History of Western Music (Music 330A)

Review Outline for Midterm Exam No. 2 (Fall Semester 2008)

This review is only an outline, not the answers to the test questions. It may be used to prepare for the next midterm in the following ways:

1. Know the significance of each person and the definition of each term, and be able to relate them historically to one another.

2. Be aware of dates and chronology.

3. Characterize the historical significance of the main headings (those under the roman numerals) in a few sentences.

4. Know the music well — know how it works analytically and how it fits into the class lectures historically.

The format of the exam will consist of multiple choice, definitions, short questions, and three listening extracts with a question tied to one of them.

Note: NAWM=Norton Anthology of Western Music.

Here are the numbers from NAWM that you will need to know for the exam: 24-37, 39-40, 44-46, 48-50, 53-59, 61-62 (skip 38, 41-43, 47, 51-52, 60). Also be sure to know the two works by Machaut in the Supplement.

I. European Society in the 14th Century (skim pp. 116-118).

A. Disorder in society.

B. The Church in Crisis.

C. Roman de Fauvel (1310-14).

1. Medieval satire on social corruption.

2. Symbolized by a donkey or horse named "Fauvel."

3. Five "isorhythmic" motets by de Vitry.

II. Ars Nova in France.

A. "New art."

1. Treatise by Philippe de Vitry (1291-1361).

2. More about rhythm and notation than new forms and techniques.

B. Isorhythmic motet — "equal rhythm."

1. predominantly limited to repeating elements in the tenor

a. "color" = melody ("colores" — repetition in rhetoric)

b. "talea" = rhythm ("cutting")

2. Could also include repetitions in other parts (pan-isorhythmic).

3. NAWM 24.

C. Hocket.

III. Guillaume de Machaut (ca.1300-1377).

A. Sacred Music.

1. Motets.

2. Notre Dame Mass — Kyrie (NAWM 25).

B. Formes fixes.

1. virelai

a. two musical phrases — AbbaA (bbaAbbaA etc.)

b. "Douce dame" (Supplement)

2. ballade

a. aabC (with common refrain for each verse)

b. "De toutes flours" (Supplement)

3. rondeau

a. ABaAabAB — two musical phrases

b. NAWM 26.

IV. Late 14th-Century French Music: "Ars subtilior" (The More Subtle Art).

A. Chantilly Codex (see Burkholder, p. 133).

1. 70 ballades, 17 rondeaux, 12 virelais, 13 isorhythmic motets.

2. Baude Cordier.

B. Johannes Ciconia (ca. 1370-1412).

1. use of complex rhythms, meters change frequently.

2. NAWM 27.

V. Italian trecento (1300s in Italy).

A. Madrigal (not related to 16th-century genre) — song for two or three voices without instrumental accompaniment.

1. Form is basically two or three three-line stanzas (terzetti) followed by a "ritornello" of one (or two) lines. Rhyme scheme: abb cdd ee.

2. Jacopo da Bologna, "Fenice f˘" (NAWM 28).

B. Caccia — "chase" (similar to French "chace," both mean "hunt").

1. subject matter often related to the hunt

2. shouts, bird songs, horn calls added for realistic effect

3. imitation in voices, the upper two voices sometimes in canon, with instrument.

4. Gherandello da Firenze, "Tosto che l'alba" (NAWM 29).

C. Francesco Landini (ca. 1325-1397).

1. Squarcialupi Codex. (See Figure 6.10, p. 137).

2. Ballata.

3. "Non avr‡ ma' piet‡" (ballata). NAWM 30.

4. Landini cadence.

VI. 14th-Century Music in Performance.

A. No one way to perform polyphonic music.

1. Pictorial and literary sources show vocal, instrumental, and mixed groups.

2. Purely vocal was most common.

B. Instruments.

1. "Haut" (high) were loud, for outdoor entertainment — winds.

2. "Bas" (low) were soft, for indoor use — strings.

C. Keyboard.

1. Portative and positive organs were common in secular music.

2. Large organs began to be installed in German churches.

D. "Musica ficta."

1. "False music," outside the hand (i.e., hexachord system of Guido d'Arezzo), where mi/fa was the only permissible half-step.

2. Understood by musicians, who would apply it automatically, but also as a matter of taste, time, and place.

3. Often indicated in modern editions by small flats or sharps above the note (see NAWM 24-26).

VII. General Characteristics of the Renaissance.

A. "Renaissance" = "rebirth" in French, first used in 1855.

1. The great revival of art, literature, and learning in Europe in the 14th-16th centuries, rooted in the ideals of classical antiquity.

2. The Renaissance seems to have begun in Italy.

3. Italy was a collection of city-states (not a unified country), and many rulers surrounded themselves with artists of many types, including musicians.

4. Many Northern composers, particularly from the Low Countries (France, Flanders, and the Netherlands), are now making their careers in Italy, or spending time in Italy and returning home.

5. Musicians are now more cosmopolitan, and an international style is developed alongside new national styles.

B. The Musical Renaissance.

1. The new counterpoint.

2. Johannes Tinctoris (ca. 1435-ca. 1511), "Liber de arte contrapuncti" (Book on the Art of Counterpoint, 1477).

3. New compositional methods and textures.

4. Closer alliance between words and music.

5. New large-scale formal devices (cantus firmus Mass)

C. Humanism.

1. Renaissance scholars had increased access to ancient Greek and Roman literature.

2. As Western scholars learned Greek and also translated these works into Latin (the more common scholarly language), many Greek authors were available for the first time.

3. "studia humanitatis" — the study of the humanities (things pertaining to human knowledge).

4. These subjects developed the individual's mind, spirit, and ethics, and prepared students for lives of service.

D. Rediscovery of the Greek Treatises.

1. By the end of the 15th century, many translated into Latin.

2. Franchino Gaffurio (1451-1522) incorporated Greek theory and practice into his writings.

3. Heinrich Glareanus (1488-1563), "Dodekachordon" (The Twelve-String Lyre, 1547).

4. Greek view of music and poetry as inseparable.

VIII. Music Printing and Publishing.

A. Johann Gutenberg (1394/99-1468).

1. Bible begun in 1452, published in 1456.

2. Intention of these early printers to reproduce the style of manuscript.

3. "Incunabula" — "cradle," used in reference to books printed ca.1450 (Gutenberg Bible) to 1500.

B. Problem for music: staff lines easy, notes easy, but combining the two led to the early use of blocks (carved examples).

1. Solved by multiple impressions.

2. Earliest known book with music: "Constance Gradual" (Southern German, c. 1473).

3. Double impression: staves, notes.

C. Ottaviano dei Petrucci.

1. Set up shop in Venice, where he acquired an exclusive privilege to print music on 25 May 1498.

2. First book, "Odhecaton A," 14 May 1501. Probably triple impression.

D. Pierre Attaingnant — single impression process (first issue, 4 April 1527). Much more economically feasible, although it could be clumsy and inelegant.

E. Dissemination of Music.

1. Lute tablature. Importance for us: notes are unequivocal (that is, no question of "musica ficta"). See Burkholder, p. 261.

2. Publication in part books.

3. Instrumental arrangements.

IX. English Music.

A. Influence of English Music on Continental Style.

1. Hundred Years' War (1337-1453): England and France fighting for control of France.

2. English rulers brought musicians with them, especially to Belgium and Burgundy.

3. Martin Le Franc, Le champion des Dames (1440-42).

B. Polyphony on Latin texts.

1. "faburden"

2. "cantilena"

3. The Carol in the fifteenth century.

a. stanzas sung to the same music in alternation with a refrain

b. refrain was called the "burden"

c. NAWM 31 (early 15th century)

C. John Dunstable (c.1390-1453).

1. Dunstable and other English composers: careful control of dissonance.

2. "Quam pulchra es" (NAWM 32), before 1430.

a. "cantilena" — freely composed piece, homorhythmic, not based on chant

b. could also be considered a "motet"

D. New meanings for "motet"

1. previous definition: any work with texted upper voices above a cantus firmus

2. "isorhythmic motet"

a. old fashioned by ca. 1400

b. disappeared by ca. 1450

3. new definition by 1450: any setting of chant text, whether original melody was used or not

4. no longer the cutting edge of musical development — that would be the Mass

X. Music in the Burgundian Lands.

A. The importance of Burgundy.

1. Following the "trecento," no significant Italian composers between 1420-1490.

2. Likewise no major French figure following the "Ars subtilior."

3. Cosmopolitan atmosphere of Burgundian Court.

B. Burgundian Chanson.

1. "In the 15th century, the term 'chanson' encompassed any polyphonic setting of a French secular poem." (Burkholder, p. 178)

2. Last use of the "formes fixes."

3. Gilles Binchois (c.1400-1460).

a. NAWM 30 (ca. 1425).

b. Rondeau (ABaAabAB).

C. Guillaume Du Fay (ca.1397-1474).

1. "Resvellies vous" (NAWM 34).

2. Written in 1423 for the wedding of Carlo Malatesta and Vittoria Colonna (niece of Pope Martin V)

3. combines elements of three main traditions of the 14th century (international style):

a. "Ars nova": ballade form

b. "Ars subtilior": rapid, complex rhythmic passages (cross-rhythms between parts), overall difficultly

c. Italian trecento: smotth vocal melodies

D. Sacred.

1. Hymns:

a. three voices, covered liturgical year

b. twenty-four of these were in "fauxbourdon" — chant in top voice

c. note the middle voice was improvised, a perfect fourth below the top voice (small notes in NAWM)

d. designed for alternatim performance (odd numbered stanzas sung as plainchant, even numbered as polyphony)

e. NAWM 35 (ca. 1430)

2. Motets:

a. continued use of chant, sometimes in a melody voice

b. early motets use isorhythm (already an outdated technique but seen as an archaic style appropriate for ceremonial occasions)

E. Mass.

1. Polyphonic mass cycle.

a. until about 1420, various items of the Ordinary set as separate pieces

b. Machaut's mass is an exception

c. In the 15th century, it becomes more typical for composers to set the mass ordinary (excluding the "Ite, missa est").

2. Use of "cantus firmus."

a. sacred or secular melody used as the basis for the polyphonic setting

b. Machaut's mass is an example

3. Plainsong Mass.

a. chant as "cantus firmus"

b. usually different for each movement, but appropriate

4. Motto Mass — motive that reappears, especially as a "head motive" at the beginning of each section.

5. Cantus-firmus Mass (or "tenor" Mass) — each movement around the same "cantus firmus."

F. Missa "Se la face ay pale" (ca. 1450).

1. Four masses in later part of life, two on secular tunes ("L'homme armÈ," see Burkholder, p. 185 — very popular).

2. NAWM 36b is from a "cantus-firmus" mass, but the "cantus firmus" is derived from a secular work, Du Fay's own ballade.

3. Ballade NAWM 36a (ca. 1430s) — does not follow strictly the old form except for the refrain ("Sans elle ne puis").

4. "Gloria." NAWM 36b.

XI. Northern Composers.

A. "Composers in the late 15th and early 16th centuries depended as before on the support of patrons." (Burkholder, p. 190)

B. Jean de Ockeghem [Johannes] (ca. 1420-1497).

1. Highly esteemed for his technique, although relatively small output: 13 Masses, 10 motets, 20 chansons.

2. Chansons.

3. Masses — important part of his output.

4. "Missa de plus en plus" — NAWM 37.

a. Based on the tenor of a rondeau by Binchois, NAWM 33.

b. Stated in the tenor (notes numbered in "cantus firmus" — see Burkholder, p. 196).

5. Missa prolationum (see Burkholder, p. 197).

XII. The Next Generation of Franco-Flemish Composers.

A. Three eminent composers born around the middle of the 15th century:

1. Jacob Obrecht (1457/58-1505)

2. Henricus [Heinrich] Isaac (ca. 1450-1517)

3. Josquin des Prez (ca. 1450-1521)

B. Characteristics:

1. all born or trained in the Low Countries

2. traveled widely — courts and churches throughout Europe, including Italy

3. music reflects this international experience

C. Musical traits:

1. structure of vocal works determined by the text

2. all parts of a polyphonic work equal in importance

3. all parts conceived at the same time

D. Jacob Obrecht (1457/58-1505).

1. Great facility: about 30 masses, 28 motets, various secular pieces — "could compose a Mass overnight."

2. "Missa Fortuna desperata" (Ex. 9.5, p. 200)

E. Henricus Isaac (ca. 1450-1517).

1. Sacred music: 35 masses, 50 motets.

a. Choralis Constantinus (ca. 1500).

b. Over 300 polyphonic settings (96 cycles) of the Proper for all the Sundays and important feasts throughout the liturgical year.

c. Published after his death in 1550 (I) and 1555 (II-III).

2. Many songs in French, Italian, and German.

XIII. Josquin des Prez (ca.1450-1521).

A. Finest composer of the period, much imitated by his contemporaries.

B. Wrote Masses, chansons, but his greatest contribution is the motet.

1. 18 masses, about 65 chansons, but over 50 motets.

2. "text depiction": using musical gestures to reinforce the images in the text

3. "text expression": conveying through music the emotions suggested by the text

4. Problem of authenticity.

D. Motet: "Ave Maria" (NAWM 39).

1. early composition (ca. 1485) and very popular

2. main construction is imitation — each line of text is assigned its own motive, which is then taken up in turn

3. before the previous "point of imitation" is finished, the next line of text begins

4. variety of texture

5. organized around the text: sensitive declamation, depiction, and expression of the text

6. clear projection of tonal center

7. drive to the cadence

E. Masses.

1. Employs many techniques of his period:

a. secular "cantus firmus" (two on "L'homme armÈ")

b. "soggetto cavato dalle vocale" (subject drawn from the vowels)

c. "imitation" or "parody" Mass — based on all the voices of a chanson or motet, not only the tenor

d. "paraphrase mass" — the source melody is not restricted to the "tenor" but used in all of the voices, often in imitation

e. "imitation" and "paraphrase" masses more popular, part of the preference for imitative textures

2. "Missa Pangue Lingua."

a. probably written after 1513, as it is not included in Petrucci's third collection of Josquin's Masses (1514).

b. "paraphrase mass" — based on the melody of the Gregorian plainchant hymn

c. NAWM 32a — "Kyrie," each part uses two phrases (see NAWM, p. 214).

d. NAWM 32b — from the "Credo," new sensitivity to text setting

F. Chanson.

1. After ca. 1490, no longer any use of the "formes fixes," but rather strophic or shorter poems.

2. In varying degrees use of imitative counterpoint and homophonic textures.

3. All parts now equal and perhaps meant to be sung (no longer treble-dominated).

4. Very popular, both in terms of manuscript copies and as a "cantus firmus," both in masses and motets.

XIV. The Protestant Reformation.

A. Prior to the Protestant Reformation, Christian religion in the west was centered around the Roman Catholic Church.

B. It began when Martin Luther (1483-1546) nailed his 95 theses to the door of Schlosskirche in Wittenberg (31 October 1517).

C. Music in the Lutheran Church.

1. Luther was a very musical man; as noted, very fond of Josquin.

2. Led to a redefining of music for worship.

3. He wanted to allow the congregation more participation.

4. For this purpose he increased the use of the vernacular.

5. Parts of Catholic worship were adapted (the Mass and aspects of the Offices — Deudsche Messe, 1526).

D. New forms were written, especially the chorale.

1. "chorale" — from the German word for "chant"

2. at basis a text and a tune, as plainchant

3. it quickly became a musical basis for composition as chant was in the Roman Catholic church

4. by 1524, four collections had been published

5. sources: chant, catholic hymns, even popular tunes:

6. chorale motet — sophisticated works

E. Selected Chorales.

1. NAWM 42a: Hymn, "Veni redemptor gentium" (chant) — see Ex. 10.1(a)

2. NAWM 42b: "Nun komm, der Heiden Heiland," as adapted by Luther (pub. 1524) — see Ex. 10.1 (b)

3. NAWM 43c: "Ein' feste Burg" (pub. 1529) — see Ex. 10.2, p. 215 (note "bar" form)

4. NAWM 43d: four-voice setting by Johann Walter (1496-1570), pub. 1524 — see Ex. 10.3, p. 217 (tune in the tenor)

F. Music in Calvinist Churches.

1. After Luther, Jean Calvin (1509-1564) led the largest branch of Protestantism.

2. Metrical Psalms.

a. metric, rhymed, strophic translations of psalms in the vernacular

b. set to newly composed melodies or tunes adapted from chant

c. published in collections called "psalters"

d. first issued in 1539, a complete "psalter" was issued in 1562

e. NAWM 43 — among the best known, also in English

f. also polyphonic psalm settings, usually for home use — note Calvin's strictures against elaborate music in church

XV. Church Music in England.

A. English History.

1. Henry VIII establishes the Church of England in 1532, finally breaks with Rome 1534 (he had married Anne Boleyn in January 1533).

2. Queen Mary I, daughter of Henry and Catherine of Aragon (r. 1553-58), revived Roman Catholicism.

3. Queen Elizabeth I, daughter of Henry and Anne (r. 1558-1603), returns to Church of England.

4. This left composers not knowing whether their church music would be usable from one year to the next.

B. The principle forms of Anglican music are the "service" and the "anthem." (Burkholder, p. 222)

1. "Great servive" — music is contrapuntal and melismatic

2. "Short service" — chordal and syllabic. No difference in content.

3. "Full anthem" — contrapuntal style for unaccompanied voices..

4. "Verse anthem" — one or more solo voices with organ or viol accompaniment with brief alternating passages for chorus.

C. William Byrd (1543-1623).

1. Byrd was a devout Catholic, yet he managed to flourish in all of this (protected by Queen Elizabeth).

2. Wrote three settings of the Mass Ordinary (ca. 1593-95).

3. Also for the Catholic liturgy two books titled "Gradualia" (1605 and 1607) — complete polyphonic Mass Propers for the major days of the church year.

4. But he also wrote for the Anglican Church, including two complete services (morning and evening canticles).

5. Little secular, although he did contribute to the "Triumphes of Oriana" (madrigal collection of 1601). Also keyboard music.

6. NAWM 44 — "full anthem" (1580s-1590s).

XVI. Franco-Flemish Generation of 1520-1550.

A. Continued dominance of composers from the low countries.

1. Can be considered the "post-Josquin" generation, as they follow his example and develop from it.

2. Josquin: almost "classical" balance of text and musical expression — correct accentuation and audibility of text; use of imitation ("points of imitation"); hierarchical use of cadences.

3. Post-Josquin: working out the implications of these imitative techniques and also the new attention to text setting, ultimately reflected in attempts to highlight the meaning at the expense of musical coherence.

B. Important post-Josquin figures.

1. Nicolas Gombert (ca. 1495-ca. 1560).

2. Jacobus Clemens (ca. 1510/15-1555/6).

C. Adrian Willaert (ca. 1490-1562).

1. Celebrated and recognized in his time, especially for his expressive and correct text setting.

2. "O crux splendidior, cunctis astris."

XVII. Counter-Reformation: Council of Trent (three sessions: 1545-47; 1551-52; 1562-63).

A. Decision on music, third and final round of sessions in 1562.

B. Essentially, the polyphony of the Netherlanders was put on trial for obscuring the words and for using secular elements (cantus firmus and parody).

XVIII. Giovanni Pierluigi da Palestrina (1525/26-1594).

A. Composed about 700 works.

1. 94 secular madrigals, 104 masses (more than any other composer), over 300 motets, other sacred works.

2. Models for Masses based on preexistent works (nearly one-half parody a polyphonic model).

B. Missa Papae Marcelli (published in Book II of Masses, 1567).

1. Structure. Ordinary of the Mass.

a. All movements begin on G and end on C.

b. Most cadences are IV-I.

c. Kyrie I and Agnus dei I begin with similar music.

2. Pervasive imitation.

a. No single texture dominates, imitation and homphony alternate freely (every line need not begin with a point of imitation).

b. Also number of voices, saving the six for important points.

c. NAWM 45b — Agnus dei.

3. Text declamation.

a. Accentuate the words correctly and make them intelligible.

b. NAWM 45a — Credo.

4. Control of dissonance (based on the teaching of Willaert as transmitted by Zarlino in Le istitutione harmoniche ("The Harmonic Foundations," 1558).

a. dissonance between two notes never longer than a quarter note;

b. often starts as a consonance and then suspended;

c. passing notes on week beats.

5. Melody: always the arch.

XIX. Tom·s Luis de Victoria (1548-1611).

A. Relatively small output: about 45 motets, 20 Masses, other sacred.

1. No madrigals or other secular music.

2. Closest to a secular cantus firmus: parody Mass on Janequin's "La Guerre."

3. Half of his Masses parody his own motets; others paraphrase plainchant or parody other composer's works.

B. Victoria shows a great dramatic flair for setting these works.

1. "O Magnum Mysterium" (NAWM 46a), ca. 1570.

2. "model mass" or "parody Mass," actually borrowing the polyphonic substance of the source.

3. "Kyrie" from the Missa O Magnum Mysterium (ca. 1580s), model is Victoria's own motet (NAWM 46b).

XX. Orlando di Lasso (ca. 1532-1594).

A. 57 masses, over 700 motets, other sacred and secular works.

B. 50+ Masses parody another work, whether secular or sacred.

C. His sons published a vast retrospective collection of 516 motets in 1604, Magnum Opus Musicum.

D. Most distinguishing characteristic was his text setting — inspiration derived chiefly from the words, generating most of the musical details.

E. "In each motet, Lasso's rhetocial, pictorial, and dramatic interpretation of the text determines both the overal form and details." (Burkholder, p. 235)

F. "Tristis est anima mea," ca. 1565.

XXI. The First Market for Music.

A. Up to this time, composers worked for a particular patron.

1. The music might also circulate in manuscript, but without any further benefit to the composer.

2. Now it could be sold to a publisher and circulated to anyone who could afford it.

B. There was now an amateur market.

1. The middle class could now read music.

2. This also determined what was published.

XXII. Spain.

A. "Villancico."

1. diminutive of the "villano" ("peasant")

2. texts on rustic or popular subjects

3. nevertheless composed for the aristocracy

4. short, strophic, syllabic, and homophonic — purposefully in contrast to the more sophiscated forms in France and Italy

5. form: refrain ("estribillo") and stanzas ("coplas")

B. Juan del Encina (1468-1529).

1. important Spanish playwright

2. also leading composer of the genre

3. NAWM 48.

XXIII. Italy.

A. After some three quarters of century, the dominance by foreigners begins to be challenged.

B. Frottola.

1. Italian counterpart to the "villancico."

2. Marco Cara (ca. 1465-1525), one of the best-known composers of frottole.

3. Popularity of frottola clear from the thirteen volumes published by Petrucci (1504-14).

4. Beginning in 1509, Francisco Bossinensis published collections in arrangements for voice and lute.

5. Songs of a popular nature, in 2 or 3 but with hemiola (note that the barlines are in the sources, but often belie the meter).

6. Stylistic characteristics: tend to be homophonic. with inner parts mostly filler — many work best as accompanied songs. Harmonies are simple.

7. NAWM 49 — published in Petrucci's first book of frottole (1504)

XXIV. The Italian Madrigal.

A. Madrigal: "The most important secular genre of sixteenth-century Italy and arguably of the entire Renaissance. . . . Through the madrigal, Italy became the leader in European music for the first time in history." (Burkholder, p. 244)

1. Definition (from about 1530):

a. in the 16th century, a through-composed setting of a short poem — every line of poetry receives its own setting, similar to the motet but even more expressive

b. there are no refrains or repeated lines (that is, unlike the "formes fixes" or frottola)

c. has only the name in common with the 14th-century form

2. Rise of the madrigal goes with renewed interest in Petrarch.

a. "frottola" used light verse, a melody for singing the words

b. Francesco Petrarca (1304-1374) — Italian medieval poet, wrote in Latin and Italian, perhaps best known today for his sonnets

c. Pietro Bembo (1470-1547), poet, literary theorist, secretary to Pope Leo X, later a cardinal himself. He published his most important work in 1525, Le prosa della volgar lingua, defending Italian as a literary language on a par with Latin, and holding several authors, including Petrarch, up as a model of perfection.

3. Early composers included native Italians as well as Northerners (Willaert, for example), but by the end of the century, it would be dominated by Italians.

4. Music should be used to intensify our perceptions of the poetry it sets.

B. Jacques Arcadelt (ca. 1507-1568).

1. in his madrigals, stressed textual clarity

2. NAWM 50 — "Il bianco e dolce cigno"

C. Adrian Willaert (ca. 1490-1562).

1. Important publication: "Musica Nova" (1559), with 27 motets (many old testament or sequence texts) and 25 madrigals.

a. 5 or 6 vv now becoming standard, with some in the collection 4 or 7vv

b. many composed in the 1540s

2. "Aspro core e selvaggio" (Example 11.2, p. 249).

a. Faithful setting of text.

b. Bembo's theory: words could convey feelings of gravit‡ (dignity) or piacevolezza (charm or sweetness) depending on vowels, consonants, rhythm, rhyme, and context.

c. See Weiss & Taruskin, p. 144; also Burkholder, p. 248.

D. Cipriano de Rore (1516-1565).

1. Published about 120 madrigals in 10 books (1542-66).

2. Most notable for his ability to bring out every expressive nuance of the poems he set.

E. Late 16th-century madrigal.

1. By the middle of the 16th century, various Greek treatises had been published (i.e., B.C.), and musicians of the period were intrigued by the descriptions of music's power.

2. "Concerto della donne," established in 1580, three professional female singers (paid more than twice as much as Luzzaschi).

3. Other composers:

a. Orlando di Lasso (1532-1594), extremely popular and prolific composer.

b. Philippe de Monte (1521-1603), began career in Italy, served under the Habsburg emperors, published 32 collections.

c. Gianches de Wert (1535-1596), Flemish but led his entire career in Italy.

4. Luca Marenzio (1553-1599).

a. Perhaps the greatest of the native Italians, with 400+ madrigals (1580-1599). Career in Rome.

b. NAWM 52 — "Solo e pensoso" (ninth book of madrigals in five voices, 1599); musical imagery, chromaticism, "madrigalisms."

5. Carlo Gesualdo (ca. 1561-1613).

a. Wrote sacred and secular music, including six books of madrigals (1594-1611), both V and VI in 1611, but probably written in 1590s.

b. NAWM 53 — "Io parto," from Book VI (pub. 1611).

c. Took both chromaticism and expressive text setting to their limits.

XXV. France.

A. The Parisian Chanson (mid 1520s to mid-century).

1. Represents the development of a distinctive French style.

2. Pierre Attaingnant (ca. 1494-ca. 1551), royal printer of music, published more than 50 collections between 1528 and 1552.

3. The lyrical chanson.

a. Typified by Claudin de Sermisy (ca. 1490-1562), who wrote approximately 175.

b. Spent his career in Paris, mostly in the service of the King.

c. NAWM 54 (ca. 1530s).

3. The narrative chanson.

a. Typified by ClÈment Janequin (ca. 1485-ca. 1560). Unique in that he did not hold a position with a major church or an important court.

b. Best known for his descriptive chansons on war ("La guerre"), street cries ("Les cris de Paris"), and, perhaps his most popular, "Le chant des oiseaux."

B. "Musique mesurÈe."

1. Pierre Ronsard (1524-1585), one of a group of poets known as the "PlÈiade," and Jean-Antoine de BaÔf (1532-1589), wanted to revive the forms and meters of classical antiquity.

2. Arose from the rediscovery and reading of ancient Greek and Roman texts, and the conviction that all poetry was sung.

3. One problem: French does not have the long and short syllables of Greek and Latin.

4. They imposed on French a "vers mesurÈs ‡ l'antique" and set it to a "musique mesurÈe ‡ l'antique," where the long and short syllables would be matched by the music.

5. Claude Le Jeune (1528-1600) was the leading composer of the AcadÈmie.

a. NAWM 55 — "Revecy venir du printemps."

b. "Rechant" (refrain) and "chant" (stanza).

XXVI. Germany.

A. Secular polyphonic music developed later: "Meistersingers" writing monophonic songs through the 1500s.

B. Polyphonic Lied: Isaac's "Innsbruck, ich muss dich lassen" a good example (NAWM 38).

C. Orlando di Lasso [Roland de Lassus] (1532-1594).

1. Fine eclectic composer, born in Netherlands, trained in Italy.

2. Seven collections of Lieder.

XXVII. English Madrigal.

A. Heavily indebted to Italian madrigal, coming to it a bit late.

B. Nicholas Yonge, Musica Transalpina, 1588.

1. Italian madrigals had circulated in England since the 1560s.

2. Collection of Italian madrigals translated into English.

3. Most represented composer: Alfonso Ferrabosco, ca. 1560 in England, then left.

4. Inspired many British composers beginning in the 1590s until the genre petered out ca. 1630.

C. Thomas Morley (1557/8-1602).

1. Among the first to compose in the new genre.

2. Also the author of a treatise, A Plaine and Easie Introduction to Practicall Musicke (1597).

3. Typical of style: "My bonny lass she smileth" (NAWM 56), pub. 1595.

a. "ballett" — modeled after a "balletto" of Giacomo Gastoldi (ca. 1544-1609)

b. use of "fa-la"

4. "The Triumphs of Oriana" (1601) — anthology of madrigals in honor of Queen Elizabeth I (reigned 1558-1603).

D. Thomas Weelkes (ca. 1575-1623).

1. NAWM 57 — from this collection.

2. Many of the same qualities as the Italian madrigalists.

E. John Dowland (1562-1626).

1. Lute songs — solo song for voice and accompaniment, more personal genre.

2. NAWM 58 (pub. 1602) — Pavane style (type of dance).

3. Compare with Byrd (NAWM 61), which appears to be a transcription with written out variations.

4. "table book" (32 x 19 cm.) — see Burkholder, p. 261

XXVIII. Instrumental Music — increase in preserved written music after 1450.

A. More instrumental music is being written down.

B. More instrumentalists are musically literate.

C. The music is now considered worthy of preservation.

D. Also reflected in published music.

1. Petrucci's "Odhecaton A" appears to be for instrumental performance.

2. Although all vocal music, the texts are not provided.

E. New genres that were not dependent on dancing or singing.

XXIX. Instruments.

A. Books on instruments.

1. Written in German, not Latin — for the practicing musician.

a. Included information on pitch and tuning.

b. Also practical aspects, such as embellishing a melodic line.

c. Note that Renaissance musicians tended to be proficient on several related instruments.

2. Sebastian Virdung, Musica getutscht und ausgezogen [Music Germaned and Explained], 1511.

3. Michael Praetorius (ca. 1571-1621), Syntagma musicum [Systematic Treatise on Music] (vol. 2), 1518 (p. 265).

B. Instruments constructed in families.

1. one uniform timbre available throughout the entire range, from soprano to bass

2. sometimes called a "chest" or a "consort" (England) — viols and recorders

3. broken consort: flute, treble viol, bass viol, lute, two other plucked instruments (contrasted with "whole" consort)

4. maintained the distinction between "high" (high) and "bas" (low)

C. Specific instruments.

1. Lute.

a. most popular household instrument

b. pear-shaped with rounded back

c. single and double strings

d. fretted

e. instrument was plucked

f. tablature — shows the place of the finger on the string, not the pitch

2. Keyboard.

a. Harpsichord:

b. Clavichord:

c. Organ — by 1500 much as we know it today

3. Newly prominent:

a. sackbut — early form of the trombone

b. crummhorn — double reed enclosed in a cap

4. Still in use:

a. transverse flute

b. shawm — predecessor of the oboe

c. trumpet

d. cornett

XXX. Types of Instrumental Music:

A. Dance Music.

1. Social dancing was widespread and highly valued.

2. Many pieces now printed in collections.

3. Two purposes:

a. functional, for accompanying dancers (ensemble)

b. stylized, for enjoyment of the player (solo lute or keyboard)

4. "basse danse" and "branle" — NAWM 59.

a. "basse danse" — stately couple dance

b. "branle gay" — lively dance in triple time

c. published by Pierre Attaingnant, Danseries ‡ 4 parties (second book), 1547

5. Dance pairs.

a. many dances grouped in pairs

b. usually slow—fast

c. "pavane" (or "pavan") — stately dance

d. "galliard" — faster, in three

B. Arrangements of Vocal Music.

1. Instrumental ensembles might play vocal works.

2. "intabulations" — arrangements of vocal works for lute in tablature

C. Variations.

1. 16th-century form

a. used for independent instrumental pieces

b. uninterrupted series of variants on a melody, bass line, or harmonic progression

2. English virginalists.

a. "Parthenia" (1613) — first published collection of music for virginal

b. includes music by many prominent English composers, including William Byrd (1543-1623)

c. typically used songs and dances for variations

d. NAWM 61 — based on Dowland's "Flow, my tears" (NAWM 58)

D. Abstract Instrumental Works.

1. "prelude" — to preface another work

2. "fantasia" — suggests a piece from the player's imagination

3. "toccata"

4. "ricercare"

5. "canzona"

XXXI. Music in Venice.

A. Church of St. Mark.

1. Church was the center of Venetian musical culture.

2. Position of "maestro della musica" held by Willaert, Rore, Zarlino, and Monteverdi.

3. Organists included Andrea Gabrieli (1533-1585) and his nephew, Giovanni Gabrieli (ca. 1557-1612).

B. Giovanni Gabrieli (ca. 1555-1612).

1. "polychoral motet"

a. written for divided choirs ("cori spezzati")

b. developed by Gabrieli with 2-5 choirs supported by instrumental groups

2. Also used in instrumental music.

a. NAWM 62 — canzona for two groups of four instruments

b. Sacrae symphoniae ("Sacred Symphonies"), pub. 1597

3. "sonata" (Italian for "sounded").

a. series of sections based on a different subject

b. could be used at Mass or Vespers to accompany rituals

c. "Sonata pian' e forte" from Sacrae symphoniae

1. first piece to indicate instrumentation

2. among the first to include dynamic markings