DOCSLIB.ORG

I N V I O L a T a J O S Q U I N D E S P R E Z

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
I N V I O L a T a J O S Q U I N D E S P R E Z I N V I O L A T A J O S Q U I N D E S P R E Z J A C O B H E R I N G M A N L U T E & V I H U E L A JOSQUIN DES PREZ (c.1450/55-1521) Jacob Heringman (b.1964) Jacob Heringman Inviolata 1. Ave Maria... virgo serena [8:56] Salve Regina 12. Salve Regina (part I) [5:29] Hans Gerle (c.1500–1570) 13. Eia ergo, advocata nostra (part II) [1:48] Marian motets by Josquin des Prez, intabulated for Inviolata, integra et casta es 14. Et Jesum benedictum (part III) [3:51] solo lute or vihuela by lutenist-composers old and new 2. Inviolata, integra et casta es (part I) [3:59] 3. Nostra ut pura pectora (part II) [2:38] 15. Ut Phoebi radiis/Ut re mi fa sol la [5:25] Jacob Heringman, lute & vihuela 4. O benigna (part III) [2:38] Simon Gintzler (c.1500–after 1547) Six-course lute in E after Frei (early-sixteenth century) by Michael Lowe, Oxfordshire, 1999 1–4, 15–17 Alonso Mudarra (c.1510–1580) Stabat Mater Vihuela de mano in G by Martin Haycock, West Sussex, 2016 5–10 Missa de Beata Virgine 16. Stabat Mater (part I) [6:49] Six-course lute in G after Gerle (c.1580) by Andrew Rutherford, New York, 1997 11–14 5. Kyrie I (glosa) [3:05] 17. Eia Mater (part II) [6:55] Jacob Heringman Missa de Beata Virgine Total playing time [65:07] 6. Christe [1:43] 7. Kyrie II [2:08] Enríquez de Valderrábano (fl.1547) Missa de Beata Virgine 8. Fantasia on Kyrie II [3:10] Jacob Heringman Missa de Beata Virgine 9. Prelude on Mariam coronans [0:51] Alonso Mudarra Missa de Beata Virgine 10. Cum sancto spiritu (glosa) [2:57] Hans Neusidler (c.1508/9–1563) Missa de Beata Virgine 11. Cum sancto spiritu [2:36] Note from the lute player sixteenth-century composers, it restricts itself to the relatively narrow (but highly fruitful) area Almost exactly 21 years ago, I made an of Marian music (mainly motets) by Josquin. album entitled Josquin des Prez: sixteenth- The focus is a great deal narrower. Thirdly, of century lute settings (still available from my many solo projects, the first Josquin album https://www.heringman.com/shop/). This remains closest to my own heart. It set me on was, as far as I can determine, the first a path of studying and living the intabulation recording ever to be devoted entirely to repertoire for the last twenty years, culminating intabulations, and the first lute project ever in this new recording, in which I have taken devoted entirely to the great renaissance the idea a bit further by narrowing the musical composer Josquin des Prez. The world has focus, and by creating some intabulations of changed since that first Josquin recording. my own. We’ve entered a new millennium, and, with it, an era of upheaval in almost every area This last point deserves further elucidation. of human life. Listeners will note that for this recording I have taken the rather large liberty of placing Stepping back from the immediate chaos my own arrangements alongside those of which sometimes threatens to overwhelm Gerle, Mudarra, Neusidler, and Gintzler et al, us, and taking a long view of the music, all of whom make an appearance on the first what has changed? Josquin has been dead Josquin album. What is the thinking behind for exactly 500 years, for one thing. To this? The Historically Informed Performance mark this anniversary, I have made a second movement has always been about playing recording of Josquin lute intabulations. Why music on instruments of the period, using revisit seemingly the same topic for a techniques and practices of the period, second time? making best use of all the information we can gather regarding these and other factors Several reasons. Firstly, Volume 1 met with which might influence what the music sounded an extraordinarily kind reception, and it like at the time. That’s all fine as far as it goes. appears to have caused some to rethink In fact, I’m wholeheartedly in favour, and I the importance of the large body of high value the importance of these considerations quality sixteenth-century intabulations, still as much as anyone. However, Historically a neglected area in performance. Secondly, Informed Performance has sometimes been this new disc is actually different: instead of mistakenly called ‘authentic’ performance. being a compendium of sacred and secular Now we reach the crux of the matter: music by Josquin intabulated by various authentic performance can be defined as performance which is true to the music and historically informed lute performance is true to the musician. Without the latter, it’s to expand the original repertoire. Much not authentic, and I’m not even sure it’s (though not all) of it is now increasingly music. Of course many fine modern players well covered by present day performers. But, of lute and other early instruments are known in performance, a few exciting first steps are for their authentic (in the true sense of the only now beginning to be taken in the word) playing. For me personally, being direction of tackling those other areas: authentic means interrogating, interpreting, improvisation and intabulation. I would arranging, and even recomposing the consider my efforts in this recording to original vocal music, because these are be well rewarded if my colleagues and all ways of being true to my craft. It’s what students were to find them attractive lutenists did. It turns out that Historically enough to consider either using them in Informed and Authentic are not mutually their own performances or, better still, exclusive. What did lute players do creating and performing their own throughout the sixteenth century, apart intabulations of this magnificent vocal from playing the existing repertoire of repertoire. dances, intabulations, and freely composed music? They improvised on pre-existing © 2020 Jacob Heringman chord progressions of the day. They extemporised preludes and fantasias. And they appropriated vocal music and Listening to Josquin’s lute arranged it for their instrument. As I’ve We think of Josquin simply as a composer, discovered, it’s an excellent way of coming traces of whose music survive both in to understand Josquin’s splendid polyphony manuscripts and in some of the earliest from the inside. That’s part of the point printed music books. There is a comprehensive, of it. And by doing it for decades, and immaculately researched complete edition of immersing myself as much as possible in his works in which every note surviving in the vocal originals as well as in the staff notation is accounted for, and his a surviving intabulations of the time, I've cappella works are among the most recorded put myself in a position in which I now of all renaissance composers. But to consider find myself feeling ready to try my own Josquin simply as an excellent accumulator hand at intabulating, doing exactly what of notes is to miss the impact of his music sixteenth-century lutenists did. on his contemporaries and on his successors long after his death, and in focusing so much It seems to me that the next step in on the choral origins of his works we obscure the real performance history of his music. fact. Many are quite short, often excerpts from takes care of some of the potential harmonic voices still baffles scholars, and may have been The many surviving manuscripts and prints longer pieces (such as sections of mass or melodic transgressions but still leaves a composed for a meeting of the Order of the are testament to his huge popularity as a movements) and were chosen for their musical curious creative window for the singers to Golden Fleece, an esoteric chivalric Marian composer of choral music, but the many coherence as well as practical considerations exploit, so we can never know how Josquin order founded by Philip the Good. It is more intabulated sources (the so-called that would fit the music under the fingers. would have interpreted his own music. possible that Josquin wrote both the music secondary sources) show that his music was Although the arrangers obviously knew the The intabulations eliminate this area of and the tortuous Latin poem linking the Virgin enjoyed in countless different ways for many words associated with the musical lines their speculation: they don't tell you what pitch to to Greek, Jewish and New Testament figures generations. For his contemporaries he was listeners may well not have done. At a time play but they do tell you where to put your for a meeting of the Order that didn’t in the a singer, choir director, composer, and when there was very little dedicated written fingers in order to produce a particular end take place. Petrucci published the motet almost certainly a lutenist. secular music (or any sense of the modern pitch, so in the case of Inviolata, for in 1505 so it would have been widely known, categorical distinction between sacred and example, we know the results of Hans but no intabulations from the period are Marian devotion flourished in the fifteenth secular) the newly crafted versions may Gerle’s modal decision making. Other known to exist. Both Ut Phoebi and Ave Maria century, generating not just visual art and gradually have lost whatever devotional intabulators will have come to different (another motet with no surviving intabulations statuary but a vast corpus of music for the significance they may have had, and evolved decisions, which is one of the mysterious from the period) only just fit within the liturgy and for private devotion.
Load more

Recommended publications
  • Prelude | Grove Music
    Prelude (Fr. prélude; Ger. Vorspiel; It., Sp. preludio; Lat. praeludium, praeambulum) David Ledbetter and Howard Ferguson https://doi.org/10.1093/gmo/9781561592630.article.43302 Published in print: 20 January 2001 Published online: 2001 updated and revised, 1 July 2014 A term of varied application that, in its original usage, indicated a piece that preceded other music whose tonic, mode, or key it was designed to introduce; was instrumental (the roots ludus and Spiel mean ‘played’ as opposed to ‘sung’); and was improvised (hence the French préluder and the German präludieren, meaning ‘to improvise’). The term ‘praeambulum’ (preamble) adds the rhetorical function of attracting the attention of an audience and introducing a topic. The earliest notated preludes are for organ, and were used to introduce vocal music in church. Slightly later ones, for other chordal instruments such as the lute, grew out of improvisation and were a means of checking the tuning of the instrument and the quality of its tone, and of loosening the player’s fingers (as was the Tastar de corde). The purpose of notating improvisation was generally to provide models for students, so an instructive intention, often concerned with a particular aspect of instrumental technique, remained an important part of the prelude. Because improvisation may embrace a wide range of manners, styles, and techniques, the term was later applied to a variety of formal prototypes and to pieces of otherwise indeterminate genre. 1. Before 1800. David Ledbetter The oldest surviving preludes are the five short praeambula for organ in Adam Ileborgh’s tablature of 1448 (ed.
    [Show full text]
  • Multiple Choice
    Unit 4: Renaissance Practice Test 1. The Renaissance may be described as an age of A. the “rebirth” of human creativity B. curiosity and individualism C. exploration and adventure D. all of the above 2. The dominant intellectual movement of the Renaissance was called A. paganism B. feudalism C. classicism D. humanism 3. The intellectual movement called humanism A. treated the Madonna as a childlike unearthly creature B. focused on human life and its accomplishments C. condemned any remnant of pagan antiquity D. focused on the afterlife in heaven and hell 4. The Renaissance in music occurred between A. 1000 and 1150 B. 1150 and 1450 C. 1450 and 1600 D. 1600 and 1750 5. Which of the following statements is not true of the Renaissance? A. Musical activity gradually shifted from the church to the court. B. The Catholic church was even more powerful in the Renaissance than during the Middle Ages. C. Every educated person was expected to be trained in music. D. Education was considered a status symbol by aristocrats and the upper middle class. 6. Many prominent Renaissance composers, who held important posts all over Europe, came from an area known at that time as A. England B. Spain C. Flanders D. Scandinavia 7. Which of the following statements is not true of Renaissance music? A. The Renaissance period is sometimes called “the golden age” of a cappella choral music because the music did not need instrumental accompaniment. B. The texture of Renaissance music is chiefly polyphonic. C. Instrumental music became more important than vocal music during the Renaissance.
    [Show full text]
  • Josquin Des Prez: Master of the Notes
    James John Artistic Director P RESENTS Josquin des Prez: Master of the Notes Friday, March 4, 2016, 8 pm Sunday, March 6, 2016, 3pm St. Paul’s Episcopal Church St. Ignatius of Antioch 199 Carroll Street, Brooklyn 87th Street & West End Avenue, Manhattan THE PROGRAM CERDDORION Sopranos Altos Tenors Basses Gaude Virgo Mater Christi Anna Harmon Jamie Carrillo Ralph Bonheim Peter Cobb From “Missa de ‘Beata Virgine’” Erin Lanigan Judith Cobb Stephen Bonime James Crowell Kyrie Jennifer Oates Clare Detko Frank Kamai Jonathan Miller Gloria Jeanette Rodriguez Linnea Johnson Michael Klitsch Michael J. Plant Ellen Schorr Cathy Markoff Christopher Ryan Dean Rainey Praeter Rerum Seriem Myrna Nachman Richard Tucker Tom Reingold From “Missa ‘Pange Lingua’” Ron Scheff Credo Larry Sutter Intermission Ave Maria From “Missa ‘Hercules Dux Ferrarie’” BOARD OF DIRECTORS Sanctus President Ellen Schorr Treasurer Peter Cobb Secretary Jeanette Rodriguez Inviolata Directors Jamie Carrillo Dean Rainey From “Missa Sexti toni L’homme armé’” Michael Klitsch Tom Reingold Agnus Dei III Comment peut avoir joye The members of Cerddorion are grateful to James Kennerley and the Church of Saint Ignatius of Petite Camusette Antioch for providing rehearsal and performance space for this season. Jennifer Oates, soprano; Jamie Carillo, alto; Thanks to Vince Peterson and St. Paul’s Episcopal Church for providing a performance space Chris Ryan, Ralph Bonheim, tenors; Dean Rainey, Michael J. Plant, basses for this season. Thanks to Cathy Markoff for her publicity efforts. Mille regretz Allégez moy Jennifer Oates, Jeanette Rodriguez, sopranos; Jamie Carillo, alto; PROGRAM CREDITS: Ralph Bonheim, tenor; Dean Rainey, Michael J. Plant, basses Myrna Nachman wrote the program notes.
    [Show full text]
  • 0 – Inleiding – Drie Bedenkingen
    0 – INLEIDING – DRIE BEDENKINGEN Bedenking 1 ‘Klassieke muziek’ is een wijd verbreid begrip. Toch is het een beetje een ongelukkige benaming. Het gaat om meer dan muziek uit de classicistische tijd – de tweede helft van de 18de eeuw. Mogelijk een betere omschrijving is: Europese (westerse) ‘kunstmuziek’, waarvan de geschiedenis een periode van ongeveer 1000 jaar omspant. Deze westerse ‘kunstmuziek’ onderscheidt zich: 1) van populaire muziek (volksmuziek – ‘wereld’muziek – jazz – pop – …), 2) van kunstmuziek uit andere culturen door: gecomponeerde en dus genoteerde meerstemmigheid Bedenking 2 De plaats die muziek in onze eigentijdse samenleving inneemt, is – vergeleken met het verleden – nieuw en bijzonder. Deze breuk met het verleden, die zich kort na 1900 begon af te tekenen onder invloed van allerlei technologische en maatschappelijke veranderingen, kunnen we ons als volgt voorstellen: de ste tot en met de 19 eeuw vanaf de 20 eeuw alle muziek is live muziek is eindeloos reproduceerbaar, waardoor live-uitvoeringen zwaar onder druk komen te staan ( zijn ze wel nodig? + al te kritische benadering ) beperkt aanbod onbeperkt aanbod het overgrote deel van de muziek is de gehoorde muziek is vaak niet eigen- eigentijds en is dus een directe tijds, waardoor een eigentijds klankbeeld uitdrukking van de tijdsgeest veel minder eenduidig wordt de gehoorde muziek past in de eigen muziek kan uit alle leefruimtes komen, leefruimte, zowel geografisch als zowel geografisch als naar stand en naar stand en geloof geloof - wat met het echte begrip? pas
    [Show full text]
  • I Al the MULTIVOICE SACRED MUSIC of NICOLAS GOMBERT: A
    THE MULTIVOICE SACRED MUSIC OF NICOLAS GOMBERT: A CRITICAL EXAMINATION by Brandi Amanda Neal Bachelor of Arts in Music, University of South Carolina, 2003 Master of Arts in Music, University of Pittsburgh, 2006 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2011 al i UNIVERSITY OF PITTSBURGH ARTS AND SCIENCES This dissertation was presented by Brandi A. Neal It was defended on April 1, 2011 and approved by James P. Cassaro, Adjunct Assitant Professor, Department of Music, Head, Theodore M. Finney Music Library Alan Lewis, Director of Music, Calvary Episcopal Church, Pittsburgh, Pennsylvania Don O. Franklin, Professor Emeritus, Department of Music Francesca L. Savoia, Associate Professor of Italian, French and Italian Languages and Literature Dissertation Advisor: Mary S. Lewis, Professor Emerita, Department of Music ii Copyright © by Brandi A. Neal 2011 iii THE MULTIVOICE SACRED MUSIC OF NICOLAS GOMBERT: A CRITICAL EXAMINATION OF STYLE AND CONTEXT Brandi A. Neal, PhD University of Pittsburgh, 2011 This dissertation examines the sacred compositions for six or more voices by Nicolas Gombert (1495-1560). Two multivoice (six or more voices) compositional techniques emerged in sixteenth-century Europe. The first of these, the Italian double-choir (coro spezzato) technique, has received far more attention from scholars. This practice divided the vocal ensemble into two groups that sang either separately or together, and whose members remained consistent throughout the musical composition. The second technique, practiced by composers in northern Europe, also split settings into two or more vocal groups, but the members of the groupings constantly changed.
    [Show full text]
  • Stile Antico Josquin
    Boston Early Music Festival in partnership with The Morgan Library & Museum present Stile Antico Josquin: Father of the Renaissance Ave Maria…virgo serena Josquin des Prez (ca. 1450–1521) Kyrie from Missa Pange lingua Josquin Vivrai je tousjours Josquin El grillo Josquin Inviolata, integra et casta es Maria Josquin Gloria from Missa Pange lingua Josquin Mille regretz Josquin Salve regina a5 Josquin O mors inevitabilis Hieronymus Vinders (fl. ca. 1525) Agnus Dei I and III from Missa Pange lingua Josquin Dum vastos Adriae fluctus Jacquet de Mantua (1483–1559) Friday, February 26, 2021 at 8pm Livestream broadcast Filmed concert from All Saints Church, West Dulwich, London, England BEMF.org Stile Antico Helen Ashby, Kate Ashby, Rebecca Hickey, soprano Emma Ashby, Cara Curran, Eleanor Harries, alto Andrew Griffiths, Jonathan Hanley, Benedict Hymas, tenor James Arthur, Will Dawes, Nathan Harrison, bass This concert is organized with the cooperation of Knudsen Productions, LLC, exclusive North American artist representative of Stile Antico. Stile Antico records for Decca. PROGRAM NOTES Our program tonight is devoted to the wonderful music of Josquin des Prez, marking 500 years since his death in 1521. Josquin was unquestionably a star in his own time: no lesser figure than Martin Luther praised him as “the master of the notes,” while for the theorist Glarean, “no one has more effectively expressed the passions of the soul in music…his talent is beyond description.” So what is it about Josquin that exerted such a spell on the generations that followed—and which still speaks so eloquently to us today? Much about Josquin’s biography and career remains shadowy: it isn’t always possible to pin down where he was working, and—with a few exceptions—the chronology of his works can only be attempted on stylistic grounds.
    [Show full text]
  • The Transcriber's Art – #51 Josquin
    The Transcriber’s Art – #51 Josquin des Prez by Richard Yates “Take Five. There's a certain piece that if we don’t play, we’re in trouble.” —Dave Brubek It was a familiar situation: deep in the stacks, surrounded by ancient scores, browsing for music that might find artful expression through the guitar. Perusing pages of choral music, I was suddenly struck by the realization that what I was doing was precisely what lutenists 400 years ago had done. While not exactly déjà vu, there was a strong sense of threading my way along paths first explored centuries ago. And if I was struggling with this source material, did they also? What solutions did they find and what tricks did they devise? What can we learn from them to help solve the puzzle of intabulating Renaissance vocal polyphony? The 16th century saw the gradual evolution of musical ideals that culminated in the works of Giovanni Pierluigi da Palestrina (1525–94). Polyphonic music was to be a smooth, effortless flow of independent voices. Predominant stepwise movement emphasized continuity of individual lines but without drawing undue attention to any particular one. Dissonance was largely confined to the weak beats and passing tones or softened through suspensions. With its unique capacity for continuous modulation of timbre, pitch and volume, the human voice was exquisitely suited to this style. The articulation of syllables, true legato and subtle, unobtrusive portamento that connects phonemes and that is inherent in singing all facilitated the tracking of voices through a closely woven texture. Renaissance choral music is inextricably bound up with, and dependent on, the qualities of human voice.
    [Show full text]
  • The Renaissance Period
    The Renaissance Period The Renaissance, which literally means “rebirth” in French, saw movement and change in many different spheres of cultural activity as Europe began to rediscover and identify with its Greco-Roman heritage. The natural sciences (in particular astronomy) began advancing at a rapid pace, and some philosophers began to discuss secular humanism as a valid system. The discovery of the American continents by European navigators resulted in the first widespread speculations of international law and began a crisis of consci ence over human rights that would haunt the West for centuries to come. In particular, however, the Renaissance is remembered for a great a flourishing of the Arts. Secular instrumental music (for early instruments like shawms, crumhorns, and sackbuts) became increasingly popular during this period and composers began to write it down for the first time. The polyphonic madrigal became very popular in England thanks to composers like John Dowland and William Byrd. The motet, a three-part polyphonic composition written for voices or instruments, became popular around this time as well. Despite the increase in secularism, it was still within a religious context that the Renaissance arts truly thrived. Renaissance popes (corrupt as they were) were great patrons of such artists as Michelangelo, Raphael, and Gianlorenzo Bernini. Composers of church music expanded polyphony to six, eight, or even ten interwoven parts. The masses of Giovanni Pierluigi da Palestrina, Tomás Luis de Victoria, and Orlando di Lasso in particular remain some of the most beautiful music ever composed. This polyphonic style was also used by the French composer Josquin des Prez, who wrote both sacred and secular music.
    [Show full text]
  • The Lute Society Microfilm Catalogue Version 2 12/13 the List Is Divided by Instrument. Works for Renaissance Lute with Voice A
    The Lute Society Microfilm Catalogue Version 2 12/13 The list is divided by instrument. Works for Renaissance lute with voice and in ensemble are separated because of the size of the main list. The categories are: Renaissance lute Renaissance lute with voice Renaissance lute in ensemble (with other instruments) Lute in transitional tunings (accords nouveaux) Vihuela Baroque lute Renaissance guitar Baroque guitar Bandora Cittern Mandore Orpharion Theorbo Musical scores without plucked instrument tablature Theoretical works without music The 'Other instruments' column shows where there is music in the work for other listed instruments. The work also appears in the other list(s) for ease of reference. The list is sorted by composer or compiler, where known. Anonymous manuscripts are listed at the end of each section, sorted by shelf mark. Date references are to HM Brown Instrumental Music printed before 1600. Where the date is asterisked the work is not in Brown. Tablature style is shown as French (F), German (G), Italian (I), Inverted Italian (II) or Keyboard (K) The Collection and MCN fields identify each reel and the collection to which it belongs. Renaissance Lute Other Composer/ Compiler Title Shelf Mark or HMB Tab Format Coll MCN Duplicates Notes Instrument(s) Intabolatura di Julio Abondante Sopra el Julio Abondante 1546 I Print MP 59 Lauto Libro Primo 1 Julio Abondante Intabolatura di Lauto Libro Secondo 15481 I Print MP 60 GC 195 Intabolatura di liuto . , novamente Julio Abondante ristampati, Libro primo 15631 I Print MP 62 GC 194,
    [Show full text]
  • Music History Lecture Notes Renaissance & Reformation 1450 AD – 1600 AD
    Music History Lecture Notes Renaissance & Reformation 1450 AD – 1600 AD This presentation is intended for the use of current students in Mr. Duckworth’s Music History course as a study aid. Any other use is strictly forbidden. Copyright, Ryan Duckworth 2010 Images used for educational purposes under the TEACH Act (Technology, Education and Copyright Harmonization Act of 2002). All copyrights belong to their respective copyright holders, This Unit We Will Take Coded Notes: • If you need to take Cornell notes for another class (e.g. AVID), this method of note taking will still work. • As you take notes, underline all names and dates. • At the end of the unit, you will go back and highlight key concepts. The Renaissance • Literally means: Rebirth • High Renaissance 1450-1500 C.E. • 1453 Turks conquer Constantinople – Byzantine scholars take Greek artifacts back to Italy • Transitional Renaissance 1550- 1600 • Great renewal of European interests in Ancient Greek & Roman Cultures Constantinople Europe around 1500 AD The Renaissance • A new concept emerges • Humanism – A dedication to human, instead of spiritual ideals and values – Salvation after death is no longer the only goal – Fulfillment in life and enjoyment the pleasures of the senses Important Renaissance Artists • Michaelangelo • Leonardo Da Vinci • Raphael • Shakespeare Art by Michelangelo Michelangelo’s Sistine Chapel Sistine Detail Art by Raphael Lady with Unicorn, St. George & the Dragon Raphael’s “The Crucifixion” and “A Knight’s Dream” Art by Leonardo Da Vinci Madonna of the
    [Show full text]
  • Renaissance Terms
    Renaissance Terms Cantus firmus: ("Fixed song") The process of using a pre-existing tune as the structural basis for a new polyphonic composition. Choralis Constantinus: A collection of over 350 polyphonic motets (using Gregorian chant as the cantus firmus) written by the German composer Heinrich Isaac and his pupil Ludwig Senfl. Contenance angloise: ("The English sound") A term for the style or quality of music that writers on the continent associated with the works of John Dunstable (mostly triadic harmony, which sounded quite different than late Medieval music). Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Fauxbourdon: A musical texture prevalent in the late Middle Ages and early Renaissance, produced by three voices in mostly parallel motion first-inversion triads. Only two of the three voices were notated (the chant/cantus firmus, and a voice a sixth below); the third voice was "realized" by a singer a 4th below the chant. Glogauer Liederbuch: This German part-book from the 1470s is a collection of 3-part instrumental arrangements of popular French songs (chanson). Homophonic: A polyphonic musical texture in which all the voices move together in note-for-note chordal fashion, and when there is a text it is rendered at the same time in all voices. Imitation: A polyphonic musical texture in which a melodic idea is freely or strictly echoed by successive voices. A section of freer echoing in this manner if often referred to as a "point of imitation"; Strict imitation is called "canon." Musica Reservata: This term applies to High/Late Renaissance composers who "suited the music to the meaning of the words, expressing the power of each affection." Musica Transalpina: ("Music across the Alps") A printed anthology of Italian popular music translated into English and published in England in 1588.
    [Show full text]
  • Josquin Lives! Crudely Put, a Set of Directions for Producing Art
    Humanities of Music, he occupies an endowed chair (presumably for as long as he wants it). The problem, rather, has to do with the separation of concept from performance in music. In fine art, concept and performance are one; both the art-lover and the art historian have thousands of years of paintings, drawings, and sculptures to study and enjoy. Similarly with literature: poetry, fiction, drama and criticism survive on the printed page or in manu­ script for judgment and admiration by succeeding generations. Josquin des Prez (Ca. 1440-1521) But musical notation on a page is not art, no matter how lofty or excellent the composer’s conception; it is, Josquin Lives! crudely put, a set of directions for producing art. Being Martin Luther called him “the master of the notes,” the highly symbolic, musical notation requires training be­ first who “made them do what he wanted; the other fore it can even be read, let alone performed. More­ composers had to do what the notes wanted.” Classi­ over, because the musical conventions of other days cist Henricus Glareanus in the sixteenth century felt are not ours, translation of a Renaissance score into that ‘‘no one has more effectively expressed the pas­ modern notation brings difficulties of its own. sions of the soul in music . no one has been able For example, Lowinsky points out, the Renaissance to compete in grace and facility on an equal footing notation of Josquin’s day did not designate the tempo with him, just as there is no Latin poet superior in the at which the music should be played or sung.
    [Show full text]