Download - Chapter 22 music in renaissance paris
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CHAPTER 22
MUSIC IN RENAISSANCE
PARIS
Itunes.lnk
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THE RENAISSANCE IN PARIS
• During the Black Death (1349-1350) and the Hundred Years’ War (1337-1453) the fortunes of France, and Paris in particular, declined.
• Paris regained its former glory during the reign of King Francis I (r. 1515-1547), who almost single-handedly brought the Italian Renaissance to France.
• Among the accomplishments of Francis I were:– The importation of Italian artists such as Leonardo da Vinci
into France.
– The establishment of a college for the study of classical literature in both Latin and ancient Greek (Collège de France).
– The importation of Italian instrumentalists to play at his court.
– The recognition of the importance of a new invention--music printing.
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King Francis I as painted by Jean Clouet about 1525
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MUSIC PRINTING IN PARIS
• During the 1520s Pierre Attaingnant (c1494-c1532) developed a relatively inexpensive method by which to print music – called single-impression printing.
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A copy of the soprano part of a Mass by Jean Mouton printed by Pierre Attaingnant
in 1532
The wavy lines are created by the many small pieces of movable type being fitted together.
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A French printing shop about the year 1530
On the right, proof-readers check the text for errors.
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THE PARISIAN CHANSON
• Beginning in 1528 Pierre Attaingnant issued nearly a hundred collections of popular polyphonic songs
- usually for four voice parts.
• Each voice was set in its own book called a part book.
• The chanson Attaingnant published usually had a light, lively style
- in which the rhythms of the text determined the rhythms of the music.
• This type of chanson of the 1520s, 1530s, and 1540s has come to be called the Parisian chanson.
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A tapestry from Bourges, France, depicting four singers performing a
chanson from part books
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CLAUDIN DE SERMISY
• Claudin de Sermisy (c1490-1562) was the master of the Parisian chanson.
• Although primarily a church musician, he still managed to publish 169 very worldly, secular chansons.
• The most popular of these was his four-voice Tant que vivray (As Long as I Live)– which possesses snappy musical rhythms inspired by
the accents of the poem.
• An alluring melody and bouncy rhythms explain why Tant que vivrary was reprinted in England, Italy, the Netherlands, and Spain– appeared in many different instrumental arrangements.
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The beginning of Claudin de Sermisy’s Parisian chanson Tant que vivray
first printed by Pierre Attaingnant in 1528
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INSTRUMENTAL ARRANGEMENTS
• So popular was Claudin’s Tant que vivray that it soon appeared in instrumental arrangements for - solo keyboard - lute - lute and voice - three lutes
• The four-voice version could also be played by a four-part instrumental ensemble.
• A version of a chanson, Mass, or motet arranged for solo lute is called a lute intabulation, in part because it is written in lute tablature.
• Pierre Attaingnant issued Tant que vivray in lute tablature in 1529.
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LUTE TABLATURE
• The beginning of Tant que vivray written in lute tablature (below) with a modern transcription (above).
• As often happens in lute transcriptions– the alto line of the original chanson has been removed
– notes of long duration are broken up into quickly moving
lines of figural ornamentation (here eighth notes).
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ARRANGEMENT FOR VOICE AND LUTE
• The beginning of Claudin’s Tant que vivray arranged for voice and lute as published by Pierre Attaingnant in 1529.
• Here the solo soprano voice takes the over the original soprano line of the song.
• The lute plays a slightly ornamented arrangement of the bottom three voices.
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ARRANGEMENT FOR KEYBOARD
• In 1531 Attaingnant issued a collection of twenty-one chansons arranged for keyboard solo– one of the first printed collections of keyboard
music.
• Here again the ever-popular Tant que vivray appeared now with more abundant ornamentation applied to chordal skeleton of the original chanson.
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The beginning of Pierre Attaingnant’s arrangement of Tant que vivray for keyboard
solo
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OTHER INSTRUMENTAL ARRANGEMENTS
A four-voice Parisian chanson might be performed by many different combinations of instrumentals. In this painting, showing Paris as it was about 1540, a flautist plays the upper voice of a chanson while a lutenist plays an intabulation of the lower voices.
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DANCE MUSIC
• In 1529 Pierre Attangnant commenced to publish dance music for four-part instrumental ensemble.
• The most numerous dances issued by Attaingnant were the pavane and the galliard.
• The pavane is a slow, gliding dance in duple meter performed by couples holding hands.
• The pavane gradually replaced the 15th century basse danse as the slow dance of the court.
• The steps of the dance came in units of four– the lines of the music, consequently, tended to
span four-bar phrases.
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The beginning of a four-part instrumental pavane published by Pierre Attaingnant in
Paris in 1547
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THE GALLIARD
• The pavane was usually followed by the galliard– a fast leaping dance in triple meter.
• The basic unit of this dance and its music involves six beats and six steps in 6/4 time.
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The beginning of a four-part instrumental galliard published by Pierre Attaingnant in
Paris in 1547
Note the hemiola in bar 4.
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A painting believed to show queen Elizabeth I dancing the volta, an athletic dance closely related to the galliard.