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Unformatted text preview: XI- Secular Music of 16thC-composers cultivated national genres and styles in secular / vocal musicoSpanish villancico, Italian frottola and madrigal, French chanson, German Lieder, and the English madrigal / lute songoFirst market for printed music- demand for notated music they could perform for pleasureAmateurs sought music in their own languagegrowth of natl styles-frotolla- strophic, syllabic, homophonic; melody in upper voice and accompanying parts are played by instruments; mock-pop song written for the aristocracy (Marco Cara Frotolla)-*Italian Madrigaloenrich meaning of text through musicexpression & dramaoItaly became leader in Euro musicoLed to operaoThrough-composed musical setting of poetry w/o refrains-early madrigals had 4 voices, then 5 at mid-centuryoOne voice per part or instrumentsoComposed for the enjoyment of performers but also for concertsoRise of madrigal attributed to poet PetrarchHarsh and pleasing words could be set with major and minor imperfect consonances-Cipriano de Rore- leading madrigalist(1550)oInterest in humanism, greek tradition of ethosoLonger rhythms for accented syllables, chromaticism-Marenzio- madrigals depicting contrasting feelings and visual details-Gesualdo- sharp contrasts in harmony, texture, rhythm and chromaticism-England- Italian culture became fashionable later in the centuryoItalian madrigals translated into English, native composers wrote new madrigalsoSolo songs (airs) w/ lute accompaniment (tabs) became prominent around 1600New Styles in the 17thC-New developments in science, politics, and economics, affected musicians, continued religious conflictsoScientific method, math, observationoNew colonies brought euro traditions to New WorldoEmergence of capitalismpublic operas and concerts, published music instruments, and music lessonsoItaly dominant influence on euro music, French were imitated, Germans blended-emphasis on dramatic in all the artsomusic that was emotionally moving, expressing the affections (states of the soul)-Monteverdi vs. ArtusioArtusi accused Monteverdi of breaking rules of counterpoint...
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This note was uploaded on 04/18/2008 for the course AMUS 230 taught by Professor Newman during the Fall '07 term at SUNY Albany.
- Fall '07