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Madrigals and Secular Music in the Sixteenth Century (Setting: Sheet music…
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Midcentury Madrigals
sound: five voices, free alternation of homophony and imitative or free polyphony. Direct chromatic motion served as a special effect.
Leading composer: Cipriano de Rore (1516-1565) flemish but worked in Italy. focused on every detail of rhythm and feeling. accented syllables held longer, can result in syncopation. first time having direct chromatic motion since the Greeks. expresses grief.
Nicola Vicentino(1511-1576) wanted to revive chromatic and enharmonic genera of Greek music to modern practice. controversy. in his use, direct chromatic motion represents a show of classical antiquity/ idyllic pastoral scene.
women: Maddalena Casulana (1544-1590's) first woman to publish music (book of madrigals) called out male composers. Used text depiction, chromaticism, surprising harmonies, and dramatic texture contrasts. More singers than composers. Private concerts or court ensembles. praised for technique and ability to convey words and feelings.
significance: madrigal transformed from social music performed for fun by singers to performed for the pleasure of an audience.
Early Madrigals
Jacques Arcadelt: 1507-1568 franco flemish working in Italy. homphony mixed with occasional imitation for expressing emphasis.
Philippe Verdelot: active in Italy 1520's. early madrigals. 4 voice: homophonic w cadences. 5/6 voice: imitation, diff. voice groupings, overlapping parts at cadences.
Petrarchan Movement: Italian Poetry movement to return to sonnets and conzoni and ideals embodied it Petrarch's work. Movement led by Bembo (1470-1547). Identified two qualities: piacevolzza/ pleasingness and gravita/severity. Used rhythm, syllables, accents, sound qualities to make it sound pleasing or severe.
Willaert (1490-1562) translated Bembo's theory into music. major intervals considered harsh. semitones and minor thirds/sixths considered pleasing. greater size for major intervals leaves melody less smooth and sharper.
Spain
Sound: Villancico: polyphonic-multiple voices song. strophic and syllabic. homophonic-texture. melody in top voice, accompaniment in others. ABBA. dancelike, hemiolas. know terms*
Setting: Ferdinand and Isabella attempting to unify Spain. Wanted a unique Spanish sound. Music was composed for the aristocracy. Focused on Pastoral and rustic themes. Borrow from Greek and Roman literature.
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Italy: Frottola
Setting: Composed in the Italian courts for rulers that wanted musical settings of poetry. Mantua, Ferrara, Urbino courts. Mock-popular songs to entertain the courtly elite.
Isabella d'Este: important patron, lady of Mantua
Composers: Marchetto Cara (1465-1525)
Bartolomeo Trombocino (1470-1534)
Sound: 4 part strophic song, syllabic and homophonic. melody in the upper voice. other voices provide harmonic foundation. root position chords with cadences. After 1509, lute arrangement allowed solo voice improvisation (francisco bossinenis publishing)
Italy: Madrigal
significance: more emphasis on meaning and expression of text. Italy became leader of music. Lead to Opera
musical setting of poetry. through-composed! no refrain. single stanza with 7 or 11 syllables, standard or free rhyme.
social plays, pastoral, love, sex, with to amuse and entertain. homophony and contrapuntal textures. sections based on phrases. equal voices. convey ideas, images, and emotions. performed for enjoyment of singers.
Later Madrigals
Orlande de Lassus, Philippe de Monte. Giaches de Wert. Italian Luca Marenzio. imagery and emotion. slow chromatic ascent, walking alone, sad. flee and escape with imitation. almost literal imagery= madrigalisms.
Carlo Gesualdo (1566-1613) prince of Venosa. nobility, composer, murderer. dramatic contrasts between diatonic/chromatic, dissonance/consonance, chordal/imitative texture. slow/active.
other secular songs
villanella-lively strophic piece. homophonic. 3 voices. P5 to be rustic, mock sophisticated madrigals. popular in 1540's
canzonetta: little song and balletto (little dance) both lively, homophonic, simple harmonies with even repeated phrases. Vecchi. dancing or singing/playing. AABB.
Madrigals
Early-Arcadelt, Il Bianco de Cigno, 4 voices
Mid-Rore, Da le belle Contrade d'oriente. 5 voices based on petrarch movement sonnet. chromatic motion for sorrow
Late-Marenzio, Solo e pensoso, madrigalisms, lots of chromaticism