Chapter 11 Madrigal and Secular song in the sixteenth century

Question 1

villancico

Answer 1

Spanish villancico secular and polyphonic, popular subjects for the aristocratic - short, strophic, syllabic and mostly homophonic, composer Juan del Encina 1468-1529 Oy comamos y bebamos

Question 2

frottola

Answer 2

Italian frottola - 4 part strophic song, syllabic, homophonic, melody in the upper voice, simple composer Marco Cara 1465-1525 Io non compro piu speranza and MADRIGALS italy became leading force for 2 centuries

Question 3

Madrigals/ through composed

Answer 3

Madrigals new effect on declamation, imagery, expressivity, characterization, and drama. 1530 italian setting of italian poetry, sonnets to reforms. No refrains, single stanza with 7-22 syllable lines through composed with new music for every line of poetry, poets Petrarca, Tasso, pastoral, sentimental all voices playing equal roles 4 voices eventually 5/6 1550 vocal chamber music- one singer to a part, men and women

Question 4

Early Madrigal composers

Answer 4

COMPOSERS
EARLy madrigals Philippe Verdelot 1480-1530 4 voice homophonic father of madrigal
JAcques Arcdelt 1507 -1568 Il bianco e dolce cigno
To put it in a nutshell, Pietro Bembo encouraged musicians to set to music texts written in Italian, rather than Latin. By then, there were many excellent writers in Italy and, although there were various forms of Italian, Venice-born Bembo liked the Italian spoken in Florence, Tuscany. Petrarch was a Florentine poet and a friend of Francesco Landini, the first writer of madrigals (madrigal means from mother tongue). Petrarch was a perfect source.
Ex Willaert Aspro core e selvaggio

Question 5

Mid century/ female madrigal composers

Answer 5

Mid century- Cipriano de Rore 1516-1565 accented syllables longer notes ex Da le belle contrade d’oriente chromatics express sorrow
Very few female composers - Vittoria Colonna, Veronica franco- poets Maddalena Casulana 1544-1590s composer published text depiction, chromaticism, surprising harmonies, drama pg 252 female singers

Question 6

late century madrigal composers/ madrigalisms

Answer 6

lATE madrigals- orlando di lasso italian- Luca Marenzio 1553-1599 ex Solo e pensoso based on petrarch sonnet 1599 madrigalisms- musical images, evoking the text almost literally
CArlo Gesualdo 1561-1613 aristocrat sharp contrasts between diatonic and chromatic passages, dissonance and consonance ex Io parto e non pui dissi

Question 7

Villanella

Answer 7

• strophic piece in homophonic style, 3 voices 1540s parallel 5ths rustic

Question 8

Canzonetta/ balletto

Answer 8

Canzonetta (little song) and balletto (little dance) homophonic, simple harmonies, evenly phrased repeated sections. Giacomo Gastoldi

Question 9

New chanson in france 16th century

Answer 9

simple, strophic, syllabic, homophonic, easily singable (printing = amateur performers) light, fast, rhythmic for 4 voices, subjects pleasant, amorous situations, syllabically ,repeated notes, duple short sections , great for amateurs printed by pierre attaingnant
Composers Claudin de sermisy 1490-1562 tant que vivray- love poem, accented dissonances, and Clement Janequin 1485-1560 La Guerre about the battle of Marignan

Question 10

Musique mesuree

Answer 10

• measured music used by the Academie de Poesie et de musique 1570 sought to unite poetry and music, revive ethical effects short syllable half as long as long ex Le Jeun’es Revecy venir du printemps
  Led to irregular rhythms into the air de cour song for voice and accompaniment 1580s after

Question 11

Germany meistersinger

Answer 11

master singers - sang unaccompanied solo song guilds best know Hans Sachs 1494-1576 composed 100s of poems and thirteen new tone- metric and rhythm scheme with its own melody lied decreased in popularity to italian style

Question 12

English consort song

Answer 12

English consort song for voice accompanied by a consort of viols , William Byrd composer
Shakespeare 16th century
ENglish madrigals composers thomas weelkes 1575-1623, John Wilbye 1574-1638

Question 13

Thomas Morley 1557-1602 -he also wrote canzonets and ballets ex ballet My Bonny lass she smileth based on Gastoldi balletto strophic AABB concludes with fa-la-la wrote A plaine and Easie Introduction to Practicall Musicke 1597 aimed at the board public interest in music. IN 1601 morley published a collection of 25 madrigals by 23 composers THe triumphes of Oriana ex Weelkes As vesta word painting hills unaccompanied voices

Answer 13

English consort song . 1557-1602 -he also wrote canzonets and ballets ex ballet My Bonny lass she smileth based on Gastoldi balletto strophic AABB concludes with fa-la-la wrote A plaine and Easie Introduction to Practicall Musicke 1597 aimed at the board public interest in music. IN 1601 morley published a collection of 25 madrigals by 23 composers THe triumphes of Oriana ex Weelkes As vesta word painting hills unaccompanied voices

Question 14

lute song / composers

Answer 14

lute song 1600s solo song with accompaniment composers John Dowland 1563-1626 and Thomas Campion 1567-1620 overall mood and less word painting, rhythmic and melodic independence in lute. Parts written out together so a singer could accompany themselves
Lute part is written in tablature notational system that tells the player which string to pluck and where to place the fingers on the strings
Dowland ex flow, my tears from his Second Booke of Ayres 1600 aabbCC
lead to opera!