Medieval Venus Renaissance Venus Medieval BVM

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  • Slide 1
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  • Medieval Venus
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  • Renaissance Venus
  • Slide 6
  • Medieval BVM
  • Slide 7
  • Renaissance BVM
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  • Can music (the sounds themselves) represent sexuality or sensuousness?
  • Slide 11
  • Arcadelt, Il bianco e dolce cigno (The White and Sweet Swan) Il bianco e dolce cignoThe white and sweet swan, Cantando more ed iosinging, dies; and I, Piangendo giung' al fin del viver mio,crying approach the end of my life Stran' e diversa sorte!Such a strange and divergent fate! Ch'ei more sconsolato,For yet he dies in despair Ed io moro beato,and I die content, Morte che nel morireTo die that death M'empie di gioia tutto e di desire.Fulfills all my joys and desires. Se nel morir, altro dolor non sento, If by dying I feel no other sadness Di mille mort'il di, sarei contento. I'll be content to die a thousand times a day. The Madrigal Listen for: form; performing forces; texture(s); text connotations =central secular genre of the Renaissance+ celebration of the bodily and sensual
  • Slide 12
  • I. The Renaissance Madrigal: Texts A. Setting of Italian Secular Poetry (erotic, pastoral, or sentimental) B. Poems Short (8-16 lines typical) C. Each line 7 or 11 Syllables D. No fixed rhyme schemes 7 7 11 7 7 1 2 3 4 5 6 7 8 9 10
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  • Il bianco e dolce cignoThe white and sweet swan, Cantando more ed iosinging, dies; and I, Piangendo giung' al fin del viver mio,crying approach the end of my life Stran' e diversa sorte!Such a strange and divergent fate! Ch'ei more sconsolato,For yet he dies in despair Ed io moro beato,and I die content, Morte che nel morireTo die that death M'empie di gioia tutto e di desire.Fulfills all my joys and desires. Se nel morir, altro dolor non sento, If by dying I feel no other sadness Di mille mort'il di, sarei contento. I'll be content to die a thousand times a day. Arcadelt, Il bianco e dolce cigno
  • Slide 14
  • I. The Renaissance Madrigal: Texts A. Setting of Italian Secular Poetry (erotic, pastoral, or sentimental) B. Poems Short (8-16 lines typical) C. Each line 7 or 11 Syllables D. No fixed rhyme schemes E. No refrain (recurring text)
  • Slide 15
  • II. The Renaissance Madrigal: Music A. Form = Through-composed* *immediate repetition for emphasis still=through-composed Through-composed form maximizes f it between words/music Sacrifices musical unity
  • Slide 16
  • Il bianco e dolce cignoThe white and sweet swan, Cantando more || :ed iosinging, dies; and I, Piangendo giung' al fin del viver mio, :|| crying approach the end of my life Stran' e diversa sorte!Such a strange and divergent fate! Ch'ei more sconsolato,For yet he dies in despair Ed io moro beato,and I die content, Morte che nel morireTo die that death M'empie di gioia tutto e di desire.Fulfills all my joys and desires. Se nel morir, altro dolor non sento, If by dying I feel no other sadness Di mille mort'il di, sarei contento. I'll be content to die a thousand times a day. Arcadelt, Il bianco e dolce cigno
  • Slide 17
  • II. The Renaissance Madrigal: Music A. Form = Through-composed* B. Close Text/Music Correspondences C. Each poetic line becomes 1 section of music (marked by cadence) D. A cappella (4, later 5 voices = norm) E. Word-Painting or Madrigalism Then sang the shepherds and nymphs of Diana (homophonic) Long live fair Oriana (imitative polyphonic) *immediate repetition for emphasis still=through-composed M aximizes fi t between words/music Sacrifices musical unity Reflects Sound of the words (speech r hythm; elision) Reflects Stress/Accent (on penultimate syllable) Reflects meaning of words
  • Slide 18
  • To whom Dianas darlings came running down amain First two by two, then three by three together, Leaving their goddess all alone, hasted thither; Examples of Madrigalism or Word-Painting And birdsong and the flowers of the field and the sweet sincerity of lovely women Are now to me as a desert And as pitiless as wild beasts
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  • Friday Night at Bowdoin
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  • II. The Renaissance Madrigal: Music A. Form = Through-composed B. Close Text/Music Correspondences C. Each poetic line becomes 1 section of music (marked by cadence) D. A cappella E. Word-Painting or Madrigalism F. Veiled Sexual Allusions
  • Slide 25
  • Il bianco e dolce ci gnoThe white and sweet swan, Cantando mo re singing, dies; Ed io, pian gen do and I, crying giung' al fin del viver mi o,approach the end of my life Stran' e diversa sor te!Such a strange and divergent fate! Ch'ei more sconso la to,For yet he dies in despair Ed io moro be a to,and I die content, Morte che nel mor i reTo die that death M'empie di gioia tutto e di des i re.Fulfills all my joys and desires. Se nel morir, altro dolor non sen to, If by dying I feel no other sadness Di mille mort'il di, sarei con ten to. I'll be content to die a thousand times a day.
  • Slide 26
  • III. Listening To Madrigals Some Experiments
  • Slide 27
  • Il bianco e dolce cigno cantando mo re The white and sweet swan, Ed io Pian gen do singing, dies; and I, giung' al fin del viver mi o,crying approach the end of my life Stran' e diversa sor te!Such a strange and divergent fate! Ch'ei more sconso la to,For yet he dies in despair Ed io moro be a to,and I die content, Morte che nel mor i reTo die that death M'empie di gioia tutto e di des i re.Fulfills all my joys and desires. Se nel morir, altro dolor non sen to, If by dying I feel no other sadness Di mille mort'il di, sarei con ten to. I'll be content to die a thousand times a day.
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  • IV. The English Madrigal A. Musica transalpina (1588) ed. Thomas Younge First Italian Madrigals published in England C. English Madrigal Flourishes 1590s- 1610s B. Two Phases in Reception of Italian Madrigals Italian Madrigals Englished Original Madrigals by English Composers
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  • " As Vesta Was from Latmos Hill Descending " (publ. 1601 in The Triumphs of Oriana) composer, Thomas Weelkes (c. 1575-1623) As Vesta was from Latmos Hill descending, She spied a maiden Queen the same ascending, Attended on by all the shepherd's swain; To whom Diana's darlings came running down amain First two by two, then three by three together Leaving their Goddess all alone, hasted thither; And mingling with the shepherds of her train, With mirthful tunes her presence did entertain. Then sang the shepherds and nymphs of Diana: Long live fair Oriana!
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