Hot Damn, les' talk music!

Ahem.

The Enlightenment/Age of Reason stresses balance and clarity - thus melody and phrase structure became clearly defined. Harmonic style simplifies as the numerous chord changes of the polyphonic baroque crystallize into a clear homophonic I - V - I structure. Overlapping phrases are replaced by periodic (antecedent-consequence) structures and clear cadential breaks. The meandering melodies of the baroque are replaced by short, distinct, classical motives. Counterpoint becomes the mechanism for reworking thematic material in developmental sections. Which of these practices can be traced to vocal traditions? Homophony? New forms or derivatives? Italian opera reaches its peak and the German opera tradition begins (Mozart and others).

The formal scheme is dominated by the multi-movement sonata per the trio, church, and chamber sonata, and the dance suite. Sonata means "to sound" and relates to instrumental music like canzona relates to vocal music.

We must not, however, forget that

...it is between the years 1480 and 1520 that the motet as an art-form progressed, favoured by the nascent devices of the modern school, with Josquin Després as leader. The outstanding feature of time motets of this period is the extraordinary skill displayed in weaving melodious counterpoint around a short phrase of plainchant or secular melody. Josquin (Canon of St-Quentin) stands head and shoulders over his fellows, and his motets were among the earliest printed by Petrucci, in 1502-05. In all, one hundred and fifty of his motets have been printed, the best known being the beautiful one, founded on the plain-chant theme of "Requiem æternam", on the death of his master Okeghem, and the settings of the genealogies in the Gospels of St. Matthew and St. Luke. His fellow-pupil, Pierre de la Rue, also composed some charming motets, of which twenty-five have been printed. One of the best known is founded on a theme from the Lamentations of Jeremias. Another famous motet-writer of this period was Eleazar Genet, better known as Carpentras (from the place of his birth), a priest and papal nuncio. His "Motetti della corona" were published by Petrucci, in 1514 but he is best known for his "Lamentations", which continued to be sung by the pontifical choir at Rome until 1587. A third motet-writer was Jean Mouton, canon of St-Quentin, whose "Quam pulchra es" has often been ascribed to Josquin. A fourth is Jacques Clément (Clemens non Papa), who issued seven books of motets, published by Phalèse (Louvain, 1559) Three typical specimens have been reprinted by Proske in his "Musica divina". Jacob Vaett composed a motet on this French composers death in 1558. John Dygon, Prior of St. Augustines, Canterbury, was a composer of motets, one of which was printed by Hawkins. Other English composers who cultivated this art-form in the sixteenth century were: Fayrfax, Tallis (who wrote one in forty parts), Whyto, Redford, Taverner, and Shepherd. Many of the Latin motets by these musicians were subsequently adapted to English words. Arcadelt, a pontifical singer, composed an eight-part Pater Noster; his better known Ave Maria is of doubtful authenticity. Willaert, maestro di cappella at St. Mark's, Venice, and "father of the madrigal", published three collections of motets for four, five, and six voices not a few of which are extremely inventive and melodious though intricate.

I can talk music!