What to hand in for Encounter 4?—

• Part I: A one-page summary of your presentation notes and a bibliography in MLA format with at least six sources (due on the day of the presentation).
• Part II: First draft of the complete bibliography for your final paper.
• Listening: Nothing to hand in for the listening assignment. The Renaissance Unit Exam will test you on this material.

Readings—

• Burkholder, J. Peter, A History of Western Music, 10th edition
•  Chapter 10: Madrigal and Secular Song in the Sixteenth Century, pp. 205-228
•  Chapter 11: Sacred Music in the Era of the Reformation, pp. 229-253
•  Chapter 12: The Rise of Instrumental Music, pp. 254-275
• Burkholder, J. Peter, Norton Anthology of Western Music, 8th edition, Vol. 1 (NAWM)
• NAWM 46-65, pp. 277-429
• Macy, Laura, “Speaking of Sex: Metaphor and Performance in the Italian Madrigal.” The Journal of Musicology, Vol. 14, No. 1 (Winter 1996), excerpts from pp. 1-34.
• Strunk, Oliver, Source Readings in Music History, 1st ed. (RESERVE)
• Bardi, Giovanni de’, Discourse on Ancient Music and Good Singing, pp. 290, 293-299
• Tomlinson, Gary, ed., Strunk’s Source Readings in Music History, rev. ed., Vol. 3: The Renaissance (RESERVE)
• Luther, Martin, Wittemberg Gesangbuch, Foreword, pp. 83-84
• Palestrina, Giovanni Pierluigi da, Second Book of Masses, Dedication, pp. 95-96
• Weiss, Piero and Richard Taruskin, Music in the Western World: A History in Documents (RESERVE)
• Luther and Music, pp. 100-101, 105-107
• The Reformation in England, pp. 109
• The Life of the Church Musician, pp. 127-128
• The Counter Reformation, pp. 135-137
• Madrigals and Madrigalism, pp. 143-145

I. Group Presentation 4
Reformation & Counter-Reformation—Monteverdi & The Early Baroque

• Group I—NAWM 60, Tallis, If ye love me—Monday, October 26
• Group II—NAWM 64a, Victoria, O magnum mysterium—Wednesday, October 28
• Group III—NAWM 72, Caccini, Vedrò ’l mio sol—Monday, November 2
• Group IV—NAWM 74d & 74e, Monteverdi, L’Orfeo, Act II. Tu se’ morta & Ahi, caso acerbo—Friday, November 6
• Group V—NAWM 75c & 75d, Monteverdi, Poppea, Act I, Scene 3. Signor, sempre mi vedi & Adorati miei rai—Monday, November 9

Each group will give a 10-minute Powerpoint presentation on their assigned piece. Ideally, you will play the piece for the class, talk about the piece, and then play it again at the end. Each presentation will cover whatever seems most important, but be sure to include the following items:

Questions for every group:

• Who is the composer?
• Where would this music be performed?
• Who would perform it? Who would be there to listen? Who would not be there?
• Who would benefit or profit from the performance?
• What function would this work serve in the performance context?
• What is the genre?
• How does this work compare with other works in the same genre?
• What features of this work are unique or unusual?
• What style is used?
• How does this work use the elements of music?
• Describe how this work uses melody, harmony, rhythm, dynamics, texture, color (timbre), form, text setting, and so on.
• What scale (mode) is this work based on?
• Which elements are typical of the style? Which are not?
• Describe the form (sections, phrase relationships, and so on).
• Identify specific techniques used to depict or express the text.
• What performances practices would be used in singing and/or playing this piece?

• Groups I & II—For an anthem or motet, how is it organized? That is, what defines a section, and how do we move from one section to another? What is the relative proportion between imitative sections and homorhythmic sections? Where do you find clear examples of “points of imitation”? What types of imitation are used?
• Group III—Compare your score with the Guide to Baroque Vocal Music . Which features of your piece are typical of a continuo madrigal? Which are not? Describe essential features of this new solo vocal style.
• Group IV—Compare your score with the Guide to Baroque Vocal Music . Which features of your piece are typical of recitative, chorus, and opera? Which are not? What features of the Orpheus myth provided a powerful analogy for this new dramatic, solo vocal Baroque style?
• Group V—Compare your score with the Guide to Baroque Vocal Music . Which features of your piece are typical of recitative, aria, arioso, and opera? Which are not? Is there anything unusual about the way the composer moves between recitative and aria? Explain.

• an article from the New Grove Dictionary of Music and Musicians (Oxford/Grove Music Online)
• relevant materials from the Readings list above, especially the article by Laura Macy
• a period history (a comprehensive book covering the history of music in a particular era)
• a book or article on late Renaissance (for Tallis or Victoria) or early Baroque (for Caccini or Monteverdi) performance practice
• a scholarly journal article on your topic
• books/ebooks that deal with your topic

One designated group member will email me the Powerpoint document on the day of the presentation.

Thinking about Elements of Music

• Melody—high or low? moves by step or leap? wide or narrow range? regular or uneven phrase lengths? melodic shape and contour?
• Texture—how many things going on simultaneously? monophonic? polyphonic (with imitation?)? homophonic (homorhythmic or melody & accompaniment?)?
• Rhythm—clear beat or not? meter? tempo? rhythmic patterns? syncopation? how does time pass?
• Color—specific instrumental colors? high, medium, or low register? interesting color combinations? overall color? articulation (legato, staccato, etc.)? attack, sustain, and decay characteristics?
• Harmony—diatonic or chromatic? scale type? stable or unstable? simple (triads) or complex chords? consonant or dissonant?
• Dynamics—loud or soft? accents? sudden or gradual changes?
• Form—repetition? contrast? return? variation? overall shape? specific forms?

II. Final Paper Preparation

1) If you have not yet done so, make sure you find a good source on performances practice for your bibliography. You already consulted a couple of these for the Middle Ages Research Project (Encounter 2), and you are doing so again for the Renaissance Research Project above. Best of all is a source that deals specifically with performance practice in the era your piece comes from. You can find other useful sources on RESERVE in the library. It is crucial that you wrestle with questions related to the actual sounds of an early music performance, related to instrumentation, sound quality (timbre), ornamentation, tempo, and so on. And of course, primary sources similar to the ones in the Madrigal Project above (in Weiss & Taruskin) will be extremely helpful.

2) On the due date posted at the top of this Encounter, hand in the first draft of your completed bibliography for the paper. Make sure it includes everything the assignment requires (see the “Format” section of the Music 343 Paper web page.) These must be typed using proper MLA bibliographic format. NB: For Grove Music Online articles, use the Cite button for a ready-made MLA citation. For the print version of New Grove, treat your entries as encyclopedia entries and be sure to find the author of the article (NOT Stanley Sadie – he’s the editor)! (Use the right format the first time and you won’t have to do it again!)

Thinking ahead to the next step—Begin to map out the main ideas of your paper. (Who will you be? Where will the concert take place? etc.)

Listening Assignment 4

Reformation & Counter-Reformation—16th Century Madrigal & Song

Notes on the Renaissance Exam

The Listening/Score Excerpts portion of the Renaissance Exam will be in two parts. In the first part you will see two score pages from 16th century Italian madrigals. You must figure out which phase of the madrigal’s development each one represents. The chart below lists the three phases you need to know.

I.	Early madrigal (c. 1525-1545)	Arcadelt, Festa, Verdelot	NAWM 47 & RESERVE CD
II.	Midcentury (classical) madrigal (c. 1545-1580)	Willaert, Rore	NAWM 48 & RESERVE CD
III.	Later madrigal (c. 1580-1620)	Marenzio, Gesualdo, Luzzaschi	NAWM 49-50, & RESERVE CD

To prepare, study each madrigal on the Listening List below and pay attention to specific musical features associated with each phase. Use the list of style features immediately below to guide you.

For each excerpt on the madrigal portion of the exam, answer the following:

1. Describe style features for each example, especially:
• Number of voices
• Predominant texture type (mostly imitative? mostly homorhythmic? or some of each?)
• Musical techniques used to depict or express the text (texts and translations will be provided!). These techniques might include:
• Melodic figures (ascending or descending? high or low?)
• Rhythms (fast or slow?)
• Dissonances
• Chromaticism
• (Texture type may also be used to depict or express images in some phrases)
• etc.
2. Based on your answers to the above questions, which phase does each excerpt represent?
3. Identify a possible date and composer

In the second Listening/Score Excerpts section, you will identify works from the list in the Renaissance Exam Study Guide (composer & title), identify the genre, and answer questions adapted from Encounter 4 Study Questions.

Study Questions

The best way to do well on quizzes, exams, and other assignments in this course is to know the assigned listening well. Listen to each work below as often as you can, study the scores, and learn what the NAWM notes say about each one. For each work you want to be able to answer the following Study Questions:

• What is the genre?
• What is its form?
• What is the name of the style in which it is written?
• How does this work use the elements of music? What features of the work are typical of the style? What features are not?
• To answer this, look at the ways these works use melody, harmony, rhythm, dynamics, texture, color (timbre), form, text setting, and so on
• How does the work compare with other works in the listening assignment (especially those in the same genre)?
• What features of the work are unique or unusual?
• For this encounter, pay special attention to:
  • The increasing use of text depiction and text expression in both sacred and secular late Renaissance music. Identify specific techniques used to express the text!
  • Stylistic changes and new genres associated with the Reformation and Counter-Reformation.
  • Similarities and differences between the three main genres of the late Renaissance: Mass, motet, and secular works (madrigal, chanson, and so on).
  • Techniques favored in the late Renaissance to link the movements of cyclic Masses.
  • Style features associated with each phase of the Italian madrigal: early 16th century madrigals, classic madrigals, and late 16th century madrigals.

In some cases, additional Study Questions below will draw attention to particularly interesting, unique features of particular works. These Study Questions, NAWM scores, and recordings together will help you prepare for the Early Renaissance Quiz. They require no written report.

Listening List

Before you listen, do the Burkholder readings above to familiarize yourself with late Renaissance genres and style features. Focus especially on Burkholder, Chapter 10, to learn about the style features and composers associated with each phase of the madrigal’s development. Challenge yourself to identify these features when you listen to these works. As always with any NAWM work, you really want to read the NAWM notes, listen to the recording, and follow the score.

16th Century Madrigal & Song

The Renaissance Madrigal

Before you listen to group C, read the following items from the Readings list above:

• Burkholder, J. Peter, A History of Western Music, 8th edition
•  Chapter 10: Madrigal and Secular Song in the Sixteenth Century, pp. 205-228
• Weiss, Piero and Richard Taruskin, eds., Music in the Western World: A History in Documents (RESERVE)
• Madrigals and Madrigalism, editor’s introduction on pp. 143-144, Morley’s translation (in his 1597 Plaine and Easie Introduction to Musick) of an excerpt from Zarlino’s Istitutioni harmoniche (c. 1580) on pp. 144-145

The Early Renaissance Madrigal

A1) NAWM 47—Jacob Arcadelt, Il bianco e dolce cigno (Early Italian madrigal)

The Classical (Middle) Renaissance Madrigal

A2) NAWM 48—Cipriano de Rore, Da le belle contrade d’oriente (Classical Italian madrigal)

The Late Renaissance Madrigal

A3) NAWM 49—Luca Marenzio, Solo e pensoso (Late Italian madrigal)

A4) NAWM 50—Carlo Gesualdo, “Io parto” e non più dissi (Late Italian madrigal)

A5) Concerto delle donne CD (Blackboard RESERVE)—MCD H654E

• Luzzascho Luzzaschi, Non sa che sia dolore (Later Italian madrigal)—track 3
• See Encounter Listening in the Assignment Resources module.

The English Madrigal

A6) NAWM 55b—Thomas Morley, Sing we and chant it (English ballett)

A7) NAWM 56—Thomas Weelkes, As Vesta was (English madrigal)

Study Questions on group A:

1. For each madrigal above: How does the music express the words? What is the overall mood? What are the important style features? What are the important differences between early, midcentury, later Italian, and English madrigals? Consider things like texture, form, text setting, rhythm, chromaticism, dissonance, and number of voices.
2. Which of the late Italian madrigals provide especially striking examples of text depiction or expression? of chromaticism? of virtuoso vocal techniques? of the use of instruments? Where?
3. Which of the features described by Zarlino and Morley (in the Weiss & Taruskin Madrigals and Madrigalism reading) can you hear in these madrigals? Where?
4. How do English madrigals differ from Italian ones (besides the language!)? Which phase of the Italian madrigal does this English madrigal most closely resemble: early, midcentury, or late?

Other 16th Century Secular Songs

Spain—The Villancico

B1) NAWM 46—Juan del Encina, Oy comamos y bebamos (Villancico)

France—The Chanson

B2) NAWM 51—Claudin de Sermisy, Tant que vivray (Parisian chanson)

B3) NAWM 52—Clément Janequin, Martin menoit son pourceau (Parisian chanson)

B4) NAWM 53—Orlande de Lassus, La nuict froide et sombre (Chanson)

B5) NAWM 54—Claude Le Jeune, Revecy venir du printans (chanson—vers mesuré)

England—The Lute Song

B6) NAWM 57—John Dowland, Flow, my tears (English lute song or air)

Study Questions on group B:

1. How are these French chansons (B2-B5) similar to and different from the Josquin chansons from Encounter 3?
2. Can you find good examples of text depiction or expression in any of these songs? Where?

Reformation & Counter-Reformation

The Reformation and Music

Before you listen to group A, look at the following items from the Readings list above:

• Burkholder, J. Peter, A History of Western Music, 8th edition
•  Source Reading, Martin Luther on Congregational Singing (p. 232)
•  Source Reading, Jean Calvin on Singing Psalms (p. 238)
• Weiss, Piero and Richard Taruskin, eds., Music in the Western World: A History in Documents (RESERVE)
• Luther and Music: introductory material on pp. 100-101 and the section on parody (or contrafactum) on pp. 105-07
• The Reformation in England: introductory notes and the Lincoln Cathedral injunction on the bottom of p. 109
• Tomlinson, Gary, ed., Strunk’s Source Readings in Music History, rev. ed., Vol. 3: The Renaissance (RESERVE)
• Martin Luther, Wittemberg Gesangbuch, Foreword, pp. 83-84

C1) NAWM 58—Martin Luther, Nun komm, der Heiden Heiland & Ein’ feste Burg (Chorales)

• a) Attributed to St. Ambrose, Veni redemptor gentium (Latin hymn)
• b) Martin Luther, Nun komm, der Heiden Heiland (German chorale)
• c) Martin Luther, Ein’ feste Burg (German chorale)
• d) Johann Walter, Ein’ feste Burg (setting for four voices)

C2) NAWM 59—Loys Bourgeois, Psalm 134 (Or sus, serviteurs du Seigneur)

• a) Psalm 134, Or sus, serviteurs du Seigneur (Metrical psalm)
• b) William Kethe, Psalm 100: All people that on earth do dwell (English metrical translation)

C3) NAWM 60—Thomas Tallis, If ye love me (Anthem)

C4) NAWM 61—William Byrd, Sing joyfully unto God (Full anthem)

Study Questions on group C:

1. What role did these works play in Protestant worship services?
2. How do C1 & C2 compare with the plainchant you listened to in Encounter 1?
3. How do the Tallis anthem and the Byrd full anthem compare with the Catholic Masses and motets you listened to in Encounter 3 (by Josquin & others)?
4. How do the readings above (from the textbook, Strunk, and Weiss & Taruskin) help you better understand what was going on in the Reformation?

The Counter-Reformation

Before you listen to group D, read the following items from the Readings list above:

• Tomlinson, Gary, ed., Strunk’s Source Readings in Music History, rev. ed., Vol. 3: The Renaissance (RESERVE)
• Giovanni Pierluigi da Palestrina, Second Book of Masses, Dedication, pp. 95-96
• Weiss, Piero and Richard Taruskin, eds., Music in the Western World: A History in Documents (RESERVE)
• The Life of the Church Musician: introductory material on the bottom half of p. 127 and an excerpt from Zarlino’s Le istituzioni musiche (the paragraph that begins “A singer should also not force”) at the bottom of p. 128
• The Counter Reformation: introductory material, the excerpt from a letter by Cirillo Franco on pp. 135-137, and the Council of Trent’s 1562 decree on church music on p. 137

Zarlino’s paragraph (1558) describes the ideal sound vocalists should make in singing for church, while Cirillo (1549) complains of singers and composers who violate good taste. The 1562 decree of the Council of Trent lays out their concerns and recommendations for music in the Catholic church. Finally, in his dedication to the 1567 publication that included his Missa Papae Marcelli (E below), Palestrina notes the ways he has paid attention to the decree of that Council (“most serious and most religious-minded men”).

D1) NAWM 63—Giovanni da Palestrina, Pope Marcellus Mass (Counter Reformation Mass)

• a) Credo (excerpt)
• b) Agnus Dei I
• Alternate Recording: RESERVE MCD T149B—The Best of the Renaissance—CD 2, tracks 6 & 8
• Alternate Recording: Naxos Music Library 8.550573—Palestrina, Missa Papae Marcelli—tracks 3 & 5
• Alternate Recording: Classical Music Library—Palestrina, Missa Papae Marcelli (The Sixteen, cond. Christophers)

D2) NAWM 64—Tomás Luis de Victoria, Works on O magnum mysterium

• a) O magnum mysterium (Motet)
• Alternate Recording: Classical Music Library—Victoria, O magnum mysterium (Choir of Westminster Cathedral, cond. Hill)
• Missa O magnum mysterium (Imitation Mass)
• b) Missa O magnum mysterium: Kyrie
• c) Missa O magnum mysterium: Gloria
• d) Missa O magnum mysterium: Sanctus
• Alternate Recording: Classical Music Library—Victoria, Missa O magnum mysterium (Choir of Westminster Cathedral, cond. Hill)

D3) NAWM 65—Orlande de Lassus, Cum essem parvulus (Motet)

Study Questions on group D:

1. Do these performances come close to Zarlino’s ideal, or do they sound more like Cirillo’s description?
2. Are there clear examples of text depiction or expression in any of these works? Which ones? Can you hear any stylistic differences between these composers? Which examples seem most expressive? Why?
3. Which movement of Palestrina’s Mass best addresses the concerns of the Council of Trent and Cirillo Franco: Credo or Agnus Dei? Which style features of the “new manner” (mentioned by Palestrina in his dedication) can you hear?
4. Do the works by Victoria & Lassus also reflect the changes requested by the Council of Trent? Do either of them seem to ignore the Council’s decrees? Which style features reflect the changes requested by the Council of Trent? Which do not?

1. Compare the works above to the Masses and motets you listened to in Encounter 3. Which specific works are most similar? Which ones differ the most? What are the similarities and differences (consider elements such as texture, text expression, and so on). Which changed music the most, the Reformation or the Counter-Reformation?

Extra Credit Listening Ideas—

• MCD H654E—English and Italian Renaissance Madrigals (Hilliard Ensemble)
• Disc One of this two-CD set contains many early and classical Italian madrigals by Arcadelt, Verdelot, Compère, Willaert, Rore, Marenzio, & Lasso; Disc Two features English madrigals by Morley, Weelkes, Wilbye, Gibbons, and others
• MCD D489 1998—Development of Western Music recordings (DWMA), 3rd edition, Volume I, CD2-CD3
  • DWMA 62—Cristóbal de Morales, Emendemus in melius (Motet)—CD3, track 7
  • DWMA 70—Clément Janequin, À ce joly moys de may (Chanson)—CD3, track 15
  • DWMA 74a—Hans Leo Hassler, Mein G’müth ist mir verwirret (Lied)—CD3, track 19
  • DWMA 81—Giovanni Gabrieli, Sonata pian’ e forte (Sonata)—CD 3, track 27
• MCD B995g—Byrd, The Great Service (Tallis Scholars)
• VIDEO 782.26 L784—The Tallis Scholars: Live in Rome DVD
• This superb DVD contains recordings of Palestrina’s Missa Papae Marcelli (Pope Marcellus Mass) and several of his motets
• MCD T149B—The Best of the Renaissance (Tallis Scholars)
• This two-CD set contains complete recordings of Palestrina’s Missa Papae Marcelli (Pope Marcellus Mass) and Byrd’s Mass for Five Voices as well as motets by Tallis, Lobo, Gesualdo, Taverner, and Cardoso
• MCD G118m—G. Gabrieli, Music for San Rocco (Gabrieli Consort)

Naxos Music Library

• GCD 920919—Luzzaschi, Madrigali ... per cantare e sonare
• GCD 920922—Monteverdi, Secondo Libro dei Madrigali
• 8.550573—Palestrina, Missa Papae Marcelli & Missa Aeterna Christe munera
• 8.550836—Palestrina and Lassus, Masses
• 8.550842—Lassus, Masses for Five Voices & Infelix ego
• 8.550575—Victoria, Masses