I-Renaissance - Cardset 9 - Secular Music

Front 1

THE 16th CENTURY ITALIAN MADIRGAL

Back 1

1.The madrigal in Italy: principal composers – Arcadelt (1490-1562), De Rore (1516-1565), di Lassus (1532-1584), Andrea Gabrieli (1533-1585).
2.No fixed form – followed texts of poetry so do tend to follow a single stance and free rhythm scheme.
3.Madrigals were performed in many settings, banquets to private homes – music is accessible to the well-trained amateur (amateur at this time implied a 'connoisseur' with considerable, though not professional ability).
4.Some 2000 collections were produced and published between 1530-1600.
5.Almost all are paratactic (through-composed with no particular unifying characteristics between the sections) and the text can range widely from the serious to the bawdy.
EXAMPLES:
Jacob Arcadelt – Il bianco e dolce cigno – 3/11 s94 t161
Ciapriano de Rore – De le belle contrade d’oriente – 3/13 s95 t161
Maddalena Casulana – Morir non puo il mio curore – 3/16 s100 t164

Front 2

16th CENTURY FRENCH SECULAR SONG

Back 2

1.The Parisian chanson, most notable composers: Sermisy (1492-1562)
Janequin (1485-1560)
2.The Parisian chanson reflects the influence of the Frottola as it is more chordally oriented and lighter in character.
3.Generally homorhythmic and dominated by vertical harmonies (tonic, dominant and subdominant). Ex. ‘Tant que vivray’ cd3/9
4.Janequin’s ‘La Guerre’ is longer with greater independence among the voices and a great deal of onomatopoeia where the singers mimic the sounds of war.

Front 3

16TH CENTURY SECULAR SONG IN GERMANY

Back 3

Leid were strophic songs in 'bar' form most often (AAB)and the Tenor leid was a secular song with the principal melody in the tenor voice with three contrapuntal lines surrounding it. These are not related to the later German Art Song known as Leider.

Front 4

16th CENTURY SECULAR SONG IN SPAIN

Back 4

1.The principal genre is the ‘Villancico’, similar to the French Virelei (AbbaA)
2.The guitarlike ‘vihuela’ was used for accompaniment very often or as solo instrument, the first printed music for the instrument was also the first music published with tempo indications.
Main composer: Luis Milan – 1500-1561

Front 5

16th CENTURY SECULAR SONG IN ENGLAND

Back 5

1.Italian Madrigal transplanted – texts in English.
2.Thomas Morley (1557-1602).
3.Morley adopted the canzonets and balleti for his own lighter, dance like madrigals (‘Now is the month of Maying = very chordal). 3/33 s119 t169
4.John Downland (1563-1623) – Principal writer of strophic madrigals. ‘Come Heavy Sleep’ 3/34 s120 t171

Front 6

INSTRUMENTAL MUSIC OF THE 16TH CENTURY

Back 6

1.The tradition of transcribing vocal music for use on instruments continued unabated throughout the 16th century.
2.However, for the first time in the history of music composers also began to write substantial quantities of specifically instrumental Music.
3.There are four (4) categories:
a.Intabulations – arrangements of vocal music for any keyboard or plucked instrument. Frottola often used.
b.Variations – long before being written down, embellishing a theme was a common instrumental and even expected practice.
c.Freely composed works – no category following no model. Most important were the Ricercar, The Fantasia, The Toccata and The Canzona.

Front 7

16TH CENTURY DANCE MUSIC

Back 7

1.Courtly dances grew in popularity.
2.Michael Praetorus’s ‘Terpsichore’ (1612) contained many popular dances of he 2nd half of the 16th century. 3/59, 60, 61 and 62 - s142 t181 (Bouree I and II and a Volta)
3.Most common are:
a.Pavane – slow, duple, Spanish origin
b.Passamezzo – similar to Pavane though lighter
c.Bourree – lively, duple, prominent upbeat before each new section.
d.Saltorello – lively dance that follows a slow mvmt – compound meter, often.
e.Galliarde – like Saltarello but more vigorus with leaps by dancers.
f.Volta – means ‘turn’ – required vigorus turning, compound duple. See Praetorius ‘Dance from Terpsichore’ above.
g.Branle – Line Dance – duple and triple
h.Moresca – ‘Moorish’ in origin, perhaps from N.Africa or Spain. CCD/8 s144 t181
i.Rondo – ‘round dance’ – large group moving in a circle.
4.All these dances are constructed on a ‘periodic phrase structure’ – (an important development toward Baroque and Classic formal plans) - modular units of equal lengths’ – defines the social dance with its prescribed steps repeated over and over – no different than the tango, foxtrot, square dance, or Western line dance.
5.The harmonic structure was as:
|A______:||B______:||
I V V I
(A = I-V) (B= V-I)
Or:
|A___:|B___||Trio________d.c.

I V V I rel. M/m V
(A=I-V, B=V-I, Trio= rel.M/m V

Binary Form = syntactic form, centered on idea presented and
varied over an entire movement.