to extreme popularity in the 16th century, even appearing at the head of the first volume of motets ever printed. Its revolutionary open style featuring early imitative counterpoint and two-voice parts has added to its acclaim as one of the most influential compositions of its time. The work was composed during Josquin's service at the North Italian court at Milan. It was initially thought to have been copied into the manuscript Munich by It is Josquin's earliest dateable work.


Ave Maria (Josquin des Prez)

There are 3 different works beginning Ave Maria by Josquin des Prez , the best known being:. There are 3 different works beginning Ave Maria by Josquin des Prez , the best known being: Ave Maria … Virgo serena a 4, the basis for: Ave Maria … Virgo serena, a 6 anonymous 2 extra voices added to the above Ave Maria Ludwig Senfl a reworking for 6 voices of Josquin's composition He also wrote two settings of the 'standard' text, Ave Maria … benedicta : Ave Maria … benedicta tu , a 4 Ave Maria … benedicta tu, a 6. Categories : Disambiguation Disambiguation of works. Navigation menu Personal tools Log in Request account. Namespaces Page Discussion.


Ave Maria…virgo serena (Josquin Desprez)

A version of Josquin Desprez 's Ave Maria, perhaps his most famous composition and certainly his most often sung today, appears at the head of the first volume of motets ever printed ; its composition occurred during the composer's service at one of several French and North Italian courts. Apparently written some time between and ; this motet expounds with classic elegance the stylistic ideals of the Italian Renaissance and provides one of the best examples of its style, power, and beauty. The structure of Josquin 's musical setting corresponds to the text in a lucid way. Twentieth century theorists use the term "syntactic imitation" to describe the characteristic musical structure of High Renaissance vocal pieces. Each musical phrase corresponds to a phrase of text, and points of imitation frequently expose these phrases.

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