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Chapter Seven

Chapter Seven. The New Practice. Greek Music in the 16 th C. Renaissance = “revival” (of Antiquity) Ancient Greek Music (what is it? ) Words should determine the music - N. Vicentino (1555) Affect = Emotion (leads to) “word painting”

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Chapter Seven

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  1. Chapter Seven The New Practice

  2. Greek Music in the 16th C • Renaissance = “revival” (of Antiquity) • Ancient Greek Music (what is it? ) • Words should determine the music- N. Vicentino (1555) • Affect = Emotion (leads to) “word painting” • Problem of Polyphony (textbook, p. 194-5)- Zarlino & Palestrina – text intelligibility • Vincenzo Galilei (1581) – argues for simplicity- solo voice w/ lyre accompaniment

  3. Florentine Camerata • Home of Giovanni de Bardi (Florence) – 1573-1587 • Camerata = “society”- poets, literary figures • How to revive Greek music? • Letters of Girolamo Mei- study & translate Greeks • Giulio Caccini, et al.- songs in Greek manner • “Monody” – according to Caccini (Le Nuove Musiche)

  4. Florentine Wedding (1589) • Medici / French princess- major event • Play w/ six Intermedi- short musical interludes- Classical Antiquity- Power of music • Intermedio V (Anth. I/ 69) • Una Stravaganza Dei Medici (All 6 intermedi in 8 parts [Anth I/69 in part 6]) Jacopo Peri as poet Arion (Intermedio V: “Song of Arion”)

  5. Caccini, Le Nuove Musiche • “The new music” (1602) • Caccini describe Camerata(textbook, p. 199) • Solo voice & accompaniment • Monody (“one song”) • Basso continuo • “Sfogava con le stelle”Anth I/70 (& textbook, p. 201)

  6. Basso continuo / Figured Bass Exs. Caccini - “Amor...” [lute] & Caccini - “Amor...” [organ]

  7. Baroque Traits (text, p. 202-6) • Basso Continuo • Continuation of old styles (against new ones) • Modal system gives way to modern tonality- harmony conceived as chords • Rhythmic complexity and freedom • Virtuosity (rise of the soloist) • Rise of Instrumental music (and its own idioms) • Program music • Timbre as element of contrast • National styles

  8. Chapter Eight Vocal Music, 1600-1650

  9. Claudio Monteverdi (1567-1643) • Leading figure of the era • Master of two styles(prima & seconda prattica) • Mantua : Secular works- madrigals & opera (!)- genre concitato • Venice : Sacred music- m.d.c. of St. Mark’s- also operas (public)- numerous commissions • Text, p. 208-9 (bio)

  10. “Cruda Amarilli” (Anth I/71) • Composed by Monteverdi, c. 1600 • Criticized by G. M. Artusi (1600)- L’Artusi, or the Imperfection of Modern Music • Problems w/ dissonances (unprepared/harsh) • Published in Fifth Book of Madrigals (1605)- prefatory letter from C. M.- “…the second practice…” (seconda prattica)- defense by Giulio Cesare Monteverdi (brother) • “Cruda Amarilli” : Score & Recording

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