secular songs and nationle styles of 16th

Question 1

music printing in the 1501

Answer 1

boosted the music economy,

prior music was moslty performace now it can also be sold as commodity

music served as a social glue

friends and family could enjoy together.

Question 2

signaficant national genres

Answer 2

spanish villancico, ittalian forottola
and new kind of french chanson

all simple strophic, syllabic and homophonic, easily singable and so suitable for amatuer peroformers.

italian madrigals

Question 3

italain national styles

Answer 3

frottola and lauda
>both are strophic

> frottola is composed and sung for entertainment in courts

> lauda performed at gatherings of the faithful ,religious and devotional

Question 4

italy: other types of light secular songs

Answer 4

villanella: peasant song for three voices, homophonic strophic piece
>mimicked the madrigals

villancico: composed for aristocracy,
short, strophic and syllabic, homophonic

Question 5

juan del encina

Answer 5

spanish
leading composer of villancicos

Question 6

petrarch

Answer 6

italian composer sparked a movement during which his sonntes and others poems were analyzed, disussed, edited and imitated

Question 7

early madrigals of the 16th

Answer 7

they turned to petrach for their texts
its popularity dominated the secular music

settings of a short poem rather fixed patterns of repettition.

in contrast to frottola, marigal poetry was artful and elevated tone

Question 8

leading composer of the 16th italian madrigal

Answer 8

Jacques Arcadelt

Church musicians
transferred skills in sacred polyphony to writing secular madrigals

The famous madrigal IL BIANCO E DOLCE CINGO contrasts the swans literal death with his own figurative death

He used imitation in the voices, four voices, same melodic figures to accentuate repetition

Question 9

another madrigal composer

Answer 9

cipriano de rore
flemish by birth
wowrked in italy

he worked with the sense and feeling of the poem

divided the ensemble into higher and lower gropuings to distinguish subtly between the lovers voices as they are about to apart

Question 10

chromatisim

Answer 10

theorists in the mid 16th embraced
pointing to chromatic and enharmonic tetrachords discussed by greek writers

Question 11

carlo gusaldo

Answer 11

infuenced by vinentio,
assosiated with chromaticsm at the end of the century

he was a murderer, killed his wife

dramatizes and intensifies the anthitese in the poetry by sudden ccontrast indiatonic and chromatic passages

Question 12

claudio monteverdi

Answer 12

wrote 8 books of madrigals
smooth combination of homophonic and contrapuntal writing

free use of chromatisici mand dissoance, sensetive to sound and meaning of text

Question 13

english madrigal composers

Answer 13

thomas morely
thomas weelkes

Question 14

morely

Answer 14

wrote canzonets and ballets as well as madrigals all based on italian models.

composed his ballet SING WE AND CHANT IT
in imitation of giovanni giacomo gastoldi songs

dance like meter
elements of its text,
harmony
melody
rhythm

wrote 25 other madrigals based on other songs.

Question 15

the lute song 1600

Answer 15

personal genre than the madrigal
overall mode with much less words
printer in one books
the lute part is in tablature which is a notation system that tell. which string to pluck

Question 16

john dowland 1563-1626

Answer 16

flow my tears from his second book of ayres
form of processional dance pavane, italian

three repeated section
aabbcC pattern

Question 17

the role of instruments in 16th

Answer 17

doubled and even sometimes replaced voices in sacred and secular pplyphonic

the lowest part of madrigal or chanson was reduced for a lute or board

accompaniment of the melody performed by the soloist