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The Secular Song of the Renaissance

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The Secular Song of the Renaissance Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1973 The ecS ular Song of the Renaissance John W. Rinesmith Eastern Illinois University This research is a product of the graduate program in Music at Eastern Illinois University. Find out more about the program. Recommended Citation Rinesmith, John W., "The eS cular Song of the Renaissance" (1973). Masters Theses. 3789. https://thekeep.eiu.edu/theses/3789 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. PAPER CERTIFICATE #2 TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University pe is has my rm sion to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. Date Author respectfully request Booth Library of Eastern Illinois University not I allow my thesis be reproduced because ��- Date Author pdm THE SECULAR SONG OF THE RENAISSANCE (TITLE) BY W. John R inesmith THESIS SUBMITIED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts IN THE GRADUATE SCHOOL, EASTERN IUINOIS UNIVERSITY CHARLESTON, ILLINOIS 1973 YEAR I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE ADVISER TABLE OF CONTENTS Graduate Recital Program ii • • • Claudin de Sermis y • 1 Tant qu vivray. 3 • Guillaume Dufa y 5 L'Homme arme 7 Guillaume de Machaut 8 • Plate XLIX 0 . • • • 1 Da.me de qui toute • • 11 Gilles Binchois 14 . • • • Adieu m'amour et ma maistresse 15 • • Bartolomeo Tromboncino • 17 Ben ch'amor mi faccia 18 Francesco Landini • 19 Chi piu le vuol sapere 20 Giovanni Francesco Anerio 22 Tra fresch1 herba 24 • • • • Conrad Paumann 30 • • • Mit ga nczem Willen 32 Michel Behaim 33 • Gecronte Weis 35 • Heinrich Finck 38 . • • • Schones W eib 40 0 • • • • • • John Dowland . • • • 42 From Silent Night 44 • • • 4 Thomas Morley • • • • • • • 9 It Was a Lover and His La ss 50 • Thomas Campian 53 . • • • Though You Are Young . 54 • • • • BIBLIOGR APHY 56 i EA STERN ILLINOIS UNIVERSITY School of Music Graduate Recital John W. R inesmith, Tenor Sue Scott, .Accompanist June 26, 1973 8:00 p.m. Concert Ha11 I Tant que vivray Claudin de Sermisy (1490-1562) L'Homme arme Guillaume Dufay (1400-1474) Dame de qui toute Guillaume de Machaut (1300-1377) .Adieu m'amour et ma maistresse Gilles Binchois { 1400-1460) II Ben ch'amor mi faccia Bartolomeo Tromboncino ' (1500-1535) Chi piu le vuol sapere Francesco Landini (1325-1397} Tra fresch' herba Giovanni Francesco .A nerio (1567-1630) III Mit ganczem Willen Conrad Paumann (1410-1473) Gecronte Weis Michel Behaim (1416-1474) Schones Weib 0 Heinrich Finck (1445-1527} INTERMISSION IV From Silent Ni ght John Dowland (.1562-1626} It Was a Lover and His Lass Thomas Morley (1557-1602) Though You .Are Young Tho mas Campian (1567-1620) ii The Renaissance chanson denoted only a song with a French text, comparable to the German lied,, Italian madrigal, and English ayre. Claudin de Sermisy composed chansons that were derived from the Italian popolaresca lirica, 1 or choral works that were performed for large crowds in the open. Sermisy' s chansons are characterized by simple chordal struc- ture, stepwise motion, and often combining two voices in parallel mo- tion to keep the text clear. The performance medium of his chanson "Tant qu vivray" is light and unobtrusive, with three voices. In this composition Sermisy uses an isorhythm: The texts of a great manyJ of theJ Renaissance songs dealt with love or an amorous subject As long as I am in the prime of life I shall serve the powerful God of Love deeds and words and songs and harmony In Through several days my appearance has Become dull and drab. But harshly fights my face to make merry, For joy and love of the beauty of all people. 1Gustave Reese, Music In The Renaissance. {New York: W. W. Norton and Company, Inc., 1959), p. 291. 1 2 To be in league with him is my hope, His heart is mine and mine is his Away with sadness! Long live jollity ! Since lo ve is so full of joys. S111ll�" Y Claudin de . (l:.1+90-1>1;2l · Cl(·m•·llt l\brof) C-1 •. ,1 � ,, \,\ - - ·- _ -:- i e Tani quo ---tIvrny-� ,J. -J-tl 4�· _--r�.--_--r=Io 1. VI - r==r en aa - I!" f () Par pl u i.i<'urs iours nu - m'a 11• - Ian L1111t•' # -·· ) - =_=. =_ ._ - !� -=-..... -..::_ . - � ll - � - ---==-- -__ .. Q�·� f[f:. ��� � f--=-=-..:::::-�-- -- �::=-=--=-�=-.-_ -=_ ! --· . sant, sor - vi - ray d'a dii•u puis fo - mo11 r It· I lllll IS · s a Mais faicl • • 111 , a - pres d 1wi m'a ft' --l'i r .. fail/_, I'll I'll <'ll<lll n•n\1.. :. ;, 11 l•'.11 <I ic I'!., !>Oil:. t•I ,1 :!I 2 1, ..1 i\y 1':1 J do•) 1 lwl - ) ;1u ,J::"nt :, 1 lltUUI' --- 1 C:.or :_� : la �;-; - 111 I - �.. -·- 0 " - . · .I - -- , · · -.. - I -· - - . ·-. r . -r - ·--- - - ,, ,,,, .. � _j .. •• (?�I, _., - __ ) - l G)· .J- · J · · j- -J - J 0 �· - , 4" )i, r r I,, 1.' 3 r-r , , ,, r J r" (1 J n n J ). ,J. J r r J' r i , ., 4 I J I S1111 ('r', :111 1 ·,. a . Ii . a 11 Ill:\ r i ''''· : I _ _ · '> · I · - 1!&1. J n _ -J r..l - -- ::.:=:=- . ---·- - · 1- I ____�u -. --= _f==::j�:_=:�= ----=t=---r -:--- r-=-- r1::=---' I - �r' i -:· -:- - - ·- -·- . · - I - - · - -- - - - ----- - � : I - f'. � zI :.=_ -·-'iJ ' , __ �I== -+----¥....� ---F.�- �I� ,:: rz-::::.P� do tr is '1,1 - Vi Ii Lo mien ost :.i1'n. Fi - tos s VO . sc, , .. - ��::.- - -- ------ �_ --- -4 ·- -- -- .. _- n · - ··-- J-·: - -J. - - - --·--- · . --- J - - � :_J i -L'-i i 17\ ' ' �---_jl-_: ta nt : do Puis - qu ,.n a - mour, puis - qu on a - mour Cl -- - ;;>- �:,. - ("--=== - ==-r===:-�==---- · -=- ___ ___ -- t - _-- · == h _-.. -� 1--- � ''"'''""I-!'' i•h d"r f\l1i11• nwitl"r l•·hr,""'T<lf' d••m mii1·h1ii;1·n Li1:lil'.>t::oll in T11lt·11,\Vorlrn, 11ncl Akk11rtl1·11 rli•·n• n . in Jahn• irh Lircl1•rn L.! i i lang hat,; .. r11id1i in S1·hnsur:ht las�cn,alwr n1t1:h elem Schmcr7. hat mir Frcutll'i llconn h h1·�it'1•· l.1 . h•· der .!I 'I"!" srhnrnd111:n • sic gl'�c:hrnkt. i• iii.- .. �' h111u•n ,),·r f<'i1u·n 1nit Cc•... t aIt. :=:= 1>1 l\und mil isl l und Nil'drr dit• Triibsal ! Es lrl1c tl•·r Froh�inn' 11 r ihr ml'inc Zuvcr�icht. hr ll1•rz ist mrin mcincs ihr. lh di• I '"''"•da •la•· l.11·111· k•htli•h isl. ti. "' ; �_J _..::::--=:--. J ==J_ �_-. _---- - r= "L1Homme arme" can be considered a chans on, in that it has a French text. Its origin is unknown, although it is often credited to 2 Guillaume Dufay, in that it is used with his 11LrHom me Arme Mass.1 1 "L'Homme Arme" is translated as "The Armed One", and appropriately referred to as "The Soldier." One characteristic of the Renaissance was that one composer borrowed fre ely from other composers. Th is may or may not have been intentional, for example, a chromatic scale: t' by adding a rhythmic element to it, ·it becomes: z ;; - ·� ,, bp ( j5, Ifq: F \ I f I� I f So, a popular street song of the Rena issance, such as "L'H omme arme" was used in masses of the church, and a man of the time might very well have enjoyed hearing secular music used within sacred music. 2 Archibald . Davison and Willi Apel, HAM. (3 vols.; Cambridge, Massachusetts: Harvard University Press, 1949), I, 71. 5 I 6 O.�e must be on guard against the soldier Everywhere it has been announced th at everybody Sh ould arm him self with an ir on hauberk. Oh, the man, the man at arms Fills the fold with dread al arms. Everywhere I hear them wail, "Find, if you would breast the gale, A good stout coat of mail." -:·or:::::ie "e/ L' e.Y'.. G"'lJJLLA"-.r'.:·:.; ':)Lt•';i.·!.. f) I v // I b I I I ¥ I I - - I' I I / , lI I __,I Ir I• ..JI I "' ....... r,, I I I - I J /rt � I ..... ' I I I I / L' ho::n me, l'hom me, me e ar 11e l' ho1nrne ar l' � J1 ,, -e-1 �ff r J/ .CI , J , -{;>-1-. I ' . I I ' v l I L./ , , -Tll , ., II / '/ I I I I I I I ' '\ II ' h I ,_ '""\ I I I- I f _J/ r r - J I III I I I I I r1 �- . - I I I I I L'hornme ar me doibt on dou ter. - - / , 7 ,/ (7 L� �e-·- 1 , I ' ..... - � . - - J ....._ � � I / ,_- .._, I I I j / "\ /) - .I .., / r> I,/ II I .., I·' I1 ,_..- · I I,_ I I' I I I I I ; I On a fait par- tout crl- er �lH?. C�'3.8- - ,,.
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