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After Perfection

After Perfection. Pressures for Change. The Protestant Reformation. Martin Luther ( 1483–1546 ) 95 Theses Lutheranism Symphoniae jucundae (Pleasant Polyphonic Pieces) Tenorlied. The Protestant Reformation. Martin Luther ( 1483–1546 ) John Calvin ( 1504–1564 )

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After Perfection

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  1. After Perfection Pressures for Change

  2. The Protestant Reformation • Martin Luther (1483–1546) • 95 Theses • Lutheranism • Symphoniaejucundae (Pleasant Polyphonic Pieces) • Tenorlied

  3. The Protestant Reformation • Martin Luther (1483–1546) • John Calvin (1504–1564) • Calvinist (Huguenot) Church • Ulrich Zwingli (1484–1531) • Swiss German Reformed Church

  4. The Lutheran Chorale • Strophic unison German hymn • Translations of Latin hymns • Nun komm, derHeidenHeiland • From Veniredemptorgenitum • Komm, GottSchöpfer, HeiligerGeist • From Veni creator spiritus

  5. The Lutheran Chorale • Adaptations • O Welt, ich muss dichlassen • From Heinrich Isaac’s Innsbruck, ich muss dichlassen • Newly Composed • Ein’ feste Burg istunserGott

  6. The Lutheran Chorale • Polyphonic Settings • Johann Walther (1496–1570) • GeystlichesgesangkBuchleyn • Christ lag in Todesbanden [Anthology 1-54]

  7. The Catholic Response:The Counter-Reformation • Mystical, enthusiastic, antirationalist character • Cori spezzati • “augmentation of the sheer sound medium”

  8. Polychoral and “Concerted” Music • Venice • St. Mark’s • Andrea Gabrieli (ca. 1532–1585) • CONCERTI/continentiMusica DI CHIESA/per voci, & stromentiMusicali; à 6.7.8.10.12. & 16

  9. Polychoral and “Concerted” Music • Venice • LodovicoViadana (1560–1627) • Cento concerti ecclesiastici, a una, a due, a tre & a quattrovoci(1602) • Basso continuo

  10. The Art of Orchestration Is Born • Giovanni Gabrieli (ca. 1553–1612) • SacraeSymphoniae(1597) • SacraeSymphoniae(1615) • Exact specifications for instrumentation and dynamics • In ecclesiisbenedicite Domino [Anthology 1-55] • 15 parts, divided into 3 groups and an organ part

  11. Music Printers and Their Audiences • OttavianoPetrucci • OdhecatonA (1501) • Frottolelibro primo (1504) • Andrea Antico • Canzoninove(1510)

  12. Vernacular Song in Italy • Fottola (pl. frottole) • Marco Cara, Mal un muta per effecto [Anthology 1-56]

  13. The “Parisian” Chanson and the Music of Description • Pierre Attaingnant • “Parisian” chanson • Claudin de Sermisy (ca. 1490–1562) • Tantquevivray [Anthology 1-57] • From Attaignant’sChansons nouvelles en musique(1528)

  14. The “Parisian” Chanson and the Music of Description • Clement Janequin (ca. 1485–1558) • Chansons de maistre Clement Janequin (1528) • La guerre (The War) • La chasse (The Chase) • L’alouette (The Lark) • Le chant des oyseux(The Song of the Birds)

  15. Lasso: The Cosmopolite Supreme • Orlando di Lasso (1532–1594)

  16. Lasso: The Cosmopolite Supreme • Orlando di Lasso (1532–1594) • Je l’aymebien [Anthology 1-58a] • 1555 • Parisian chanson style

  17. Lasso: The Cosmopolite Supreme • Orlando di Lasso (1532–1594) • Matonamiacara[Anthology 1-58b] • 1581 • villanelle, Low-style Italian song • todesca (villanella with a ridiculous German accent)

  18. Lasso: The Cosmopolite Supreme • Orlando di Lasso (1532–1594) • Audite nova [Anthology 1-58c] • Style of a Latin motet

  19. Lasso: The Cosmopolite Supreme • Orlando di Lasso (1532–1594) • ProphetiaeSibyllarum [Anthology 1-58d] • Published in 1600 • Serious Latin motet setting

  20. The Literary Revolution and the Return of the Madrigal • “Petrarchan movement” • Francesco Petrarch (1304–1374) • Revival of the word “madrigal” • PietroBembo (1470–1547) • gravità • piacevolezza

  21. The Literary Revolution and the Return of the Madrigal • “Madrigalisms” “Word Painting” • Jacques Arcadelt (d. 1568) • First Book of Madrigals (1539) • Il biancoe dolce cigno [Anthology 1-59] • Cipriano de Rore (1516–1565) • Da le belle contraded’oriente [Anthology 1-60]

  22. Paradox and Contradiction:Late Italian Madrigalists • Luca Marenzio (1553/4–1599) • Ninth book of Madrigals (1599) • Solo epensoso [Anthology 1-61] • Setting of a Petrarch poem

  23. Paradox and Contradiction:Late Italian Madrigalists • Claudio Monteverdi (1567–1643) • Fifth book of Madrigals • CrudaAmarilli [Anthology 1-62] • Attacked by Giovanni Maria Artusi in L’Artusi, overoDelleimperfettionidellamodernamusica(1600)

  24. Paradox and Contradiction:Late Italian Madrigalists • Carlo Gesulado (1560–1613) • Prince of Venosa • Sixth book of Madrigals (1611) • Moro, lasso [Anthology 1-63]

  25. Music for the Eyes • Augenmusik • Marenzio, Giàtorna a rallegrarl’ariae la terra

  26. Back over the Mountains:The English Madrigal • MusicaTransalpina(1588) • Italian madrigals translated into English by Nicholas Yonge • The first sett of Italian madrigallsEnglished (1590) • Mainly works by Marenzio, translated by Thomas Watson

  27. Back over the Mountains:The English Madrigal • John Dowland (1563–1626) • Virtuosic lutenist • Pavans and galliards • “Flow My Tears” (1600) • Ayre set to a pavan

  28. Back over the Mountains:The English Madrigal • Thomas Morley (1557–1602) • Composer, translator, arranger, publisher, literary propagandist • The Triumphes of Oriana (1601) • As Vesta was from Latmos hill descending [Anthology 1-64] • Composed by Thomas Weelkes • madrigalisms

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