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Information to Users INFORMATION TO USERS This manuscript has been reproduced trom the microfilm master. UMI films the text directly trom the original or copy submitted. Thus, sorne thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the cOPY submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. ln the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left ta right in equal sections with small overlaps. ProOuest Information and Leaming 300 North Zeeb Raad, Ann Arbor, MI 48106-1346 USA 800-521-0600 • "A cboking gall and a preserving sweet": Gender and Genre in Campion's First Booke ofAyres and Wilbye's First Set ofEng/ish Madrigals Annette Campbell. Faculty of Music McGili University. Montreal • December 2000 A thesis submitted to the Faculty ofGraduate Studies and Research in partial tulfilment ofthe requirements ofthe degree ofMaster ofArts. • © Annette Campbell. 2000 National Ubrary Bibliothèque nationale 1+1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Welington Street 395. rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 canada canada The author has granted a non­ L'auteur a accordé une licence non exclusive licence a1lowing the exclusive permettant à la National Library ofCanada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies ofthis thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur fannat électronique. The author retains ownership ofthe L'auteur conselVe la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis Dor substantial extracts from it Ni la thèse ni des extraits substantiels May be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son penmsslon. autorisation. 0-612-70274-X Canada • Table ofContents Abstract in English and French .ii Acknowledgments iii Introduction iv Chapter One: ""Though Vou Are Young and 1am Gld'": A History ofGenres 1 Chapter Two: Music as Social Text: Building a Foundation 14 Chapter Three: Gender Issues in the Elizabethan Madrigal and Lute Song 27 Chapter Four: Blending Black and White Into Grey .42 • Summary and Conclusions 66 Appendix One Tilles ofpieces in each collection 70 Bibliography 71 • ii • Abstract Recently, musicologists Linda Austern and Suzanne Cusick have examined the socio-cultural implications ofgender issues in Renaissance music. Drawing on Cusick's research on gender-based binary oppositions in Italy and Austern's studies ofwomen and music in England., 1propose a related set ofgender binary oppositions in English society. 1apply these oppositions in detail to two specifie works from the Elizabethan madrigal and lute song repertoire, then examine the remaining pieces from these collections as a whole and find that an overlap offour particular oppositions better captures the contradictory nature ofthe music. Examining pieces that fall into each category, 1observe how the composer manipulates each to complicate the piece's gender character. 1conclude that while binary oppositions grasp the artistic and political trends ofan em. a closer look at the tensions at work between them provides a more nuanced view ofthe music's gender character. Résumé Récemment.. les musicologues Linda Austern et Suzanne Cusick ont • examiné les implications socioculturelles de la problématique reliée aux sexes féminin et masculin dans la musique de la renaissance. En s'aidant de la recherche de Cusick sur les oppositions binaires des sexes en Italie et des études d'Austern portant sur les femmes et la musique en Angleterre. je propose un ensemble relié d'oppositions binaires dans la société anglaise. rapplique en détail ces oppositions à deux œuvres spécifiques provenant des madrigaux de la période élizabéthaine et du répertoire de pièces pour lute. J'examine, par la suite, les pièces restantes de ces collections en tant qu'entité et découvre qu'un chevauchement de quatre oppositions particulières saisit mieux la nature contradictoire de la musique. En examinant des pièces qui correspondent à chacune des catégories, j"observe la manière avec laquelle le compositeur manipule chacune d'elles afin de rendre plus complexe le caractère relié aux sexes féminin et masculin de la pièce. Je conclue que lorsque les oppositions binaires saisissent les tendances artistiques et politiques d'une ère. un regard plus minutieux sur les tensions enjeux entre elles pourvoit une vue plus nuancée du caractère relié aux sexes masculin et féminin de la musique. • • iii Acknowledgments First and foremost.. 1would like to thank my thesis adviser~ Dr. Julie Cumming. Without her guiding impetus and patient questioning, this thesis simply would not exist. 1 woufd also like to thank those friends and family members who put up with my lengthy and continued grappling with thoughts and words. A special thanks to Fran Farrell~ who discussed the image ofthe "virtuous vixen" with me late into the night at Nickles, and to Aunt Ruth, who asked me incisive questions from outside ofthe world ofmusicology. Thanks also goes to Joana Ali who provided reliable translation services and to my brother Trevor~ for his scanning expertise. Finally 1would like to thank my mother and father who stood by me throughout an ordeal 1 • would not have overcome without them. • IV • Introduction Why such is love's transgression. Griefs ofmine own lie heavy in my breast'!' Which thou will propagate~ to have it prest With more ofthine: this love that thou hast shown Doth add more griefto too much ofmine own. Love is a smoke raised with the fume ofsighs: Being purged~ a tire sparkling in lovers" eyes; Seing vex"d. a sea nourish"d with lovers· tears: What is it else? A madness most discreet.. A choking gall and a preserving sweet. ("'Romeo and Juliet,," Act I. Scene II .. lines 191-200)1 1first came into contact with Elizabethan madrigals and lute songs during my undergraduate years in the University ofPrince Edward Island Chamber Chorus. An amateur English scholar as weil as a musician. 1was immediately intrigued by the mix of • the sacred and the vulgar. the melancholy and the merriment found in these works. How was this dichotomy received by the people of its time? Why were such conflicting forces present in this music at ail? It was not until 1 began searching for a thesis topie that 1retumed to these questions. As [ researched the musical and societal forces at work in the Elizabethan madrigal and lute song. [ began to discover thal many ofthe conflicting oppositions [ tirsl noticed were a result ofthe gender issues al work at that time. in Elizabethan society. and within the music itsel( This thesis is an examination ofthese issues. ln chapter one. ''''Though you are young and [am old": A History ofGenres. 1 1 William Shakespeare, "Romeo and Juliet:' The Unabridged William Shakespeare. ed. William George Clark and William Aldis Wright (Philadelphia: • Running Press, 1989) 884-885. v • examine the origins ofthe Elizabethan madrigal and lute song. Although the Italian madrigal in many ways gave birth to the English madrigal., the English form ofthis genre does exhibit unique tendencies ofits own. 1outline these differences. The lute song's origins are not quite as clear. as references to lute manuscripts from France., and native English consort songs demonstrate. 1underscore the solo-voice-and-instrumental­ accompanying fonn ofthe lute song, as weil as its reverence for the accurate meaning and expression ofits text. Chapter two. ··Music as Social Text: Building a Foundation.." is a review of literature conceming gender issues surrounding the arts.. in particular, music .. in Elizabethan England and ltaly. Beginning with the visual arts and moving into music.. 1 trace how the arts can express the political., religious., social and gender trends ofa • society. Through the work ofSuzanne Cusiek. 1eonsider how well-known gender-based binary oppositions were often used by crities when condemning or praising a musical work. 1then examine Linda Austem's work conceming women and music and [eam how the two were often linked together in Elizabethan England as intense intlammers of passion and viewed as a danger to mortal man. Through this examination ofprevious seholarship.. 1observe how this gender-charged environment affeeted the composition. performance.. and reception ofthe music ofthe time. ln chapter three. 1examine these gender associations in the context ofthe Elizabethan madrigal and lute song repertoire. Combining the ideas ofCusick and Austem with the differences in genre diseussed in ehapter one. 1propose a related set of • gender-based binary opposition in English society. 1then apply these binary oppositions VI • to two specifie works from the Elizabethan madrigal and lute song repertoire: Wilbye~s ~~Cruel Behold My Heavy Ending4~' and Campion~s ~'When Thou Must Home." ln chapter four~ 1ascertain how the gender oppositions play out in the remaining pieces in Campion's Firsl Booke ofAyres and Wilbye's Firsl Sel ofEng/ish Madrigllis. 1 suggest that an overlap ofbinary oppositions might better capture the often-contradictory nature ofthe music and find overlap in four particular oppositions: spiritual versus earthly love, substance versus ornament monody versus polyphony. and supremacy of text versus supremacy ofmusic. Looking at the results in table form4 1examine pieces that fall into each overlap category and see how the composer plays with this overlap to complicate the gender character ofthe piece.
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