taste* - purpose of 16th C. madrigals Main Ideas * Amateur music making was a major catalyst for the development of national secuar styles * developed over the course of the 16th C. * humanism and text depiction played a large part in madrigal style Amateur Music Making * led to many national styles * musical literacy became a social req. * amateurs needed easy vernacular music * 1st among elite Roots of the Madrigal * roots cause they give
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The Evolution of the Motet The Evolution of the Motet Throughout the history of music‚ there have been few styles that not only have opened doors to masterwork compositions in their own genres‚ but have also led the way to other musical techniques over the musical eras and one of these magical music styles is the motet. The motet can easily be confused with other musical structures but what separates the motet from other types of group-performance based styles of music is "a piece of music
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The motet was one of the most important forms of polyphonic music from 1250 to 1750. The Italian mottetto was originally a profane polyphonic species of music‚ the air‚ or melody‚ being in the Tenor clef‚ taking the then acknowledged place of the canto fermo or plainchant‚ theme. It originated in the 13th century resulting from the practice of Pérotin and his contemporaries in Paris. The term "motet" can be translated as "the word of movement". Sometimes two upper voices had different words. In the
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Amber Burgermeister Development of the Madrigal Essay The madrigal became popular and started developing effectively by Pieto Bembo‚ an influential Italian poet‚ because he was striving for a different and more heartfelt way of singing poetry. His idea was that the text should reflect in the music on a deeper level‚ hence the concept of “word-painting” and also madrigalism. Madrigals were often written about pastoral or mythological ideas. Also‚ they were mostly homophonic‚ with a common
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A motet can be defined as an unaccompanied choral or composition based on a sacred Latin text. There are some exceptions‚ such as motets that have secular text or instrumental accompaniment. In general‚ motets normally used religious texts that were not used in the mass. Motets were often polyphonic‚ meaning that there were multiple vocal parts sung simultaneously. Motets started to be written during the medieval period and then developed throughout time and was most known throughout the Renaissance
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to music in four parts. The frottola was secular and the lauda was sacred. A True B False | 2. The most important secular form in France in the 16th century was the___________. Pierre Attaingnant published about 1500 of these pieces. A chanson B madrigal C lute song D frottola | 3. Secular songs in 16th c. France often used sounds that were descriptive of bird calls‚ street cries‚ battle sounds‚ etc. One of the most famous composers of this kind of music was: A Perotin B Janequin C Orlando di Lasso
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The motet is hardly a term that can be defined in brief. It is a word that requires a descriptive analysis for each time period. Throughout its history‚ the motet has taken on several different forms and ideas. A significant difference in the definition of the motet can be seen between the 13th and 14th centuries. It is appropriate to begin in the 13th century‚ when the motet was originated. Originally‚ the motet was seen as a decoration of chant‚ for it was based on the sacred Latin texts of
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Social Context of 16th-century Italian Madrigals In the 16th-century‚ Italy influenced the Renaissance music throughout Western Europe. The most influential musical genre was the Italian madrigal‚ and “about 1‚200 madrigal volumes. . . were printed between 1520 and 1630”.1 of the madrigal‚ but the genre contains elements of the frottola‚ ballata‚ chanson‚ and Musicologists debate about the exact origins Madrigals were mostly secular songs that were primarily intended to be
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Analysis: Isorhythmic Motet There were a total of five separate talea consisting of three colores. The first three talea were in 3/2 time and the final two were in 6/8. Taleas A-I and B-I share the same color‚ while A-III and B-III also share the same color. A-II had the only unique color. While there are no actual repetitive talea in the upper voices‚ there are many cyclical repeated rhythms. For example‚ the triplum in measures eleven through eighteen match the exact rhythm for the eight
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professional musicians. Die Mit Tränen Säen is a German motet by Hermann Schein‚ it is an accompanied vocal piece that is religious in nature. The motet is conservative although each voice enters in imitation of the preceding voice‚ and it is mostly polyphonic. Five voices perform this motet‚ and each voice imitates the other until all voices have treated one phrase of the text. Then each phrase receives similar imitative treatment. This motet is through-composed‚ and in certain passages the voices
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