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Medieval Venus Renaissance Venus Medieval BVM

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Page 1: Medieval Venus Renaissance Venus Medieval BVM
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Medieval Venus

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Renaissance Venus

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Medieval BVM

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Renaissance BVM

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Can music

(the sounds themselves)

represent sexuality

or sensuousness?

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Arcadelt, Il bianco e dolce cigno (The White and Sweet Swan)

Il bianco e dolce cigno The white and sweet swan,Cantando more ed io singing, dies; and I,Piangendo giung' al fin del viver mio, crying approach the end of my lifeStran' e diversa sorte! Such a strange and divergent fate!Ch'ei more sconsolato, For yet he dies in despairEd io moro beato, and I die content,Morte che nel morire To die that deathM'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 sadnessDi 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

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I. The Renaissance Madrigal: TextsA. 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

77

117 7

123

45678910

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Il bianco e dolce cigno The white and sweet swan,Cantando more ed io singing, dies; and I,Piangendo giung' al fin del viver mio, crying approach the end of my lifeStran' e diversa sorte! Such a strange and divergent fate!Ch'ei more sconsolato, For yet he dies in despairEd io moro beato, and I die content,Morte che nel morire To die that deathM'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 sadnessDi mille mort'il di, sarei contento. I'll be content to die a thousand times

a day.

Arcadelt, “Il bianco e dolce cigno”

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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)

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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

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Il bianco e dolce cigno The white and sweet swan,

Cantando more || :ed io singing, dies; and I,

Piangendo giung' al fin del viver mio, :|| crying approach the end of my lifeStran' e diversa sorte! Such a strange and divergent fate!Ch'ei more sconsolato, For yet he dies in despairEd io moro beato, and I die content,Morte che nel morire To die that deathM'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 sadnessDi mille mort'il di, sarei contento. I'll be content to die a thousand times

a day.

Arcadelt, “Il bianco e dolce cigno

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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 (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

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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;

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

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Il bianco e dolce cigno The white and sweet swan,

Cantando more singing, dies;

Ed io, piangendo and I, crying

giung' al fin del viver mio, 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 morire To 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.

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III. Listening To Madrigals

Some Experiments

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Il bianco e dolce cigno cantando more The white and sweet swan,

Ed io Piangendo singing, dies; and I,

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 morire To 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.

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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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