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201:), compiled around 1435, which contains several examples, including one by Du Fay dating probably to around 1430. Since many early 15th century compositions are anonymous, and dating is often problematic, exact determination of the authorship of the earliest fauxbourdon is difficult. Du Fay's contribution to this collection contains the first actual use of the term, in the closing part of his
116:
133:. The top and bottom lines are freely composed; the middle line, designated "fauxbourdon" in the original, follows the contours of the top line while always remaining exactly a perfect fourth below. The bottom line is often, but not always, a sixth below the top line; it is embellished, and reaches cadences on the octave.
205:. It is possible that his use of the word "bourdon" was intended as a pun on St. James' "staff" (which Du Fay, or the copyist, drew in miniature above the music). Cividale, Museo Civico MS 101 has a work "O salutaris hostia" (f. 82v) which seems to be a work of fauxbourdon, but not labelled as such.
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Boorman, Stanley; Emerson, John A.; Hiley, David; Fallows, David; Payne, Thomas B.; Aubrey, Elizabeth; Welker, Lorenz; Ferreira, Manuel Pedro; Sanders, Ernest H.; Lefferts, Peter M.; GĂĽnther, Ursula; Reaney, Gilbert; Fischer, Kurt von; D'Agostino, Gianluca; Hamm, Charles; Call, Jerry; Kellman,
254:. While superficially similar, especially in that it involved chains of 6–3 chords with octave-fifth consonances at the ends of phrases, faburden was a schematic method of harmonization of an existing chant; in the case of faburden, the chant was in the middle voice.
169:
over the melody, but the term was historically used to indicate an arrangement of the tune in four parts with the melody in the tenor voice, such as those composed by sixteenth- and seventeenth-century
English composers including
137:
112:, the lowest voice sometimes jumps down to the octave, and any of the accompanying voices may have minor embellishments. Usually just a small part of a composition employs the fauxbourdon technique.
228:, which happened on 31 May 1433. In this motet, which is for four voices, when the tenor—the lowest voice—drops out, the upper three voices proceed in fauxbourdon.
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Even though its first use appears to have been in Italy, fauxbourdon was to become a defining characteristic of the
Burgundian style which flourished in the
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Bent, Margaret (1989). "The
Definition of Simple Polyphony: Some Questions". In Corsi, by Cesare; Petrobelli, Pierluigi (eds.).
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Le
Polifonie primitive in Friuli e in Europa. Atti del congresso internazionale Cividale del Friuli, 22–24 agosto 1980
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A related, but separate, development took place in
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H. Grace, H. V. Hughes, H. R. Norton, G. Shaw, M. Shaw, and C. A. Becket
Williams,
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Scott, Ann Besser (1971). "The
Beginnings of Fauxbourdon: A New Interpretation".
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all frequently used the technique, always adapting it to their personal styles.
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The earliest explicit example of fauxbourdon may be in the manuscript
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272:: a Brazilian music genre whose name is derived (indirectly) from
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Bourdon und
Fauxbourdon: Studien z. Ursprung d. niederländ. Musik
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266:: a type of singing related by name, but only slightly in style
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The earliest definitely datable example of fauxbourdon is in a
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through the middle of the 15th century. Composers such as
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199:, Museo Internazionale e Biblioteca della Musica, MS Q15
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367:(in German). Breitkopf und Härtel Musikverl., VEB.
92:In its simplest form, fauxbourdon consists of the
345:Trecento Fragments and Polyphony Beyond the Codex
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68:was a prominent practitioner of the form (as was
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119:Example of fauxbourdon. This is a portion of
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416:Journal of the American Musicological Society
403:. New York, W.W. Norton & Co., 1954.
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454:(1959). "Faburden and Fauxbourdon".
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347:(PhD). Harvard University.
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401:Music in the Renaissance
494:Oxford University Press
214:Supremum est mortalibus
331:. Rome: Torre d'Orfeo.
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587:Vasilissa ergo gaude
580:Nuper rosarum flores
651:Alejandro Planchart
492:. Oxford, England:
391:The Tenor Tune Book
312:, pp. 275–276.
203:Missa Sancti Jacobi
725:Musical techniques
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489:Grove Music Online
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180:Thomas Ravenscroft
161:sings in parallel
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681:Fauxbourdon
636:Peter GĂĽlke
274:fauxbourdon
212:by Du Fay,
88:Description
76:and mostly
58:Renaissance
54:Middle Ages
46:false drone
22:Fauxbourdon
719:Categories
280:References
82:liturgical
56:and early
26:fauxbordon
464:: 43–78.
436:0003-0139
298:Bent 1989
285:Citations
222:Sigismund
74:homophony
704:Category
629:Scholars
604:Teachers
480:(2001).
470:20531911
258:See also
252:faburden
192:I-BC Q15
131:notation
669:Related
338:"Ch. 2"
320:Sources
197:Bologna
186:History
167:descant
163:octaves
110:cadence
597:People
565:Motets
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444:830274
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243:, and
178:, and
104:and a
42:French
24:(also
466:JSTOR
440:JSTOR
341:(PDF)
270:ForrĂł
210:motet
153:In a
102:sixth
98:parts
432:ISSN
405:ISBN
220:and
155:hymn
139:Play
125:, a
44:for
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