lecture 7 summary national styles

7/26/2019 Lecture 7 Summary National Styles

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R. Giles HMU225 2015

Lecture 7 Summary: National Styles in the Sixteenth Century

National Styles

The development of national styles and genres

especially in secular vocal music The effect of music printing

Amateur performers

Domestic performing spaces

The Ideal Courtier

aldassare Castiglione!s Il Cortegiano "The oo# of the

Courtier$% &'()

Customs and *ehaviour of the educated and refined

individual

Descri*es private musical gatherings +Spre,,atura-

Castiglione% Il Cortegiano: +.entlemen% you must #no/

that I am not satisfied /ith our Courtier unless he *e

also a musician% and unless% *esides understanding and

*eing a*le to read music% he can play various

instruments0 1or% if /e rightly consider% no rest from

toil and no medicine for ailing spirits can *e found

more decorous or praise/orthy in time of leisure than

this2 and especially in courts /here% *esides the

release from vexations /hich music gives to all% many

things are done to please the ladies% /hose tender anddelicate spirits are readily penetrated /ith harmony

and filled s/eetness0 3ence% it is no /onder that in

*oth ancient and modern times they have al/ays *een

particularly fond of musicians% finding music a most

/elcome food for the spirit0-

4etrarchism

• Authors li#e 4ietro em*o argued that the vernacular

Italian /as a /orthy medium for the composition of

serious poetry "as opposed to Latin$0• em*o /as #no/n for praising the great Italian poet

1rancesco 4etrarca and inspiring a movement called

+4etrarchism-

• Composers turned more and more to setting secular texts

in their o/n vernacular languages




National .enres

Spanish 5illancico

Italian 1rottola

Italian 6adrigal

1rench Chanson

nglish 6adrigal

1rottole and Laude

• Strophic% homophonic songs /ith refrains0 The main

melody /as usually in the upper voice and consisted of

simple and pleasing melodies0

• The 1rottola "pl0 frottole$ /as sung as entertainment

at the leading Italian courts such as 1errara and

6antua0 "ex: 6archetto Cara "ca0 &89'&'('$% +6al un

muta per effecto%- ca0 &';;$

• Laude "sing0 Lauda$ /ere similar in style *ut /ereinstead religious songs performed in devotional

contexts

5illanella< 5illancico

• +5illano- = 4easant

• Can,on villanesca "peasant song$% also called the

villanella and<or villancico: 3omophonic% strophic

piece for three voices that flourished chiefly in

Naples via Spain

Dance 6usic

Dancing /as not >ust a source of entertainment and

delight *ut /as% in upper class courtly circles%

indicative of social order% decorum and graces0

?sually memori,ed and<or improvised *y instrumentalists

The music al/ays complemented the form of the dance in

metre% tempo and rhythmic pattern

xample: Tielman Susato!s Danserye "NA@6 99$

5ariation Techniues in Instrumental 6usic

• The lute and Spanish 5ihuela

• @illiam yrd "ca0 &'8;&9(B$

• Pavana lacrymae% ca0 &9;;

• Included in the 1it,/illiam 5irginal oo#

• ased on the slo/ and stately 4avane




• ey*oard adaptation of ohn Do/land!s "&'9B&9(9$

pavane Lachrimae (“tears”) and lute song +1lo/ my

tears-

The Italian 6adrigal

Not the same as the Trecento madrigal

&9th century Italian madrigals /ere throughEcomposed

settings of short poems "consisting of 7 and &&

sylla*le lines$

6ore elevated in tone than the frottola0

Influence of 4etrarchan themes: the contrasts and

contradictions of love "ice vs0 fire2 free,ing vs0

*urning2 love vs0 death$

4oets of madrigal texts:

1rancesco 4etrarca "&B;8&B78$

4ietro em*o "&87;&'87$ Ludovico Ariosto "&878&'BB$

.am*attista .uarini "&'B)&9&($

Toruato Tasso "&'88&'F'$

.iam*attista 6arino "&'9F&9('$

6adrigals /ere tailored for a particular social

setting: groups of educated men and /omen /ho /ould

meet to tal# a*out art% literature% politics and sing

music together

These could *e informal gatherings after dinner or

societies organi,ed to discuss scientific and

intellectual topics% called Academies

In the &');s% Alfonso d!ste% Du#e of 1errara

esta*lished the concerto delle donne "ensem*le of

ladies$0 These /ere a trio of trained singers "Laura

4everara% Anna .uarini% and Livia d!Arco$0

arly 6adrigal Composers: acues Arcadelt "ca0 &';'

&'9)$

+Il *ianco e dolce cigno%- "the /hite and s/eet s/an$%

ca0 &'B)

6idECentury 6adrigal Composers: Cipriano de Gore "&'&9

&'9'$

+Da le *elle contrade d!oriente%- "from the fair

regions of the ast$% ca0 &'9;

xpansion from four to five voices2 increased

chromaticism

The &9th Century 1rench Chanson




The &9th century chanson *orro/ed the /it and

playfulness of the Italian madrigal

1rench chansons /ere ho/ever strophic% sylla*ic and

often repetitive

4ierre Attaingnant% first 1rench music printer "ca0

&'()'($ Claudin de Sermisy "ca0 &8F;&'9($

+Tant ue vivray-

ClHment aneuin "ca0 &8)'&'9;$

+Les Cris de 4aris-

Claude le eune "ca0 &'()&9;;$

+Gevecy venir du printans

The nglish 6adrigal

Musica Transalpina "&'))$ pu*lished *y Nicholas ounge

and contains +nglished- 6adrigals Thomas 6orley "&''7<)&9;($

Thomas @eel#es "ca0&'7B&9(B$

The Triumphs of riana "&9;&$

In honour of Jueen li,a*eth I

Thomas @eel#es! +As 5esta /as-

@ord painting: +Ascending%- +running do/n%- +first t/o

*y t/o% then three *y three%- +all alone0-

Lute Songs

ohn Do/land "&'9B&9(9$

Lute songs conveyed the emotions of a single individual

Lute ta*lature

+1lo/ my tears%- "pavane$

1rom !econd "oo#e of songs or ayres "&9;;$

lecture 7 summary national styles

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