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{{short description|15th century European composers}}
[[File:DufayBinchois.jpg|thumb|right|250px|Composer [[Guillaume Dufay]] (left) and [[Gilles Binchois]] (right), [[Martin le Franc]], "Champion des Dames"]]
{{Renaissance music sidebar}}
The '''Burgundian School''' was a group of composers active in the 15th century in what is now northern and eastern [[France]], [[Belgium]], and the [[Netherlands]], centered on the court of the [[Duchy of Burgundy|Dukes of Burgundy]]. The school inaugurated the [[music of Burgundy]].
The main names associated with this school are [[Guillaume Dufay]], [[Gilles Binchois]], [[Antoine Busnois]] and (as an influence), the English composer [[John Dunstaple]]. The Burgundian School was the first phase of activity of the [[Franco-Flemish School]], the central musical practice of the [[Renaissance music|Renaissance]] in Europe.
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Burgundian composers favored secular forms, at least while they worked in Burgundian lands; much sacred music survives, especially from those composers who spent time in Italy, for example in the papal choir. The most prominent secular forms used by the Burgundians were the four ''[[formes fixes]]'' ([[Rondeau (forme fixe)|rondeau]], [[ballade (forme fixe)|ballade]], [[virelai]], and [[bergerette]]), all generically known as [[chanson]]s. Of the four, the rondeau was by far the most popular; at any rate more rondeaux have survived than any other form. Most of the rondeaux were in three voices, and in French, though there are a few in other languages. In most of the rondeaux, the uppermost voice (the "superius") was texted, and the other voices were most likely played by instruments. The bergerette was developed by the Burgundians themselves; it was like a virelai, but shorter, having only one stanza.
Most of the composers also wrote sacred music in Latin; this was to remain true for the next several generations. They wrote both [[mass (music)|mass]]es and [[motet]]s, as well as cycles of [[Magnificat]]s. During the period, the mass transformed from a group of individual sections written by different composers, often using a [[head-motif]] technique, to unified cycles based on a [[cantus firmus]].
During the period the motet transformed from the [[isorhythm]]ic model of the 14th century to the smoothly [[polyphony|polyphonic]], sectional composition seen in the work of the later Burgundians such as Busnois. In the motets, as well as the masses and other sacred music, a common musical technique employed was [[fauxbourdon]], a harmonization of an existing chant in parallel 6-3 chords, occasionally ornamented to prevent monotony. Composition using fauxbourdon allowed sung text to be clearly understood, but yet avoided the plainness of simple chant. Burgundian motets tended to be in Latin, written for three voices with the top voice being the most important. An example of a Burgundian motet is ''Quam pulchra es'', written by Dunstaple in the early 15th century.
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Instrumental music was also cultivated at the Burgundian courts, often for dancing. A peculiarity of the Burgundian instrumental style is that the dukes preferred music for loud instruments ([[trumpet]]s, [[tambourin]]s, [[shawm]]s, [[bagpipe]]s) and more of this survives than for other current instruments such as the lute or the harp. In contemporary practice, the loud instruments would usually play from an elevated location, such as a balcony, while the other instruments would play closer to the dancers.<ref name="Wright, Grove"/>
Instrumental forms included the ''[[basse danse]]'', or ''bassadanza'', which was a ceremonial dance of a rather dignified character, and relatively slow tempo. Typically it was in a duple meter subdivided into threes (in modern notation, 6/8), and often the dance would be immediately followed by a quick dance, the ''[[tordion]]'' or ''pas de Brabant''.<ref>Gleason, pp. 101–102.{{Full citation needed|date=July 2020|reason=No item in the reflist corresponds to this entry}}</ref>
The Burgundian School was the first generation of what is sometimes known as the [[Dutch School (music)|Netherlands School]], several generations of composers spanning 150 years who composed in the [[polyphony|polyphonic]] style associated with the mainstream of Renaissance practice. Later generations, which were no longer specifically associated with either the court or the region of Burgundy but were interlinked by adjacent geography and by common musical practice, included such names as [[Johannes Ockeghem]], [[Jacob Obrecht]], [[Josquin des Prez]], [[Adrian Willaert]] and [[Orlandus Lassus]].
==Manuscript sources==
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* [[Mellon Chansonnier]] (containing music from approximately 1440 to 1477). It is named after [[Paul Mellon]], who gave it to [[Yale University]]; currently it is in the Beinecke Library there. It has 57 compositions, and includes some non-Burgundian music as well (for example, works by contemporary English and Italian composers)
* [[Dijon Chansonnier]] (containing music from approximately 1470 to 1475). Some of the music is by composers not normally associated with the Burgundian school, such as Ockeghem, [[Loyset Compère]], and [[Johannes Tinctoris]]. It is at the public library in Dijon, and contains 161 pieces of music in all.
* [[El Escorial Chansonnier]] (containing music from about 1430 to 1445). It is in the Biblioteca del Monasterio, [[El Escorial]], V.III.24, and is commonly referred to as EscA. It contains a total of 62 compositions, only one of which is attributed (to [[Gilles Binchois]]), although many of the rest have been assigned to Binchois, Dunstaple, Dufay, and others, on stylistic grounds.<ref>Gleason, 95–96{{Full citation needed|date=July 2020|reason=No item in the reflist corresponds to this entry}}</ref>
==Burgundian composers==
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* Craig Wright, "Burgundy", in ''The New Grove Dictionary of Music and Musicians'', ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. {{ISBN|1-56159-174-2}}
* [[Gustave Reese]], ''Music in the Renaissance''. New York, W.W. Norton & Co., 1954. {{ISBN|0-393-09530-4}}
* Harold Gleason and Warren Becker, ''Music in the Middle Ages and Renaissance'' (Music Literature Outlines Series I). Bloomington, Indiana. Frangipani Press, 1986.
==Further reading==
* Walter H. Kemp, ''Burgundian Court Song in the Time of Binchois: The Anonymous Chansons of El Escorial, MS V.III.24''. Oxford, Clarendon Press. 1990.
* {{cite encyclopedia |last=Wright |first=Craig |author-link=Craig M. Wright |others=Revised by [[David Fallows]] |year=2001 |encyclopedia=[[Grove Music Online]] |title=Burgundy |publisher=[[Oxford University Press]] |location=Oxford |doi=10.1093/gmo/9781561592630.article.04366 |url-access=subscription |url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000004366 }} {{Grove Music subscription}}
{{Burgundian School}}
{{Composition schools}}
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{{Valois Burgundy}}
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