西洋音樂史 I 第 8-9 週 16 世紀世俗音樂 Madrigal 與其他

西洋音樂史 I 第 8-9 週 世俗音樂

 Music printing  Made possible a much wider dissemination of music  Allowed music to be sold as 商品  Catered to the growing demands of amateur musicians  The ability to read and perform music became a 社交時尚.  Among 貴族 first  Eventually also among 中產階級  Paintings show people reading from published music, usually part-books (Figure 11.1).Figure 11.1  Amateurs constituted an eager market for a variety of secular genres.

 Music printing and the demand for music for amateurs created the first market for music.  Music ranged from elite to popular genres, styles, and forms.  Composers worked to meet the demands of amateurs.  Amateurs wanted to sing in their own language.

 Amateurs wanted 地方話 世俗音樂  主調織體 (Homophonic) 容易演唱之樂種 流行於 Spain and Italy.  The madrigal was an outlet for an interest in humanism, first in Italy and later in England.

 The frottola (pl. frottole) 瑣碎歌  Italian counterpart to the villancico ▪ Four-part strophic song set syllabically and homophonically. ▪ Melody in the upper voice ▪ Simple harmony ▪ Marked rhythmic patterns ▪ No fixed form, though several subtypes and specific forms

 Composed by Italian composers for the amusement of the courtly elite ▪ Petrucci published thirteen collections between 1504 and ▪ The songs were mock-popular songs, not authentic folk or popular songs. ▪ 業餘者的需求 商業音樂  Performed by solo voice with lute Performed by solo voice with lute

 Among the best-known composers of frottole was Marco Cara (ca. 1465–1525), who worked at the court of Mantua. ▪ Io non compro più speranza (NAWM 49) appeared in Petrucci’s first book of frottole. ▪ The rhythm moves in six beats per measure, sometimes divided into three groups of two, other times two groups of three (hemiola effect).hemiola effect ▪ The poem consists of a four-line ripresa and a six-line stanza.

 Ferdinand and Isabella encouraged Spanish music, especially the villancico.  The villancico  The name of the genre 原意為農民 (villano).  The audience/market was the elite class, but the texts were 鄉村與流行風.  The music was 簡短疊歌, 音節配音符 syllabic, 且大多為主調 織體 homophonic, 與 Franco-Flemish style 大相逕庭.  Villancicos were often published for voice with lute.  業餘者的需要, 商業音樂

 Juan del Encina (1468–1529)  The first Spanish playwright and a leading composer of villancicos  Oy comamos y bebemos (NAWM 48) is typical of the genre. ▪ The text uses crude language to exhort listeners to eat, drink, and sing the day before Lent begins. ▪ Melody and harmony are simple. ▪ Rhythms are dance-like, with frequent hemiolas.

 The Italian madrigal  The most important secular genre of the sixteenth century ▪ Composers 以音樂豐富了歌詞的意義與力量. ▪ The genre became an experimental vehicle for dramatic characterization, inspiring new compositional devices.  Form ▪ Single stanza with no refrains or repeated lines ▪ The music is through-composed( 通譜的 ), with new music for every line of poetry.

 Poetry ▪ Composers often chose texts by major poets. ▪ Topics included love songs and pastoral scenes. ▪ The final lines of the poem were often epigrammatic, bringing home the point of the poem.  Music ▪ Composers used a variety of techniques and textures. ▪ All voices played an equal role, similar to the motet of the same period. ▪ The earliest madrigals (ca to 1550) were for four voices. ▪ By mid-century, madrigals were composed for five or more voices. ▪ Performance could be vocal, or some parts could be played on instruments.

 Social roles  Primarily sung for the entertainment of the singers themselvessingers  Sung in mixed groups of women and men at social gatherings and at meetings of academies  The great demand for madrigals continued into the seventeenth century  By 1570, professional singers performed madrigals for audiences at court.  Also appeared in plays and other theatrical productions

 Philippe Verdelot (ca. 1480/85–?1530) ▪ Franco-Flemish composer, active in Florence and Rome in the 1520s ▪ His four-voice madrigals are mostly homophonic. ▪ His madrigals for five or more voices are more motetlike

 Jacques Arcadelt (ca. 1507–1568) ▪ Franco-Flemish composer working in Florence and Rome from the 1520s to ▪ His Il bianco e dolce cigno 白而甜美的天鵝 (NAWM 50), published in 1538, is one of the most famous of the early madrigals.Il bianco e dolce cigno ▪ 歌詞隱喻 性高潮 (“the little death” 欲仙欲死 ) in the words “dying fills me fully with joy and desire.” ▪ A string of imitative entrances portrays the words “thousand deaths a day” (“mille mort’ il di”).

 The Petrarchan 風潮  Cardinal Pietro Bembo (1470–1547), poet and scholar, led the movement to revive the sonnets and canzoni of Petrarch (Francesco Petrarca, 1304–1374).  Bembo identified the contrasting qualities of 愉悅性 (piacevolezza) and 嚴厲性 (gravità) in the sounds of Petrarch’s poems.  Composers attempted to reflect these qualities in their music.

 Adrian Willaert ▪ Associated major thirds and sixths with harshness or bitterness, and minor intervals with sweetness or grief ▪ Aspro core e selvaggio, Petrarch’s poem about a “harsh and savage heart,” uses major intervals and whole steps for harshness (HMW Example 11.2a) and minor intervals to portray the lover’s “sweet, humble, angelic face” (HMW Example 11.2b).HMW Example 11.2aHMW Example 11.2b

 Cipriano de Rore (1516–1565) (see HWM Figure 11.3) ▪ The leading madrigal composer at mid-century ▪ Flemish, working in Ferrara, Parma, and at St. Mark’s in Venice (succeeding Willaert as music director) ▪ Profoundly interested in humanism and in ideas from ancient Greek music ▪ Ancor che por partire, demonstrates his sensitivity to the text (a poem by Alfonso d'Avalos ( ).

▪ Accented syllables receive longer notes than do unaccented syllables. ▪ Grief and sorrow are portrayed by frequent changes of voice combinations, chromaticism, and by a single high voice singing the phrase “sola mi lasci” (“alone you leave me”).  Chromaticism ▪ Direct chromaticism was justified by the chromaticism of ancient Greeks (e.g., HWM Example 11.3, which includes all twelve notes of chromatic scale).

 Although many northerners composed madrigals, the leading madrigalists at the end of the century were native Italians.  Luca Marenzio, e.g., Solo e pensoso (NAWM 52) ▪ Marenzio was known for depicting contrasting feelings and visual details. ▪ Based on a sonnet by Petrarch ▪ Marenzio depicts the poet walking alone with slow chromatic ascents, moving a half-step per measure. ▪ Quickly moving figures in close imitation depict the words “flee” and “escape.” ▪ Literal depictions of individual words later became known as madrigalisms because they were so common in madrigals.

 Carlo Gesualdo (ca. 1561–1613) ▪ A rare aristocratic composer who published his music ▪ Infamous for killing his wife and her lover when he discovered them in bed together ▪ His madrigals dramatize the poetry through sharp contrasts, e.g., between diatonic and chromatic pitches, chordal and imitative textures, slow and quick rhythms. ▪ Io parto (NAWM 53 and HWM Example 11.4) exemplifies all these types of contrasts used to portray individual words (e.g., vivo son portrays a return to life with fast, diatonic, imitative figures).

 Villanella ▪ Popular in Naples beginning in the 1540s ▪ Lively, strophic, homophonic piece for three voices ▪ Rustic character portrayed with crude harmony, such as parallel fifths  Canzonetta (little song) and balletto (little dance) were light genres developed for the end of the century. ▪ Homophonic, with simple harmonies ▪ The balletto (pl. balletti) use dance-like rhythms and “fa-la-la” refrains. ▪ Both genres were imitated by German and English composers.

 A new type of chanson Light, fast, strongly rhythmic song for four voices  Texts were about pleasant, amorous situations, though there were also some serious texts.  Syllabic text-setting  Homophonic, with the principal melody in the highest voice and occasional points of imitation  Composed for amateurs and published in numerous collections, including over fifty collections published by the first French music printer, Pierre Attaingnant (ca. 1490–1552).  Many were arranged for voice and lute or for lute alone.

 Claudin de Sermisy (ca.1490–1562)  His chansons were very popular and even appeared in paintings, such as HWM Figure  Tant que vivray (NAWM 54 and HWM Example 11.5) ▪ Similar in style to the frottola and villancico, with the melody in the top voice and simple harmony ▪ The form of the poetry is emphasized by long notes or repeated notes at the end of each line.

As long as I live in the flower of youth, I shall serve the powerful king of love, in deeds and words,in songs and harmony; for many days he kept me languishing, but after grief he made me rejoice, for I have the love of the fairest maid. Union with her is all my trust, her heart is mine and mine is hers. A fig for sadness, long live gladness since there is so much happiness in love. Tant que vivray en aage florissant, Je serviray Amour le Dieu puissant, En faict, et dictz, en chansons, et accords. Par plusieurs jours m'a tenu languissant, Mais apres dueil m'a faict resjouyssant, Car j'ay l'amour de la belle au gent corps. Son alliance Est ma fiance: Son cueur est mien, Mon cueur est sien: Fy de tristesse, Vive lyesse, Puis qu'en Amours a tant de bien.

 Clément Janequin  Composed many types of chanson  His descriptive chansons feature imitations of bird calls, hunting calls, and sounds of war.  La Guerre ( 戰爭 ) depicts a battle.  Le chant des oiseaux ( 鳥之歌 ) uses vocal warbles and chirping.

 The later Franco-Flemish chanson  Composers continued to compose in the Franco-Flemish tradition.  Other, newer styles often influenced composers.  Musique mesurée (measured music)  An attempt by the members of the Académie de Poésie et de Musique (Academy of Poetry and Music), founded in 1570, to revive the ethical effects of ancient Greek music

 Poetry in ancient Greek and Latin meters (vers mesuré à l’antique, “measured verse in ancient style”) ▪ Jean-Antoine de Baïf wrote strophic French verses in ancient meters. ▪ He assigned French vowels to durations because French lacked the natural accent lengths of other languages.  Claude LeJeune was the leading exponent, e.g., Revecy venir du printans (NAWM 55)

▪ Each long syllable was twice as long as a short one. ▪ Musical rhythms alternated duple and triple depending on the syllables.  This experiment never took hold, but it introduced irregular rhythms into the air de cour (court air), the dominant French song style after about 1580.

 Polyphonic Lied  Continued to be composed, with several approaches to melody  After 1550, Germans developed a taste for Italian secular song.  German Lieder survived if they took on Italianate characteristics, as in Lasso’s seven collections of Lieder.

 Consort song  Henry VIII (r. 1509–1547) and his second wife were musicians and composers.  During their reign, a variety of songs and instrumental pieces in three and four parts were composed.  The consort song was for voice accompanied by a consort (group) of viols.  William Byrd’s 1588 collection, Psalmes, Sonets and Songs, includes consort songs in imitative counterpoint.

 English madrigals  Italian culture was in vogue in sixteenth-century England.  Italian madrigals began to circulate in England in the 1560s.  Musica Transalpina, 1588 ▪ A collection of Italian madrigals translated into English ▪ Published by Nicholas Yonge, who wrote in his introduction that gentlemen and merchants sang the repertory at his own home. ▪ This and similar collections inspired composers to start writing their own madrigals in English.

 Thomas Morley  Composed English language madrigals, canzonets, and balletts.  Wrote a treatise, A Plaine and Easie Introduction to Practiall Musicke (1597) ▪ Aimed at unlearned amateurs (see HWM Figure 11.5 for the treatise’s contents) ▪ Covered everything from basic notation to composing in three or more voices

 My bonny lass she smileth (NAWM 56) is based on the Italian balletto form. ▪ Strophic, with each stanza comprising two repeated sections (AABB) ▪ Each section begins homophonically. ▪ Sections end with a “fa-la-la” contrapuntal refrain.

 The Triumphs of Oriana, 1601  Collection of twenty-five madrigals by twenty-three composers.  The title is in honor of Queen Elizabeth.  Each madrigal ends with the words “long live fair Oriana,” referring to Elizabeth.

 Thomas Weelkes  His As Vesta was (NAWM 57) is one of the most famous madrigals in The Triumphs of Oriana.  Weelkes wrote his own poetry, giving himself numerous opportunities for musical depiction.  A melodic peak describes “hill” and falling scales describe “descending.”

 Lute songs (or airs)  Solo song with lute accompaniment was a popular genre in the early 1600s.  Leading composers were John Dowland (1563–1626) and Thomas Campion (1567– 1620).  More personal genre than the madrigal  Less word-painting, with lute always subordinate to the melody

 Published in score format rather than part books ▪ Some alternate arrangements set the lute part for voices, as shown in HMW Figure 11.6 ▪ The lute part was written in tablature, a notation telling the player where to place fingers on the strings rather than indicating pitch.

 Dowland’s best-known song is Flow, my tears (NAWM 58). ▪ Published in 1600 in his Second Booke of Ayres ▪ Inspired many variations and arrangements (e.g., NAWM 61) ▪ In the form of a pavane, with three repeated strains, the last with the same words for a musical pattern of aabbCC ▪ Repetition minimizes opportunities to depict individual words, but Dowland’s music matches the dark mood of the poetry.

 The madrigal and the other vernacular genres inspired by it 反映人文主義持續增強的影響 music.  表達的方式 developed after Willaert’s time 終於導致歌劇的 發展  社交性的歌唱時尚於 1600 年後退燒, 但在英國卻持續至今.