What is an Isorhythmic motet?
EYE-soe-rih-thmik moe-TET. [English] A form of motet of the Medieval and early Renaissance eras that is based on a repeating rhythmic pattern found in one or more of the voices. The tenor is usually the voice with the repeating rhythmic structure.
What is Isorhythmic tonality?
isorhythm, in music, the organizing principle of much of 14th-century French polyphony, characterized by the extension of the rhythmic texture (talea) of an initial section to the entire composition, despite the variation of corresponding melodic features (color); the term was coined around 1900 by the German …
Which composition is an example of a Renaissance motet?
Motets in praise of the Virgin Mary were popular throughout Europe, with Josquin’s motet Ave Maria being one of the greatest examples of a Renaissance motet.
What is the difference between color and Talea?
This melodic pattern is called color. The tenor is created using the melodic pattern or color and the rhythmic pattern or talea. It is worth noting that in this case the color is repeated only twice while the talea, much shorter, is repeated eleven times.
What is Isorhythm quizlet?
Isorhythm. a compositional device where the tenor is laid out in identical rhythms/arranged durations in a rhythmic pattern that repeats.
What is a Renaissance motet?
Motet: In the Renaissance, this is a sacred polyphonic choral setting with a Latin text, sometimes in imitative counterpoint. This often includes using this borrowed polyphonic material as a “motto” theme to start each Mass movement.
Which composition is an example of a Renaissance motet quizlet?
Which composition is an example of a Renaissance motet? Council of Trent, influenced by the music of ___________, decided to retain polyphony in music composed of the Mass. What is a castrato? The composer Josquin and Palestrina both sent a portion of their careers working in the Sistine Chapel of the pope.
What is color in Isorhythm?
In isorhythmic compositions, a composition technique characteristic of motets in the 14th and early 15th centuries, the term color refers to a sequence of repeated notes in the cantus firmus tenor of a composition. The color is typically divided into several taleae, sequences that have the same rhythmic sequence.
How do I find my motet?
A motet can be defined as an unaccompanied choral composition based on a sacred Latin text. There have been some exceptions, such as motets with secular text or the occasional instrumental accompaniment, but we’ll focus on the most common one here.
How many voices are in a motet?
three voices
Motets are now quite often for three voices (two voices with text and the Tenor). The Tenor at first is still organized into its repeatable rhythmic cells and moves at about the same speed of the other voices. The upper voices generally have two different French texts.
What type of music was the motet?
motet, (French mot: “word”), style of vocal composition that has undergone numerous transformations through many centuries. Typically, it is a Latin religious choral composition, yet it can be a secular composition or a work for soloist(s) and instrumental accompaniment, in any language, with or without a choir.
Who was the composer of the isorhythmic motet?
The isorhythmic motet These motets, written during the Ars Nova period of the 14th century, feature the isorhythmic principles of talea and color. Composers include Machaut and Philippe de Vitry. An example of an isorhythmic motet is Garrit Gallus/In nova fert/Neuma, attributed to Philippe de Vitry in the first half of the 14th century.
Which is an example of the use of isorhythm?
Machaut’s Motet No. 2, De souspirant/Tous corps qui de bien amer/Suspiro, is an example of typical 14th-century use of isorhythm ( Randel 2003 ). Isorhythm is a logical outgrowth of the rhythmic modes that governed most late medieval polyphony.
Why was the isorhythmic motet important to Ars Nova?
The isorhythmic motet became the major art form of the French Ars Nova. Its appeal is easy to fathom. Isorhythm enabled the tight organization of extended works, no small advantage in pieces which can baffle all but the most informed listener with their surface complexity of polyrhythms, polymeters, and polytextuality.
Why do you have to repeat the color in an isorhythm?
In such compositions, the length of the “color” and “talea” are often unequal, causing the repetition of the melody in differing rhythmic patterns. As an example, if the “color” includes nine notes and the “talea” five, the “color” would have to be repeated five times before the two schemes again realign.