136:
700:
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.
372:
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.
572:
231:
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
482:
615:
516:
548:
327:
Bent, Margaret (1989). "The
Definition of Simple Polyphony: Some Questions". In Corsi, by Cesare; Petrobelli, Pierluigi (eds.).
329:
Le
Polifonie primitive in Friuli e in Europa. Atti del congresso internazionale Cividale del Friuli, 22–24 agosto 1980
408:
734:
541:
221:
724:
729:
517:
https://web.archive.org/web/20050825215322/http://www.vanderbilt.edu/Blair/Courses/MUSL242/dufay98.htm
703:
534:
493:
501:
382:
586:
579:
8:
650:
610:
488:
465:
439:
250:
A related, but separate, development took place in
England in the 15th century, called
225:
179:
685:
456:
431:
404:
244:
61:
57:
158:
675:
557:
497:
423:
389:
H. Grace, H. V. Hughes, H. R. Norton, G. Shaw, M. Shaw, and C. A. Becket
Williams,
378:
337:
121:
101:
77:
65:
655:
414:
Scott, Ann Besser (1971). "The
Beginnings of Fauxbourdon: A New Interpretation".
362:
240:
236:
126:
109:
41:
247:
all frequently used the technique, always adapting it to their personal styles.
217:
130:
105:
69:
53:
635:
718:
640:
477:
451:
435:
396:
232:
175:
93:
645:
263:
171:
97:
469:
216:, which was written for the treaty reconciling the differences between
81:
443:
190:
The earliest explicit example of fauxbourdon may be in the manuscript
521:
73:
526:
427:
272:: a Brazilian music genre whose name is derived (indirectly) from
269:
364:
Bourdon und
Fauxbourdon: Studien z. Ursprung d. niederländ. Musik
196:
166:
115:
49:
266:: a type of singing related by name, but only slightly in style
208:
The earliest definitely datable example of fauxbourdon is in a
162:
209:
129:, in a setting by Guillaume Du Fay, transcribed into modern
235:
through the middle of the 15th century. Composers such as
154:
371:
303:
573:
199:, Museo Internazionale e Biblioteca della Musica, MS Q15
481:
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
291:
68:was a prominent practitioner of the form (as was
716:
119:Example of fauxbourdon. This is a portion of
542:
416:Journal of the American Musicological Society
403:. New York, W.W. Norton & Co., 1954.
549:
535:
108:below. To prevent monotony, or create a
360:
335:
309:
114:
603:
502:10.1093/gmo/9781561592630.article.09373
476:
450:
383:10.1093/gmo/9781561592630.article.50158
224:, after which Sigismund was crowned as
72:), and may have been its inventor. The
717:
157:, the term is sometimes used when the
530:
413:
556:
454:(1959). "Faburden and Fauxbourdon".
326:
297:
60:, particularly by composers of the
13:
522:http://www.dolmetsch.com/defsf.htm
353:
14:
746:
510:
84:lyrics to be understood clearly.
699:
698:
336:Cuthbert, Michael Scott (2006).
373:Herbert (2001). "Sources, MS".
148:
28:, and also commonly two words:
16:Musical harmonization technique
165:, with some singers singing a
87:
80:allows the text of the mostly
1:
279:
284:
48:– is a technique of musical
7:
361:Besseler, Heinrich (1974).
257:
10:
751:
347:(PhD). Harvard University.
319:
185:
694:
668:
628:
596:
564:
401:Music in the Renaissance
494:Oxford University Press
214:Supremum est mortalibus
331:. Rome: Torre d'Orfeo.
145:
735:Medieval music theory
118:
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
611:Richard Loqueville
489:Grove Music Online
375:Grove Music Online
226:Holy Roman Emperor
180:Thomas Ravenscroft
161:sings in parallel
146:
730:Renaissance music
712:
711:
686:Music of Burgundy
664:
663:
624:
623:
457:Musica Disciplina
245:Johannes Brassart
62:Burgundian School
52:used in the late
36:, and in Italian
742:
702:
701:
676:Dufay Collective
626:
625:
601:
600:
558:Guillaume Du Fay
551:
544:
537:
528:
527:
505:
485:
473:
447:
386:
368:
348:
342:
332:
313:
307:
301:
295:
144:
143:
142:
140:
122:Ave Maris Stella
78:parallel harmony
66:Guillaume Du Fay
750:
749:
745:
744:
743:
741:
740:
739:
715:
714:
713:
708:
690:
660:
656:Craig M. Wright
620:
592:
560:
555:
513:
508:
356:
354:Further reading
351:
340:
322:
317:
316:
308:
304:
296:
292:
287:
282:
260:
241:Antoine Busnois
237:Gilles Binchois
188:
151:
138:
135:
134:
127:Marian Antiphon
90:
17:
12:
11:
5:
748:
738:
737:
732:
727:
710:
709:
707:
706:
695:
692:
691:
689:
688:
683:
678:
672:
670:
666:
665:
662:
661:
659:
658:
653:
648:
643:
638:
632:
630:
622:
621:
619:
618:
613:
607:
605:
598:
594:
593:
591:
590:
583:
576:
568:
566:
562:
561:
554:
553:
546:
539:
531:
525:
524:
519:
512:
511:External links
509:
507:
506:
478:Trowell, Brian
474:
452:Trowell, Brian
448:
428:10.2307/830274
422:(3): 345–363.
411:
394:
393:(London, 1917)
387:
369:
357:
355:
352:
350:
349:
333:
323:
321:
318:
315:
314:
302:
289:
288:
286:
283:
281:
278:
277:
276:
267:
259:
256:
218:Pope Eugene IV
187:
184:
150:
147:
106:perfect fourth
96:and two other
89:
86:
70:John Dunstaple
15:
9:
6:
4:
3:
2:
747:
736:
733:
731:
728:
726:
723:
722:
720:
705:
697:
696:
693:
687:
684:
682:
679:
677:
674:
673:
671:
667:
657:
654:
652:
649:
647:
644:
642:
641:David Fallows
639:
637:
634:
633:
631:
627:
617:
616:Nicolas Malin
614:
612:
609:
608:
606:
602:
599:
595:
589:
588:
584:
582:
581:
577:
575:
574:
570:
569:
567:
563:
559:
552:
547:
545:
540:
538:
533:
532:
529:
523:
520:
518:
515:
514:
503:
499:
495:
491:
490:
484:
483:"Fauxbourdon"
479:
475:
471:
467:
463:
459:
458:
453:
449:
445:
441:
437:
433:
429:
425:
421:
417:
412:
410:
409:0-393-09530-4
406:
402:
398:
397:Gustave Reese
395:
392:
388:
384:
380:
376:
370:
366:
365:
359:
358:
346:
339:
334:
330:
325:
324:
311:
310:Cuthbert 2006
306:
300:, p. 38.
299:
294:
290:
275:
271:
268:
265:
262:
261:
255:
253:
248:
246:
242:
238:
234:
233:Low Countries
229:
227:
223:
219:
215:
211:
206:
204:
200:
198:
193:
183:
181:
177:
176:Giles Farnaby
173:
168:
164:
160:
156:
141:
132:
128:
124:
123:
117:
113:
111:
107:
103:
99:
95:
94:cantus firmus
85:
83:
79:
75:
71:
67:
63:
59:
55:
51:
50:harmonisation
47:
43:
39:
38:falso bordone
35:
34:faulx bourdon
31:
27:
23:
19:
680:
646:Charles Hamm
585:
578:
571:
487:
461:
455:
419:
415:
400:
390:
374:
363:
344:
328:
305:
293:
273:
264:Falsobordone
251:
249:
230:
213:
207:
202:
195:
191:
189:
172:John Dowland
159:congregation
152:
149:Hymn singing
120:
91:
45:
37:
33:
30:faux bourdon
29:
25:
21:
20:
18:
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
468:
444:830274
442:
434:
407:
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
40:) –
498:doi
424:doi
379:doi
32:or
721::
496:.
486:.
462:13
460:.
438:.
430:.
420:24
418:.
399:,
377:.
343:.
239:,
182:.
174:,
100:a
64:.
550:e
543:t
536:v
504:.
500::
472:.
446:.
426::
385:.
381::
194:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.