CHAPTER 20. POPULAR MUSIC IN FLORENCE, 1475-1540. THE LATE RENAISSANCE.
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POPULAR MUSIC IN FLORENCE,
1. development of the expressive, indeed rhetorical, power of music, as a result of
a. new interest in the text shown by the humanists
b. desire to intensify the meaning of the text through music generally
2. growing sense that music might not only be for religious solace and salvation but also for personal enrichment and entertainment
3. invention of music printing, which allowed for the dissemination of music to a much wider segment of the population
4. shift in the perception of music as a discipline among the sciences to one among the fine arts
5. growing perception of the composer as a special sort of human being—an artist—one worthy of special honors and financial rewards
Typical of the carnival song, the music is homorhythmic and thus homophonic. The chords are almost all what we would call “root position” triads, likely a clue that this piece was originally an improvised bit of street singing that only later came to be preserved in written notation.
Like the carnival song Sian galanti di Valenza, this lauda is comprised exclusively of what we would call root position triads, perhaps a suggestion that the music for it was originally improvised.
It has five strings and two drone strings off the fingerboard. Instruments such as this were used to accompany singers of the frottola.