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41 Cards in this Set
- Front
- Back
Franco-Flemish Generation
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1. Trends
a) Between 1520 & 1550 the dominant Franco-Flemish style underwent a transformation - partly because northerners working in Italy & Germany assimilated the musical idioms of their adopted countries b) Instrumental music increased in both importance & production (1) affected by musicians' migrations (2) affected by the changing character of vocal music c) Church music changed more gradually (1) Some composers returned to the continual contrapuntal style of Ockeghem (2) But the canons and similar devices of the older school were almost completely abandoned (3) Imitation Mass gradually replaced the Cantus Firmus mass of the older school (4) Chant melodies were more freely treated and still served as subjects for Masses (5) Masses & motets were being written for 4, 5, or 6 voices rather than 4 |
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Composers
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a) Nicolas Gombert
(1) Exemplified the northern motet style of 1520-1550 (2) Thought to have been a student of Josquin b) Jocobus Clemens (ca. 1510-ca.1556) c) Adrian Willaert (ca. 1490-1562) (1) A pioneer in bringing text and music into closer rapport i) first to insist that syllables be printed under their notes ii) that scrupulous attention be paid t the stresses of Latin pronunciation (2) Experiments in chromaticism & rhythm were on the cutting edge of new developments (3) Of the Franco-Flemish composers of his generation he was the most affected by the humanist movement & Italian musical practice (4) Captured the essence of a Mode i) how to preserve modality which was being undermined by musica ficta was a problem faced by early Renaissance composer ii) they saw the modes as a link between the Christian tradition and the emotional effects of ancient music (5) Taught Andrea Gabrieli (ca. 1553-1612) while director of music at St. Mark's in Venice |
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The Rise of National Styles
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1. Italy
a) Trends (1) National styles would eventually rise to prominence and eventually transform the prevailing style (2) By late 16th century Italy had replaced France & the Low Countries as the center of European musical life - and would last for almost 200 yrs (3) But each country also continued to develop a national style of its own (4) Early madrigals were social music - written & sung for the enjoyment of the performers - not concert pieces for presentation |
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Italian Genres: Frottola
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i) background
a- essentially a tune for singing the poetry, marking the end of each line with a cadence and usually two long notes, with the lower parts providing a harmonic foundation b- florished in the late 15th & early 16th centuries it was a generic term that included a variety of poetic types c- a four part strophic song that was set syllabically and homophonically, melody in the upper voice, marked rhythmic patterns, & simple diatonic harmonies d- important as a forerunner of the Italian Madrigal and subtle influence on the French chanson appearing in the 1520's ii) music/text a- usually the upper voice was sung and the other parts played instrumentally b- neither popular or "folk" despite simple music and earthy/satirical texts - flourished in princely Italian courts |
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Italian Genres: Lauda
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i) Italian or Latin texts set in four parts with the melodies taken from secular
songs ii) religious counterpart to the Frottola, a popular nonliturgical devotional song iii) commonly sung in semi-devotional gatherings iv) sung either a cappella or with instruments playing the 3 lower voices |
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Italian Genres: Madrigal
Background |
a- the most important genre of Italian secular music in the 16th century and
made Italy the leader in European music for the first time in its history b- Madrigal composers aimed both to match the seriousness, nobility, and artfulness of the poetry and to convey its ideas, images and passions to their performers and audience c- like the frottola, a generic term that included a variety of poetic types d- earliest madrigals resembled the frottola in texture - mostly homophonic with leisurely cadences at the line endings |
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Italian Madrigal: Music
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a- a piece of vocal chamber music intended for performance with one singer
to a part - often though instruments would double or replace a voice b- no refrains or any other features of the old formes fixes c- rather composer made up new music suited to the rhythm and sense of the words for every line of poetry - through-composed d- how to preserve modality which was being undermined by musica ficta was a problem faced by early Renaissance composer |
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Italian Madrigal: text
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a- poetry was more elevated and serious than the frottola with many texts
written my major poets i- Francesco Petrarca (1304-1374), Pietro Bembo, Jocopo Sannazaro (1457-1530), Ludovico Ariosto (1474-1533), Torquato Tasso (1544 -1595), Giovanni Batista Guarini (1538-1612) b- in contrast to the fratolla, the Madrigal dealt much more freely with the verses, using a variety of homophonic and contrapuntal textures in a series of overlapping sections - each based on a single phrase of the text c- texts consisted of a single stanza with a free rhyme scheme, moderate number of 7 & 11 syllable lines (hendecasyllabic) d- subject matter was sentimental or erotic with scenes and allusions borrowed from pastoral poetry e- usually had an epigrammatic (witty) ending that served as a climax in the last line or two |
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Italian Madrigal: Petrarchan Movement
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a- The rise of the Madrigal was inseparably bound up with the currents of
taste in Italian Poetry b- Led by Cardinal Pietro Bembo (1470-1547) there was a return to the sonnets and canzoni of Petrarch (1304-1374) and the ideals embodied in his works c- Bembo discovered a music of vowels, consonants, & sounding syllables that could inspire composers to imitate these effects in their counterpoint d- rhythm, distance of rhyme, number of syllables per line, patterns of accents, lengths of syllables, & sound quality of vowels and consonants all contributed to making a verse either pleasing or severe - composers became sensitive to these values e- Madrigal composers favored the sonnet because it contained no internal repetition, and progressed toward a climax & resolution |
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Other Italian Secular Vocal Genres
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(1) Villanella
i) also called canzon villanesca (peasant song) ii) first appeared in the 1540's and flourished in the Neapolitan area iii) use of parallel fifths, lively strophic piece in the homophonic style, 3 voice parts iv) over time grew to resemble the madrigal so much that it lost its identity (2) Canzonetta (little song) & Balletto i) homophonic style, clear distinct harmonies, evenly phrased sections - often repeated ii) the balletto was intended for dancing as well as singing & playing - identifiable by the "fa-la-la" refrains |
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Chromaticism
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(1) Composers began to explore the chromatic scale partly to revive the chromatic
& enharmonic genera of Greek music i) through half step motion ii) excursions out of the mode (2) Nicola Vicentino was the most influential experimenter i) L'antica musica redotta alla moderna prattica (1555) this treatise proposed such a revival of Greek music ii) designed an arciembalo & arciaorgano to perform such music which were impossible to play on standard keyboard instruments (3) Chromatic notation which came into fashion around middle of the 16th century was simply writing music in 4/4 time instead of the older alle breve style (cut time) i) the resulting increase in solid noteheads gave the notation it's name - chromatic - that is colored or "a note nere" (in black notes) |
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Early Madrigal Composers
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a) Philipe Verdelot (ca. 1480-1545)
(1) see a transition in his madrigals to the motet like texture of frequent imitation, varying voice groupings, & overlapping parts at cadences b) Bernardo Pisano (1490-1548) c) Francesco de Layolle (1492-ca. 1540) d) Costanzo Festa (1490-ca. 1540) (1) one of few Italian members of the Papal Chapel in the early 16th century (2) one of few Italians to compete with northern emigre composers e) Adrian Willaert - exemplifies the Petrarchan Movement's treatment of words & music f) Jacques Arcadelt (ca. 1505-ca. 1568) (1) for a time the head of the Pope's chapel (2) Il bianco e dolce cigno - work illustrates a transitional style i) mainly homophonic motion and square rhythms ally to the frottola & chanson ii) but first 3 lines do not follow the structure of the poem iii) preserves the syntax and meaning g) Cipriano de Rore (1516-1565) - exemplifies the Petrarchan Movement's treatment of words & music |
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Later Madrigalist
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a) the leading madrigalists toward the end of the 16th century were Italians
b) Orlando di Lasso (1532-1594) (1) most important as a church composer (2) equally at home with the madrigal, chanson, & lied c) Philippe de Monte (1521-1603) (1) productive in both sacred & secular domains (2) worked under the Hapsburg Emperors in Vienna & Prague d) Giaches de Wert (1535-1596) (1) born near Antwerp, but spent almost entire life in Italy (2) continued to develop the madrigal composition begun by Rore e) Luca Marenzio (1553-1599) (1) favored pastoral poetry (2) most celebrated madrigal is Solo e pensoso on Petrarch's sonnet f) Carlo Gesualdo (ca. 1561-1613) (1) came under the influence of Luzzasco Luzzaschi (1545-1607) who improvised on Vecentino's chromatic-enharmonic arcicembalo and a specially built enharmonic organ (2) Gesualdo's chromaticism was a deeply moving response to the text g) Claudio Monteverdi (1567-1605) (1) his compositions made the crucial stylistic transition from the polyphonic vocal ensemble to the instrumentally accompanied solo and duet (2) his first five books of madrigals (1587-1605) are monuments in the history of the polyphonic madrigal (3) his compositions indicate that Monteverdi was moving swiftly toward a new idiom i) many of the musical motives are not melodic but declamatory - in the manner of the later recitative ii) the texture often departs from the medium of equal voices and becomes a duet over a harmonically supporting bass iii) ornamental dissonances and embellishments - previously occurring only in improvisation were written into the score |
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Secular Songs outside Italy
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a) France
(1) French composers of the early 16th century continued to write Masses & motets in a modified version of the prevailing style |
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Parisian Chanson
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i) during the reign of Francis I (1515-1547) composers working in and around
Paris developed a type of chanson called the "Parisian chanson" - more distinctively national in both poetry & music a- a light, fast, strongly rhythmic song for four voices b- text in any number of verse forms, was set syllabically with many repeated notes i- favored subjects were situations that allowed for double meaning ii- though serious texts were occasionally chosen c- mostly in duple meter d- texture was largely homophonic with short points of imitations e- principal melody was in the highest voice f- form was distinct short sections repeated to provide an easily grasped pattern (aabc or abca) |
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Principal Composers of Chanson
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a- Claudin de Sermsy (ca. 1490-1562)
b- Clèment Janequin (ca. 1485-1560) iii) hundreds of chanson transcriptions were published during the 16th century in France & Italy |
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Music Publishers
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i) between 1528 & 1552 Pierre Attaingnant (1494-1551) the first French
music publisher brought out more than fifty collections of such chansons ii) Jacques Moderne in Lyons iii) Tilman Susato in Antwerp a- focused on Franco-Flemish composers b- published Gombert, Clemens, Pierre de Manchicourt, & Thomas Crecquillon |
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Later Franco-Flemish Chanson
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i) the polyphonic tradition remained alive longest in the north as exemplified
by the Dutch composer Jan Pieterszoon Sweelinck (1562-1621) ii) In France the tradition was modified by a lively interest in the Italian madrigal iii) Orlando Lasso (1532-1594) influenced by the Italian Madrigal his musical personality impressed itself on the chanson as it did on every other type of vocal composition |
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Musique Mesurés
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i) reflected the treatment of rhythm by the members of Acadèmie de Poèsie et
de Musique ii) poet Antonine de Baïf wrote strophic French verses in ancient Greek & Latin meters (vers mesurès à l'antique) - the classical long & short syllables rather than the modern stress accent iii) since French lacked any consistant distinction between long and short vowels theorists of vers mesurèe assisgned them durations and composers set them accordingly iv) leading exponent was Claude Le Jeune (1528-1600) v) too artificial to endure for long but musique mesurèe did introduce irregular meters into the air de cour (dominant French vocal music after about 1580) |
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Germany
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(1) Secular polyphony developed later in Germany than the rest of Europe
(2) monophonic art of the Minnesinger flourished in German courts through the 1300's, that of the Meistersinger in cities & towns from about 1450 throughout the 1500's - with Franco-Flemish music appearing about 1530 |
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The Lied
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i) a distinctive type of German polyphonic song blending traditional German
songs with Franco-Flemish contrapuntal technique ii) Lied Composers a- Heinrich Isaac (1450-1517) b- Heinrich Finck (1445-1527) c- Paul Hafhaimer (1459-1537) d- Ludwig Senfl (ca. 1486-1542/43) i- German text ii- but full-fledged motets of the northern type |
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Major Composers
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i) Orlando de Lasso (1532-1594)
ii) Hans Leo Hassler (1564-1612) greatest German composer of the late 16th century |
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Spain
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1) By late 15th century the works of Burgundian and Franco-Flemish composers
were known in Spain while a national school of polyphonic composition was growing (2) Villancico i) Villancico was the principal genre of secular polyphony ii) Spanish equivalent of the Italian frottola (3) Juan del Encina (1469-1529) was the principal poet & composer of the early 16th century |
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Eastern Europe
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(1) late medieval & Renaissance music reflected musical developments in
western Europe i) Catholic Church music of the two areas had a common basis in Western Chant ii) foreign elements mixed with native popular traditions - i.e. adapted vernacular texts to melodies of sequences, tropes, & liturgical dramas iii) western European composers serving at eastern European royal courts iv) local musicians trained in Germany, France, or Italy |
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Eastern Composers
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i) Nicholas of Radom (fl. 1420-1440) was among first to use term faux
bourdon ii) Waclaw of Szamotul (ca.1520-ca.1567) & Jacob Handl (1550-1591) leading composers of Catholic Church music |
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England
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(1) The golden age of secular part song came to England later than the continent
(2) The English Madrigal i) this and other transcriptions in the next decade gave impetus to a period of English madrigal compositions which flourished from the 1590's-1630's ii) Nicholas Youge published Musica transalpina in 1588 - a collection of Italian madrigals (translated into English) iii) Madrigals, ballets, and canzonets were all written primarily for ensembles of unaccompanied voices - and the ablility to read a vocal or instrumental part in such pieces was expected of educated persons in Elizabethan England |
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English Composers
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a- Thomas Morley (1557-1602)
i- Most prolific of these three ii- wrote light madrigals as well as balletts & canzonets iii- published The Triumphs of Oriana - the long lines of music are never obscured a- highlighted the difference between English & Italian madrigal b- the overall musical structure in the English madrigal received greater attention b- Thomas Weelkes (ca.1575-1623) c- John Wilbye (1574-1638 |
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English Lute Songs
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i) the solo song with lute & viol accompaniment became popular in England
with the decline of the madrigal during the early 1600's a- lute accompaniments always carefully subordinate to the voice b- they have a certain rhythmic & melodic independence c- lute & voice parts usually printed on the same page in vertical alignments (to allow singers to accompany themselves) d- 3 part alternative versions contained in some collections with lute part written for 3 voices e- 4 part alternative versions could be performed by voice, instruments, or both ii) the madrigal and air were indebted to foreign models iii) consort songs came out of a native English tradition of singing solos or duets to a consort (ensemble) of viols |
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Composers
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a- John Dowland (1562-1626)-produced Second Booke of Ayres (1600)
b- Thomas Campion (1567-1620) |
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Summary
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a) During the last decades of the century, composers found new ways to express
intense passions and the conceits of modern poetry (1) the generation of Heinrich Issac & Josquin des Prez reached a height of technical perfection in the a cappella meduium (2) Northern composers such as Gombert, Clemens, Mouton, and Senfl consolidated that technique (3) Willaert & Arcadelt did likewise but the spirit of Humanism drove them to seek a closer rapport between music & text (4) Vicentino, Rore, & Lasso (pupils of Wallaert & their contemporaries) continued to seek a close music/text bond i) but did tilt the balance toward the expression of a poems varied feelings & images ii) losing a certain cohesion and homgenity of style b) Most characteristic genre to emerge from the widespread cultivation of vocal music in the British Isles was the lute & consort song |
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Instrumental Summary
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1. The Rise of Instrumental Music
a) Between 1450 & 1550 distinct styles, genres, and forms of instrumental music emerged (1) earlier most that survive are keyboard transcriptions (2) but seeming increase starting around 1450 meant that it was finally be written down i) prior parts were memorized or improvised ii) vocal part music was often performed instrumentally or voice & instrumental combinations iii) later performer embellishments were still improvised however |
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Books on Instruments
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a) Publications that describe instruments or give playing instructions manifest the
16th century growing regard for instrumental music (1) showed problems with pitch, temperament, & tuning (2) about the art of embellishing a melodic line b) First was Musica getutscht und ausgezogen (A summary of the Science of Music) - in German, (1511) c) The second volume (1618) of Syntagma musicum (A Systematic Treatise of Music) by Michael Praetorius contains descriptions and woodcuts of the instrumets then in use (1) instruments were built in sets or families i) uniform timbre was available from soprano to bass ii) complete set (called a "chest or consort") consisted of 4 - 7 instruments (2) most of the winds had a softer sound than their modern counterparts |
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Principal Instruments
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(1) winds
i) shawms, krummhorn, korholt, rauschpfeife, tranverse flutes, cornetts, trumpets, sackbuts (2) strings i) viols differed from the modern in tuning, a fretted neck, 6 strings rather than 4 ii) viola di gamba was held between legs, viola di braccio played on the arm (3) organ i) by 1500 the large church organ was similar in essentials to modern example ii) portative organ (medieval) had gone out of fashion but the positve organs had reed pipes and a quiet strident tone (4) keyboards i) clavichord a- essentially a solo instrument suitable for small rooms b- metal tanget struck strings and remained in contact with it ii) harpsichord a- served both solo and ensemble playing in spaces of moderate size b- used a quill to pluck the string (5) lute i) most popular household instrument of the Renaissance ii) built in various sizes, some with costly materials iii) fretted instrument (leather frets) iv) tablature was a special notation developed for the lute - showed finger position rather than pitch - also used for viols & keyboard instruments |
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Relation of Instrumental to Vocal Music
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a) At opening of the 16th century, instrumental music was still closely associated -
both in style & performance - with vocal music (1) a large proportion of solo & ensemble instrumental music derived from vocal music (2) but increasingly composers began to write for instruments - if not always for specific instruments b) Instrumental Arrangements (1) ensembles of instruments read from the vocal parts performing the work polyphonically - often adding their own embellishments (2) This music (printed in great quantities in the 16th century) was often characterized "for singing & playing" c) Polyphonic Elaborations of Chant or Secular Melodies (1) trend started by John Taverner (ca. 1490-1545) when he made an instrumental arrangement the passage "in nomine Domini" from the Benedictus of his mass "Gloria tibi Trinitas" (2) his arrangement follows the vocal parts note for note - others used the "in nomine" cantus firmus as a theme for creative elaboration (3) Organ pieces on liturgical or other cantus firmus were also written as independent works i) analogous to vocal cantus firmus motets or mass movements ii) short organ pieces based on chant melodies were called verses or versets - sometimes replacing portions of the service normally sung |
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Compositions Modeled on Vocal Genres: canzona
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(1) the Canzona
i) began as an instrumental composition in the style of the French chanson ii) became the leading genre of contrapuntal music in the late 16th century iii) Ensemble canzona appeared around 1580 and eventually developed into the sonata da chiesa (church sonata) of the 17th century a- essential step in this development was the division of the canzona into more or less distinctive sections b- themes of contrasting character, each theme worked out in turn - effect of contrasting sections |
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Sonata
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i) the Venetian sonata of late 1500's - the sacred version of the canzona
consisted of a series of sections a- based on a different subject b- variation of single subject ii) Sonata pian' e forte (Giovanni Gabrieli ca. 1557-1612) was among first instrumental pieces to specify specific instruments in the printed parts - also among first indicating piano or forte |
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Preludes and Other introductory pieces
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(1) Compositions that resemble improvisations are earliest specimens of music for
solo players i) Appeared under various names - prelude, preambulaum, fantasia, or ricercare ii) Not based on any preexisting melody, unfold freely, often rambling, varying textures, & without adhering to any definite meter or form (2) Toccata was the chief form of keyboard music in an improvisatory style (3) Ricercare consisted of successive themes without marked individuality or contrast - each developed in imitation and overlapping with the next at the cadence (in effect a textless imitative motet) |
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Dance Music
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(1) Social dancing was widespread and highly regarded in the Renaissance
i) people of breeding were expected to be expert dancers ii) considerable percentage of 16th century instrumental music consisted of dance pieces for lute, keyboard, or ensembles (2) Dances were commonly grouped in pairs or threes and these sets (precursors of the later dance suites) consisted of stylized dances rather than music for dancing (3) Written dance music tells us much about improvisatory practice i) ornamented a given melodic line ii) added one or more contrapuntal parts to a given melody (4) Forms i) Allemande - came into favor in the middle of the 16th century - in moderate duple meter & retained in stylized form in later dance suites ii) Courante - fast, flowing triple meter also retained in later dance suites iii) Basse danse - courtly dance improvised over a borrowed tenor |
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Variations
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g) Variations
(1) composed or improvised performance over an ostinato pattern (2) over standard treble airs - many folk tunes of the time also served as subjects (3) enjoyed an extraordinary flowering in the late 16th century among a group of English keyboard composers called "virginalists" |
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Composers
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i) William Byrd (1543-1623)
ii) John Bull (ca. 1562-1628) iii) Orlando Gibbons (1583-1625) iv) Thomas Tomkins (1572-1652) (5) Keyboard collections began with the Mulliner Book (ca. 1540-1585) - most comprehensive is the Fitzwilliam Virginal Book (1609-1619) (6) Use of the 6 notes of the hexachord (ut, re, me, fa, sol,la) for counterpoints |
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Summary
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1. Instrumental music evolved out of the vocal dominated oral tradition
2. Dance music dominated but by end of century many other independent instrumental genres could be distinguished by their function and procedures a) first identified with a particular instrument they spread to other instruments & to ensembles b) i.e. toccata, ricercare, prelude, fantasia, canzona, sonata, and sets of variations 3. Around 1600, English lute and keyboard composers took the lead in instrumental writing |