madrigal

Question 1

ren question, 3 generations

Answer 1

3. describe three “generations” of madrigal
   composers, include one or two stylistic features of
   each and the representing composer
4. early madrigals,
   a. representing composer, Philippe Verdalot
   b. style #1, mostly homophonic
   c. Style #2, four voices
5. midcentury madrigals
   a. representing composer=De Rore
   b. style #1, 5 voices
   c. Style #2, frequent changes of texture
6. late madrigalists
   a. representing composer= Marenzio,
   b. style #1, madrigalisms, text pictorally depicts
   characters.
   c. Style #2, contrasts, breaking rules for expressive
   purposes

Question 2

caccini and solo madrigals

Answer 2

• talk about caccini and solo madrigals
• monophony=unaccompanied melody.
• Caccini wrote songs for solo voice with continuo
• -in 1580
• –book called “the new music”
• —here, Those with strophic texts called arias
• —-the others were called madrigals
• —–Today we call these others “solo madrigals”
• ——for solo madrigals, there is no polyphony

Question 3

weelkes

Answer 3

• Talk about Weelkes
• wrote as vesta was,
• -famous
• –self written poem
• —word painting
• —-descending scales for going down,
• —–ascending scales for going up.
• ——his treatment of the final phrase set to motive that enters fiftey times.
• ——-here weelkes exemplifies a mixture of wit,
• ——–wordplay, ———-sentiment,
• ———-contrapuntal
• ———–skill,
• ————melodiousness and
• ————-pleasure.

Question 4

morley

Answer 4

• Talk about Morley as relates to english madrigals
• morley=earliest
• morley=most prolific
• morley=treatise:”a plain and easy introduction to practical music”
• -1597.
• morley published a collection of twenty five madrigals
• -1601.
• –called “the triuphes of oriana”.
• —honoring royalty
• —-each piece mentioned oriana.

Question 5

list english madrigalists

Answer 5

• list english madrigalists
• Morley
• Weelkes
• Wilbye

Question 6

madrigals in england

Answer 6

• Describe Madrigals in England
• late 16th century=italian influence came to england.
• -Italian madrigals circulate in england
• –translated into english
• most english madrigals= for unaccompanied solo voices.
• -accompanied types of english madrigals exist too
• madrigals in england lasted until the 1620s.

Question 7

3rd generation of madrigalists

Answer 7

• 3rd generation of madrigalists
• list them
• Orlande de Lassus
• -de monte
• –De Wert
• —marenzio
• —-Gesualdo
• de wert=ifluenced by rore.
• -bold leaps
• –recitative-like declamation
• —de wert=extravagant contrasts.
• native Italians=leaders of the 3rd generation.
• Solo e pensoso=by marenzio
• solo e pensoso=famous
• solo e pensoso=based on petrarch work.
• -sonnet
• –walking alone portrayed by slow chromatic ascent
• —over octave.
• —-one half step per measure.
• —–Solo e pensoso=flee/escape depicted with quick figures
• ——imitation used here also
• Chromatic steps, and quick figures are examples of madrigalisms.
• gesualdo=sharp contrasts between diatonic and chromatic music.
• -gesualdo=contrasts between dissonance and consonance.
• –gesualdo=contrasts between chordal and imitative textures.
• —gesualdo=contrasts between slow moving and fast moving.

Question 8

atributes of 2nd generation of madrigalists

Answer 8

• Attributes of 2nd generation madrigals and madrigalists
• By the midcentury, frequent changes of texture,
• -freely alternating homophony and —imitative polyphony.
• —5 voices
• —-6 voices common
• rore is the leading midcentury madrigalist.
• rore is italian.
• rore=capturing the sounds emotions and images of his texts.
• -used chromaticism.
• Casulana was a mid century composer of madrigals,

Question 9

attributes of 1st generation of madrigalists

Answer 9

• Attributes of 1st generation madrigals/ists
• most for four voices.
• began in 1520
• mostly homorhythmic,
• less word painting.
• verdalot most important,
• verdalot was french
• verdalot’s 4voice mad’s are homophonic,
• -ones for 5-6 voices are motetlike, with frequent imitation,
• -varying voice groupings,
• –and overlapping parts at cadences.
• Arcadelt is an early madrigalist.
• -his style is Homophony
• -mixed with occasional imitation.
• arcadelt is franco flemish.

Question 10

general distinguishing features of the madrigal

Answer 10

• general distinguishing features of the madrigal
• in 16th century, through composed
• some poets used are petrarca,
• -arioso,
• –tasso,
• —guarini,
• —-marino.
• subject matter=sentimental or erotic.
• Italian madrigals feature both accompanied and unaccompanied.
• vehicle for the growing influence of humanism on music
• most important secular genre of 16th century Italy
• most important genre of entire renaissance.
• secular subjects.
• in 16th and early 17th centuries=greater number of voices
• text expressed in unusual ways that would be forbidden in earlier times.
• -composers realized the accents,
• –images and
• —emotions of the text through music.
• later madrigals included erotic subjects
• madrigalisms=musical images
• madrigalisms=late madrigalists
• later Madrigals=small audience
• late madrigals=specialized genre, not for general public.
• They influenced later French Chansons and German lieder
• became fashionable in england
• popularity continued into the 17th century.

Question 11

features of the italian frottola

Answer 11

• features of the Italian Frottola
• strophic
• syllabic
• homophonic
• for amateurs
• late fifteenth, early sixteenth centuries at Italian courts.
• Isabella d’este=patron
• Cara=composer
• secular genre
• precedes madrigal.
• grew out ofimprovisational tradition.
• different from Madrigals
• frottola developed from a tradition in the Italian court
• -this tradition=taking poems and accompanying yourself
• –accompany yourself on bowed or plucked instrument.
• —these works were published=birth of frottola.

Question 12

talk about monteverdi and the concerted madrigals

Answer 12

• Talk about monteverdi, and the concerted madrigal
• Monteverdi wrote concerted madrigals
• -these have instrumental accompaniment
• –5th through 8th madrigals have concerted madrigals.
• —these all ask for basso continuo.
• Monteverdi was famous for arguing with Artusi about the first and second practice.
• -Artusi criticized his unresolved dissonances,
• –and Monteverdi justified them, saying that they expressed the message of the text,
• —he also coined the term seconda prattica, meaning the new style,
• —-and in opposition to the prima prattica (the old style.)
• —–the rule breaking, brought out the text.