1 / 28

After Perfection

After Perfection. Pressures for Change. The Protestant Reformation. Martin Luther ( 1483–1546 ) 95 Theses Lutheranism Symphoniae jucundae (Pleasant Polyphonic Pieces) Tenorlied. The Protestant Reformation. Martin Luther ( 1483–1546 ) John Calvin ( 1504–1564 )

mervyn
Download Presentation

After Perfection

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript


  1. After Perfection Pressures for Change

  2. The Protestant Reformation • Martin Luther (1483–1546) • 95 Theses • Lutheranism • Symphoniaejucundae (Pleasant Polyphonic Pieces) • Tenorlied

  3. The Protestant Reformation • Martin Luther (1483–1546) • John Calvin (1504–1564) • Calvinist (Huguenot) Church • Ulrich Zwingli (1484–1531) • Swiss German Reformed Church

  4. The Lutheran Chorale • Strophic unison German hymn • Translations of Latin hymns • Nun komm, derHeidenHeiland • From Veniredemptorgenitum • Komm, GottSchöpfer, HeiligerGeist • From Veni creator spiritus

  5. The Lutheran Chorale • Adaptations • O Welt, ich muss dichlassen • From Heinrich Isaac’s Innsbruck, ich muss dichlassen • Newly Composed • Ein’ feste Burg istunserGott

  6. The Lutheran Chorale • Polyphonic Settings • Johann Walther (1496–1570) • GeystlichesgesangkBuchleyn • Christ lag in Todesbanden [Anthology 1-54]

  7. The Catholic Response:The Counter-Reformation • Mystical, enthusiastic, antirationalist character • Cori spezzati • “augmentation of the sheer sound medium”

  8. Polychoral and “Concerted” Music • Venice • St. Mark’s • Andrea Gabrieli (ca. 1532–1585) • CONCERTI/continentiMusica DI CHIESA/per voci, & stromentiMusicali; à 6.7.8.10.12. & 16

  9. Polychoral and “Concerted” Music • Venice • LodovicoViadana (1560–1627) • Cento concerti ecclesiastici, a una, a due, a tre & a quattrovoci(1602) • Basso continuo

  10. The Art of Orchestration Is Born • Giovanni Gabrieli (ca. 1553–1612) • SacraeSymphoniae(1597) • SacraeSymphoniae(1615) • Exact specifications for instrumentation and dynamics • In ecclesiisbenedicite Domino [Anthology 1-55] • 15 parts, divided into 3 groups and an organ part

  11. Music Printers and Their Audiences • OttavianoPetrucci • OdhecatonA (1501) • Frottolelibro primo (1504) • Andrea Antico • Canzoninove(1510)

  12. Vernacular Song in Italy • Fottola (pl. frottole) • Marco Cara, Mal un muta per effecto [Anthology 1-56]

  13. The “Parisian” Chanson and the Music of Description • Pierre Attaingnant • “Parisian” chanson • Claudin de Sermisy (ca. 1490–1562) • Tantquevivray [Anthology 1-57] • From Attaignant’sChansons nouvelles en musique(1528)

  14. The “Parisian” Chanson and the Music of Description • Clement Janequin (ca. 1485–1558) • Chansons de maistre Clement Janequin (1528) • La guerre (The War) • La chasse (The Chase) • L’alouette (The Lark) • Le chant des oyseux(The Song of the Birds)

  15. Lasso: The Cosmopolite Supreme • Orlando di Lasso (1532–1594)

  16. Lasso: The Cosmopolite Supreme • Orlando di Lasso (1532–1594) • Je l’aymebien [Anthology 1-58a] • 1555 • Parisian chanson style

  17. Lasso: The Cosmopolite Supreme • Orlando di Lasso (1532–1594) • Matonamiacara[Anthology 1-58b] • 1581 • villanelle, Low-style Italian song • todesca (villanella with a ridiculous German accent)

  18. Lasso: The Cosmopolite Supreme • Orlando di Lasso (1532–1594) • Audite nova [Anthology 1-58c] • Style of a Latin motet

  19. Lasso: The Cosmopolite Supreme • Orlando di Lasso (1532–1594) • ProphetiaeSibyllarum [Anthology 1-58d] • Published in 1600 • Serious Latin motet setting

  20. The Literary Revolution and the Return of the Madrigal • “Petrarchan movement” • Francesco Petrarch (1304–1374) • Revival of the word “madrigal” • PietroBembo (1470–1547) • gravità • piacevolezza

  21. The Literary Revolution and the Return of the Madrigal • “Madrigalisms” “Word Painting” • Jacques Arcadelt (d. 1568) • First Book of Madrigals (1539) • Il biancoe dolce cigno [Anthology 1-59] • Cipriano de Rore (1516–1565) • Da le belle contraded’oriente [Anthology 1-60]

  22. Paradox and Contradiction:Late Italian Madrigalists • Luca Marenzio (1553/4–1599) • Ninth book of Madrigals (1599) • Solo epensoso [Anthology 1-61] • Setting of a Petrarch poem

  23. Paradox and Contradiction:Late Italian Madrigalists • Claudio Monteverdi (1567–1643) • Fifth book of Madrigals • CrudaAmarilli [Anthology 1-62] • Attacked by Giovanni Maria Artusi in L’Artusi, overoDelleimperfettionidellamodernamusica(1600)

  24. Paradox and Contradiction:Late Italian Madrigalists • Carlo Gesulado (1560–1613) • Prince of Venosa • Sixth book of Madrigals (1611) • Moro, lasso [Anthology 1-63]

  25. Music for the Eyes • Augenmusik • Marenzio, Giàtorna a rallegrarl’ariae la terra

  26. Back over the Mountains:The English Madrigal • MusicaTransalpina(1588) • Italian madrigals translated into English by Nicholas Yonge • The first sett of Italian madrigallsEnglished (1590) • Mainly works by Marenzio, translated by Thomas Watson

  27. Back over the Mountains:The English Madrigal • John Dowland (1563–1626) • Virtuosic lutenist • Pavans and galliards • “Flow My Tears” (1600) • Ayre set to a pavan

  28. Back over the Mountains:The English Madrigal • Thomas Morley (1557–1602) • Composer, translator, arranger, publisher, literary propagandist • The Triumphes of Oriana (1601) • As Vesta was from Latmos hill descending [Anthology 1-64] • Composed by Thomas Weelkes • madrigalisms

More Related