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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. -
The Collegium Musiculn the Madrigal Singers
, The School ofMusic presents the 20th program of the 1989·90 season C'b Iqi' 1l--1 The Collegium Musiculn Margriet Tindemans, Director Music 'By Hildegard of Bingen The Madrigal Singers Joan Catoni Conlon, Director 16t1i - 2atn Century Motet Masterpieces 2, 1989,8:00 PM /' [~~mber I ·DGGem~r 3. 1989, 3.66 PM Brechemin Auditorium L --I _. d '1& In a vision of true faith Ursula loved the Son of God. But she was mocked Program by the people. Then she received a sign and everybody realized that she was the truely wise one. But the devil came over them and made them strike down those noble women. And all the Elements heard the great cry: O. The Collegium Musicum the red blood ofthe innocent lamb ... Music By Hildegard of Bingen (1098 -1179) c~G\clLA REX NOSTER Instrumental Symphonia o PLANGENS VOX o VIRTUS SAPIENTIE Instrumental Symphonia o VIVENS FONS o VIRTUS SAPIENTIE ........................Antiphone for Divine Wisdom REX NOSTER ........................... Responsory for the Holy Innocents oeMrgy ofwisdom! You circled circling. encompassing all in one path th8l possesses life. Ofyour three wings one soars in heaven. OM sweeps Our King is swift to receive the Blood ofInnocents. Hence the angels sing and resound in praiseS. But even the clouds are grieving over the same the earth and the thirdflies all around us. blood. o PLANGENS VOX .................................. from "Onto Virtutum This song is from the morality play "Onto Virtutum". The Virtues lament KYRIE ELEISON the loss of the soul that has given in to the temptations of the devil. Instrumental Symphonia o VIVENS FONS ................................... -
Revisiting the Origins of the Italian Madrigal Using Machine Learning
Revisiting the Origins of the Italian Madrigal (with machine learning) Julie E. Cumming Cory McKay Medieval and Renaissance Music Conference Maynooth, Ireland, July 6, 2018 1 The origins of the madrigal Current consensus • The madrigal emerges as a new genre of Italian-texted vocal music in the 1520s • The Italian-texted works by Verdelot are madrigals • It originated in Florence (and Rome?) in the 1520s But where did it come from? • The frottola (Einstein 1949) • The chanson and motet (Fenlon and Haar 1988) • Florentine song: carnival song, and improvised solo song (A. Cummings 2004) 2 Finding the origins: what happened before Verdelot? • Verdelot arrived in Florence in 1521 • Earliest sources of the madrigal New focus: Florence, 1515-1522 Music Printsbefore Verdelot Thanks to I. Fenlon, J. Haar, and A. Cummings Naming of Genres: Canzona in 1520s; Madrigale 1530 Prints (in or near Rome) • Pisano, Musica sopra le Canzone del petrarcha (partbooks, Petrucci, Fossombrone, 1520) (all Madrigals) • Motetti e Canzone I (partbooks, Rome, 1520) • Libro primo de la croce, choirbook, c. 1522 (surviving copy, later ed., Rome, Pasoti & Dorico, 1526) • Mix of frottole, villotte, and madrigals 4 Music MSS before Verdelot Thanks to I. Fenlon, J. Haar, and A. Cummings Florentine Manuscripts (all from Florence) • Florence, Basevi 2440, choirbook, c. 1515-22; 2 sections: • music with multiple stanzas of text (frottole) • through-composed works (madrigals & villotte) • Florence, BNC 164-167, partbooks, c. 1520-22 (4 sections) • Florence 164 or F 164 henceforth 5 My hypothesis The madrigal was deliberately created as a • high-style genre of secular music • that emulates the style of the motet Why? • Musical sources • Texts • Musical style • Cultural context (not today) 6 What do sources tell us? Madrigals are the first secular genre to be treated like Latin-texted motets in prints and manuscripts Copied and printed in partbooks (previously used only for Masses and motets) • Motetti e Canzone I (Rome, 1520), partbooks • Florence 164 (c. -
Vocal Music 1650-1750
Chapter 9 Vocal Music 1650-1750 Sunday, October 21, 12 Opera • beyond Italy, opera was slow to develop • France, Spain, and England enjoyed their own forms of dramatic entertainment with music Sunday, October 21, 12 Opera France: Comédie-ballet and Tragédie en musique • Jean-Baptiste Lully (1632-1687), established sung drama that was part opera and part ballet • wrote a series of comédie-ballet for dancing talents of his master, Loius XIV • mixed spoken drama and dance Sunday, October 21, 12 Opera France: Comédie-ballet and Tragédie en musique • in 1672, Lully created new operatic genre: tragédie en musique (also know as tragédie lyrique) • drew on classical mythology and chivalric romances with plots being veiled favorable commentaries on recent court events Sunday, October 21, 12 Opera France: Comédie-ballet and Tragédie en musique • Tragédie en musique consisted of: • an overture • an allegorical prologue • five acts of entirely sung drama, each divided into several scenes • many divertissements (interludes) Sunday, October 21, 12 Opera France: Comédie-ballet and Tragédie en musique • Lully Armide - tragédie en musique (also called tragédie lyrique) - French Overture (section with slow dotted rhythms followed by faster imitative section) - the aria uses figured bass and moves freely between meters to accommodate the French language Sunday, October 21, 12 Opera Italy: Opera seria • Opera seria (serious opera) • usually tragic content • the most important type of opera cultivated from 1670-1770 • developed in Italy and sung almost exclusively -
Chapter 2: Secular and Cathedral Music in the High Middle Ages I
Chapter 2: Secular and Cathedral Music in the High Middle Ages I. Introduction – Chapter 1 dealt primarily with sacred music, influenced by the fact that initially only sacred music was available for observation. Chapter 2 turns to secular music. II. Troubadours and Trouvères A.Troubadours 1. The first European vernacular poet whose work survives was William IX (7th count of Poitiers and 9th duke of Aquitaine). b. The tradition of these poets is known as the troubadour. c. The troubadour tradition was a “top down” as those of the highest social ranks were the main participants. Their poetry celebrated feudal ideals. d. Different types of troubadour verse dealt with various aspects of the feudal system, including songs of alliance, knightly decorum, exploits, challenges, and death. 2. Courtly love lay at the heart of the troubadour tradition. a. The canso was a song about love. b. Courtly love songs celebrated the same high ideals as other types of songs. c. The lady about whom a poet wrote usually outranked him, making her theoretically unattainable. d. Courtly love was generally more about veneration than physical love. e. The poetic style matches the lofty ideals of courtly love, as demonstrated in Can vei la lauzeta mover. B. Performance and Oral Culture 1. We do not know the rhythm of troubadour songs, but most likely the loftier style of the troubadour songs approximated that of contemporary chant. 2. Some troubadour songs matched a lower-class style; these were not based on chant style. a. Pastorela is one such genre. b. L’autrier jost’ una sebissa by Marcabru is an example. -
Toward a Pan-European Style I. Introduction A. European Musical
Ch. 4: Island and Mainland: Toward a Pan-European Style I. Introduction A. European musical style of the fifteenth and sixteenth centuries moved from distinct national styles (particularly of the Ars nova and Trecento) toward a more unified, international style. II. English Music and Its Influence A. Fragmentary Remains 1. English music had a style that was distinct from continental music of the Middle Ages. 2. English singers included the third among the consonant intervals. 3. The Thomas gemma Cantuariae/Thomas caesus in Doveria (Ex. 4-3) includes many features associated with English music, such as almost equal ranges in the top two parts and frequent voice exchanges. B. Kings and the Fortunes of War 1. The Old Hall Manuscript contains the earliest English polyphonic church music that can be read today. 2. Copied for a member of the royal family, most of its contents belong to the Mass Ordinary. 3. Henry V, who is associated with the Old Hall Manuscript, holds a prominent place in history of this period. 4. When Henry’s army occupied part of northern France in the early fifteenth century, his brother John of Lancaster, Duke of Bedford, was in charge. This brother included the composer John Dunstable (ca. 1390–1453) among those who received part of his estates when he died. 5. Dunstable’s music influenced continental composers. C. Dunstable and the “Contenance Angloise” 1. Dunstable’s arrival in Paris caused the major composers to follow his style, known as la contenance angloise. a. Major-mode tonality b. Triadic harmony c. Smooth handling of dissonance 2. -
Adam DE LA HALLE Le Jeu De Robin Et De Marion
557337 bk Robin US 13/2/06 17:19 Page 12 1 Motet: Mout / Robins m’aime / PORTARE 1:03 Scene 3 Adam 2 Pilgrim’s Prologue after LI JUS DU PELERIN 2:46 ¢ Robin rounds up guests for the party. 1:54 ∞ Motet: Mout / Robins m’aime / PORTARE 1:02 DE LA HALLE LI GIEUS DE ROBIN ET DE MARION Scene 4 Scene 1 § The Knight returns to find his bird... 2:09 Marion is happily minding her own business... ¶ J’oi Robin flagoler (Marion) 0:21 Le Jeu de Robin et de Marion 3 Robins m’aime (Marion) 3:02 • ...beats up Robin and kidnaps Marion... 2:35 4 Je me repairoie (Knight) 0:39 ª Hé resveille toi Robin (Gautiers li Testus) 0:37 5 Hé Robin (Marion) 0:22 º ...but Robin is aroused to the point of valour. 1:03 TONUS PEREGRINUS 6 ...when along comes a Knight on the lookout... 4:33 ⁄ Rondeau III: Hareu 0:41 7 Vous perdés vo paine (Marion) 0:22 8 ...but Marion means no when she says so... 0:30 Scene 5 9 Bergeronnete sui (Marion) 0:22 ¤ Marion sees off the Knight, her friends roll up... 3:54 0 ...and the Knight leaves empty-handed. 0:12 ‹ Aveuc tele compaignie (tous) 1:01 ! Trairi deluriau (Marion + Knight) 2:07 › ...and it’s time for all kinds of party games. 10:21 @ Rondeau II: Li dous regars 1:04 # Rondeau XV: Tant con je vivrai 1:40 Scene 6 fi Robin rescues a sheep, declares his love... 4:54 Scene 2 fl J’ai encore un tel pasté (Robin) 0:29 Robin makes his way to Marion.. -
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. -
A Study of Hieronymus Bosch's Musical Instruments and Their Dissonant Revolution
Bard College Bard Digital Commons Senior Projects Spring 2011 Bard Undergraduate Senior Projects Spring 2011 The Rise of the Sentient Musical Instrument: A Study of Hieronymus Bosch's Musical Instruments and their Dissonant Revolution Liza Young Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2011 Part of the Art and Design Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Young, Liza, "The Rise of the Sentient Musical Instrument: A Study of Hieronymus Bosch's Musical Instruments and their Dissonant Revolution" (2011). Senior Projects Spring 2011. 229. https://digitalcommons.bard.edu/senproj_s2011/229 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. 1 The Rise of the Sentient Musical Instrument A Study of Hieronymus Bosch’s Musical Instruments and their Dissonant Revolution Senior project submitted to The Division of the Arts Of Bard College By Liza Young Annandale-on-Hudson, NY May 2011 2 Acknowledgments This project could not have been completed without my family and friends’ support of my increasingly bizarre interests. -
GUILLAUME De MACHAUT Remede De Fortune/ a Remedy for Fortune
GUILLAUME de MACHAUT Remede de Fortune / A Remedy for Fortune 8:00 p.m. • Friday, March 17, 2017 First Church in Cambridge, Congregational GUILLAUME de MACHAUT VI. Dancing en plein air Remede de Fortune / A Remedy for Fortune Instrumental: Dis tans plus (Jehan Lescurel, arr. Nagy) Virelai: Dis tans plus (Lescurel) Virelai: Dame, a vous sans retollir (RF6) I. Prologue, or How to love well VII. Reunited with his Lady Ballade: Esperance qui m’asseure Messe de Nostre Dame: Kyrie I Estampies based on Machaut tunes (arr. Nagy) II. In the Court of Love Rondelet: Dame, mon cuer en vous remaint (RF7) Lai: Qui n’aroit autre deport (RF1) Motet: Hareu, hareu! / Helas! ou sera pris confors / Obediens usque ad mortem VIII. She loves me, she loves me not Ballade: Biauté qui toutes autres pere III. Love slays the Lover Motet: Trop plus est bele que biauté / Biauté parée de valour / Je ne sui mie certeins Ballade: Gais et jolis (instrumental) Complainte: Tieus rit au main qui su soir pleure (RF2) All works by Guillaume de Machaut (c.1300-1377) unless otherwise noted. IV. Lady Hope comes to the Lover’s aid RF1-7 are songs from the Remede itself. Chant royal: Joye, plaisance, et douce nourreture (RF3) Translations of all texts will be projected as supertitles. Motet: Qui es promesses de Fortune / Ha Fortune / Et non est qui adjuvet Complete texts & translations are available on our website: www.blueheron.org. Baladelle: En amer a douce vie (RF4) Pre-concert talk by Matilda Bruckner (Boston College, retired) sponsored in part by The Cambridge Society for Early Music INTERMISSION V. -
Classic Terms
Classic Terms Alberti Bass: "Broken" arpeggiated triads in a bass line, common in many types of Classic keyboard music; named after Domenico Alberti (1710-1740) who used it extensively but did not invent it. Aria: A lyrical type of singing with a steady beat, accompanied by orchestra; a songful monologue or duet in an opera or other dramatic vocal work. Bel Canto: (Italian for "beautiful singing") An Italian singing tradition primarily in opera seria and opera buffa in the late17th- to early-19th century. Characterized by seamless phrasing (legato), great breath control, flexibility, tone, and agility. Most often associated with singing done in the early-Romantic operas of Rossini, Bellini and Donizetti. Cadenza: An improvised or written-out ornamental virtuosic passage played by a soloist in a concerto. In Classic concertos, a cadenza occurs at a dramatic moment before the end of a movement, when the orchestra stops so the soloist can play in free time, and then after the cadenza is finished the orchestra reenters to bring the movement to its conclusion. Castrato The term for a male singer who was castrated before puberty to preserve his high soprano range (this practice in Italy lasted until the late 1800s). Today, the rendering of castrato roles is problematic because it requires either a male singing falsetto (weak) or a mezzo-soprano (strong, but woman must impersonate a man). Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Empindsam: (German for "sensitive") The term used to describe a highly-expressive style of German pre- Classic/early Classic instrumental music, that was intended to intensely express true and natural feelings, featuring sudden contrasts of mood. -
July 1944) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1944 Volume 62, Number 07 (July 1944) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 62, Number 07 (July 1944)." , (1944). https://digitalcommons.gardner-webb.edu/etude/215 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. d ^BBSiSTj/n iVltS; : ATe 1 ""STDAvof s‘j SAVINGS SSsSSisa series 0t l'V«t0 , r BE 0y AN A J TV ° ON0 u R «* s « ACT ^ STATED ON Twr 'VMEN, ° WaShi NGTOn Thermo BUY ONE OF THESE BONDS TO-DAY C PHRASE FROM “THE STARS AMD STRIPES FOREVER." . PHILIP SOUSA USED BY "PERMISSION OF CO., OWNERS OF TMR COPYRIGHT >| CHURCH LEONARD BERNSTEIN'S “Symphony ” No. 1, ‘Jeremiah,’ has won the award of the New York Music Critics Circle as the season’s outstanding new orchestral work by an American composer. The composition had been given its first per- formance early in the season by the New York Philharmonic-Symphony Or- chestra, with the composer conducting. The award for the best piece of cham- ber music was given to the “String Quar- tet” composed by Sgt.