Franco-Flemish Polyphony: Evolution of Renaissance Vocal Music

1. Cyclic Mass and Early Forms

The cyclic mass style utilizes a cantus firmus across five movements, typically scored for four vocal parts. Motets are sacred liturgical compositions in Latin, also featuring four voices. The Burgundian Chanson represents the most significant secular form of the period, defined as any polyphonic musical setting of poetry, usually for three voices in 6/8 meter.

2. The Second Generation (1460–1490): Johannes Ockeghem

Johannes Ockeghem (1410–1497) was the most influential composer of this era, known for complex, non-uniform melodic lines. Key techniques developed during this time include:

• Retrograde
• Inversion
• Retrograde Inversion

Ockeghem served French royalty for much of his life and was a master of counterpoint and rhythm, composing numerous masses, motets, and chansons.

3. The Third Generation (1490–1520): Josquin des Prez

Josquin des Prez (1440–1524), a pupil of Ockeghem, spent significant time in the papal chapel in Italy. His contributions include:

• Increased use of paired cadences.
• Parallel voice movement.
• Simpler, more uniform rhythms.

His output includes masses (often using cantus firmus), motets, chansons, and frottolas. He is noted for Musica Reservata, where the music is strictly adapted to the text.

4. The Fourth Generation (1520–1560): Adrian Willaert

Adrian Willaert (1480–1562), a disciple of Josquin, became choirmaster at San Marco in Venice in 1527, founding the Venetian School. Musical developments include:

• A return to denser textures in both sacred and secular music.
• The abandonment of the cantus firmus in motets.
• The addition of a fifth or sixth voice in masses.
• The rise of the parody mass and the madrigal.

5. The Fifth Generation (1560–1600): Orlando di Lasso

Orlando di Lasso (1532–1594) represents the climax of Franco-Flemish vocal polyphony. His work was heavily influenced by the Council of Trent and the Counter-Reformation, leading to a focus on penitential psalms and biblical motets. His vast production includes:

• 70 Masses and 8 parody masses.
• Over 700 motets.
• 200 madrigals and 140 French chansons.
• 90 German songs and numerous villanelles.