{"id":669,"date":"2017-02-06T02:31:48","date_gmt":"2017-02-06T02:31:48","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/?post_type=chapter&p=669"},"modified":"2020-04-11T21:51:20","modified_gmt":"2020-04-11T21:51:20","slug":"renaissance-secular-music","status":"web-only","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/chapter\/renaissance-secular-music\/","title":{"raw":"Renaissance secular Music","rendered":"Renaissance secular Music"},"content":{"raw":"The Madrigal:\u00a0\u00a0<\/b>A madrigal is a secular vocal music composition, usually a part song, of the Renaissance and early Baroque eras. Traditionally, \u00a0madrigals are unaccompanied using two to eight voices and often \u00a0polyphonic in texture. They were sung by small groups of singers with only one person \u00a0per part. With the invention of the printing press madrigals were published \u00a0and widely circulated through the population enabling these songs to be sung at many venues including the home.\r\n\r\nThe English Madrigal School<\/b> was the brief but intense flowering of the musical madrigal in England, mostly from 1588 to 1627.\r\nA notable compilations of English madrigals was The Triumphs of Oriana, a collection of madrigals compiled by Thomas Morley, which contained 25 different madrigals by 23 different composers. Published in 1601 as a tribute to Elizabeth I of England, each madrigal contains a reference to Oriana, a name used to reference the Queen.\r\n\r\nInfluential composers of madrigals in England \u00a0were Thomas Morley, Thomas Weelkes and John Wilbye. Morley is the only composer of the time who set verse by Shakespeare for which the music has survived. His style is melodic, easily singable, and remains popular. Wilbye had a very small compositional \u00a0output, but his madrigals are distinctive with their expressiveness and chromaticism. They would never be confused with their Italian predecessors.\r\n\r\nTraits:<\/strong>\u00a0 \u00a0English madrigals were sung \u00a0a cappella<\/span>\u00a0 (singers with no instruments) , light in style,<\/em> and generally began as either copies or direct translations of Italian models of madrigals . \u00a0Word painting<\/span> <\/em>was a popular technique used in the madrigal -\u00a0also known as tone painting or text painting. It involves \u00a0the \u00a0writing music where the literal meaning the words \u00a0are reflected in the music. For example, ascending scalewise \u00a0pitches would accompany lyrics about going up, \u00a0descending \u00a0pitches \u00a0for lyrics going down, \u00a0slow and \u00a0dark music would accompany lyrics about death. A good example of word painting is the madrigal (below) by Weelkes: \u00a0As Vesta was from Latmos Hill Descending<\/em>. Note the \u00a0pitches becoming lower with the word \"descending\" \u00a0and the pitches getting higher on the words \"ascending\". \u00a0Listen to the fast \u00a0moving notes \u00a0with the words \"running running down\". \u00a0Also \u00a0listen to two voices singing \"two by two\", three voices sing the words \"three by three\" and all voices on the word: \"together\". Only one voice sings \u00a0the words \u00a0\"all alone\".\r\n\r\nhttps:\/\/youtu.be\/95DJ7oqTWK8\r\n\r\n<\/span>Thomas Weelkes is best known \u00a0especially both \u00a0his madrigals and church music. \u00a0He \u00a0also wrote more Anglican services than any other major composer of the time,\u00a0mostly for evensong. Many of his anthems are verse anthems, which would have suited the small forces available at Chichester Cathedral. It has been suggested that larger-scale pieces were intended for the Chapel Royal.\r\n\r\nWeelkes's \u00a0madrigals are very chromatic and use varied organic counterpoint and unconventional rhythm in their construction.\r\n\r\nListen to Fair Phyllis by Thomas Weelkes: \u00a0Can you pick out word painting<\/em><\/strong> here in this work?\r\n\r\nhttps:\/\/youtu.be\/OYbN_2hqFoI\r\n\r\nWeelkes was friends with the madrigalist Thomas Morley who died in 1602, when Weelkes was in his mid-twenties (Weelkes commemorated his death in a madrigal-form anthem titled A Remembrance of my Friend Thomas Morley<\/i>, also known as \"Death hath Deprived Me\".\r\n\r\nListen to Gibbon's work - \"The Silver Swan\" \u00a0below. Note its ever changing harmonies. Hear the moving parts \u00a0voices. \u00a0 The \u00a0musical score is also below. \u00a0You may even be able to follow some of the \u00a0the parts even if you can not read music. .\r\n\r\nThe last line is\u00a0 often considered to be a lament for the death of the English tradition.\r\n\r\n\"More Geese than Swans now live, more Fools than Wise.\"\r\n\r\nMadrigals continued to be composed in England through the 1620s, but the air and \"recitative music\" rendered the style obsolete; somewhat belatedly, characteristics of the Baroque style finally appeared in England. While the music of the English Madrigal School is of generally high quality and has endured in popularity, it is useful to remember that the total output of the composers was relatively small: Luca Marenzio in Italy alone published more books of madrigals than the entire sum of madrigal publications in England. \u00a0Philippe de Monte wrote more madrigals (over 1100) than were written in England during the entire period.\r\n\r\nMadrigals are an especially important genre as they \u00a0anticipate the \u00a0solo song \u00a0Opera \u00a0of \u00a0the Baroque Period.\r\n\r\nhttps:\/\/en.wikipedia.org\/wiki\/Thomas_Weelkes<\/span>\r\n\r\nEdited and formatted by Robert Ford<\/span>\r\n\r\nInstrumental\u00a0Music and\u00a0forms<\/b>\r\nSusato Renaissance Dances: \u00a0This is a good example of displaying instruments of the \u00a0Renaissance as well as the style of dances of this time. which are mostly in two parts. \u00a0There are three Rondes here (a dance in which the dancers move in a circle).<\/span>\r\n<\/strong>\r\n\r\nhttps:\/\/youtu.be\/OFlLUUOflpY?list=RDOFlLUUOflpY\r\n\r\nPolychoral Motet:\r\n\r\nBy Andreas Tille - http:\/\/fam-tille.de\/italien\/venedig\/2004_070.html (made by Andreas Tille), CC BY-SA 3.0,\r\n\r\nSan Marco:\u00a0 \u00a0 \u00a0 https:\/\/commons.wikimedia.org\/w\/index.php?curid=302766<\/span><\/span>\r\n\r\nSonata pian' e forte -\r\n
\r\n
\r\n
\r\n\r\nSonata (at this time) meant\u00a0 a piece for instruments.\u00a0Its name \"piane\" \u00a0(meaning soft) and \"forte\" (meaning \u00a0loud) alludes to the \u00a0use of \u00a0dynamics. \u00a0This is \u00a0the first time \u00a0soft and loud dynamics \u00a0has been designated in a work. \u00a0In the past , dynamics were not designated. \u00a0This work was probably written to be played as part of a Catholic service at St Mark's, Venice. The work \u00a0is \u00a0a \u00a0Venetian polychoral motet \u00a0\u00a0It's players were divided into 2 groups of 4 and placed in opposing galleries in the cathedral. This style arose from the architectural peculiarities of the imposing Basilica of \u00a0San Marco di Venezia in Venice.\u00a0 \u00a0Composers, were aware of the sound delay caused by the distance between opposing choir lofts. They took advantage of this as a useful special effect. Since it was difficult to get widely separated choirs to sing the same music simultaneously (especially before modern techniques of conducting were developed), composers\u00a0solved the problem by writing antiphonal music where opposing choirs would sing successively, \u00a0often with \u00a0contrasting phrases. The stereo effect proved to be popular. \u00a0Composers imitated the idea, in other large cathedrals in Italy. This was a rare but interesting case of the architectural peculiarities of a single building influencing the development of a style which became popular all over Europe, and defined, in part, the shift from the Renaissance to the Baroque era. The idea of different groups singing in alternation gradually evolved into the concertato<\/em> style, which in its different instrumental and vocal manifestations eventually\u00a0ed to such diverse musical ideas as the chorale cantata, the concerto grosso, and the sonata - all musical forms of the Baroque Period!\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\nhttps:\/\/en.wikipedia.org\/wiki\/Venetian_polychoral_style\r\n<\/span>Modified Robert Ford<\/span>\r\n\r\nhttps:\/\/youtu.be\/Jx2xgbBkjbg\r\n\r\n\r\n\r\nAn illustration of several musical instruments from Syntagma Musicum<\/i>\r\n\r\nPraetorius - \u00a0Terpsichore Mozarum<\/strong>\r\n\r\nTerpsichore<\/b><\/i> is a compendium of more than 300 instrumental dances published in 1612 by Michael Praetorius. The collection takes its name from the muse of dance. In his introduction Praetorius takes credit for arranging the music rather than composing the tunes. The collection is based on French dance repertoire of the time, although scholars have identified some of the tunes as coming from elsewhere, for example England. \u00a0Terpsichore<\/i> contains some notes which relate to instrumentation, but does not specify which instruments should play particular parts. A variety of instruments have been used to play Terpsichore<\/i>. \u00a0Play a few of these selections to hear \u00a0more Renaissance instrumental music.\r\n\r\nhttps:\/\/youtu.be\/4JWYIY3icUg\r\n\r\n \r\n\r\nhttps:\/\/youtu.be\/yoGvKFSvs0o\r\n\r\n \r\n\r\n \r\n\r\nhttps:\/\/en.wikipedia.org\/wiki\/Terpsichore_(1612)<\/span>\r\n\r\nhttps:\/\/en.wikipedia.org\/wiki\/Venetian_polychoral_style\r\n<\/span>Modified Robert Ford<\/span>\r\n\r\n ","rendered":"

The Madrigal:\u00a0\u00a0<\/b>A madrigal is a secular vocal music composition, usually a part song, of the Renaissance and early Baroque eras. Traditionally, \u00a0madrigals are unaccompanied using two to eight voices and often \u00a0polyphonic in texture. They were sung by small groups of singers with only one person \u00a0per part. With the invention of the printing press madrigals were published \u00a0and widely circulated through the population enabling these songs to be sung at many venues including the home.<\/p>\n

The English Madrigal School<\/b> was the brief but intense flowering of the musical madrigal in England, mostly from 1588 to 1627.
\nA notable compilations of English madrigals was The Triumphs of Oriana, a collection of madrigals compiled by Thomas Morley, which contained 25 different madrigals by 23 different composers. Published in 1601 as a tribute to Elizabeth I of England, each madrigal contains a reference to Oriana, a name used to reference the Queen.<\/p>\n

Influential composers of madrigals in England \u00a0were Thomas Morley, Thomas Weelkes and John Wilbye. Morley is the only composer of the time who set verse by Shakespeare for which the music has survived. His style is melodic, easily singable, and remains popular. Wilbye had a very small compositional \u00a0output, but his madrigals are distinctive with their expressiveness and chromaticism. They would never be confused with their Italian predecessors.<\/p>\n

Traits:<\/strong>\u00a0 \u00a0English madrigals were sung \u00a0a cappella<\/span>\u00a0 (singers with no instruments) , light in style,<\/em> and generally began as either copies or direct translations of Italian models of madrigals . \u00a0Word painting<\/span> <\/em>was a popular technique used in the madrigal –\u00a0also known as tone painting or text painting. It involves \u00a0the \u00a0writing music where the literal meaning the words \u00a0are reflected in the music. For example, ascending scalewise \u00a0pitches would accompany lyrics about going up, \u00a0descending \u00a0pitches \u00a0for lyrics going down, \u00a0slow and \u00a0dark music would accompany lyrics about death. A good example of word painting is the madrigal (below) by Weelkes: \u00a0As Vesta was from Latmos Hill Descending<\/em>. Note the \u00a0pitches becoming lower with the word “descending” \u00a0and the pitches getting higher on the words “ascending”. \u00a0Listen to the fast \u00a0moving notes \u00a0with the words “running running down”. \u00a0Also \u00a0listen to two voices singing “two by two”, three voices sing the words “three by three” and all voices on the word: “together”. Only one voice sings \u00a0the words \u00a0“all alone”.<\/p>\n