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Transcript of week11.1
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Josquin Deprez: Ave Maria
this composition (motet) was one of the best-known
this motet was written during the 1470s or early 1480s
it has been reproduced and discussed so often that it has been referred as ”Mona lisa of Renaissance music”
this piece can served as a example for the characteristic of Renaissance musical style
use pervading imitation in the beginning
pervading imitation: all voices sing the same melodic material in sequence. Voices enter one by one at points of imitation and sing the same melodic material although they begin at different pitch levels
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Middle Age Renaissance Texture Voices moving at
different speedAll voices equally important; pervading imitation is important
Rhythm Use rhythmic mode
Steady pulse, balanced and evenly flowing
Melody Often angular, not smooth melodic line
Lyrical and less use of preexistent melody
Harmony Octave, fifth, and fourths are consonant
Thirds and sixths considered consonant, limited and controlled use of dissonance
Form Cantus Firmus structure, Form fixes, isorhythm
Used Cantus Firmus structure, Form fixes, isorhythm until ca. 1490; after that used chansons and motets
Instrumentation Very limited music for instruments alone; with flexibility in doubling voices
A cappella (voice only) is main genre with the option of instruments doubling vices. Vocal and instrumental passages are interchangeable
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Secular Music
เพลงนอกวัด หรื�อ เพลงฆารืวัาส
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Chansonabandoned fomes fixes เล�กใช้� fomes fixes
use strophic text and simple 4-5 line poems ใช้�เน��อรื�องซ้ำ��าๆ และใช้�บทกลอนท��ส �น 4-5 บรืรืทด
four or even five voices instead of three voices มี� 4-5 แนวัเส�ยงแทน 3 แนวัเส�ยง
all voices are meant to be sung ท"กแนวัเส�ยงแต่$งส�าหรืบรื�อง
all parts are equal ท"กแนวัเส�ยงมี�ควัามีส�าคญเท$ากน
the texture consists of both imitation and homophony มี�การืใช้� texture ท�งแบบ imitation และ homophony
Example of new style chanson: # Josquin’s Mille regretz
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Frottola frottola poetry tends to be lighthearted (cheerful) and
often sarcastic or ironic (contrast of chanson poetry of courtly love) บทกลอนของ frottola น�นมี�เน��อหาท��สน"กสนาน และบางครื�งก(เส�ยดส� ปรืะช้ดปรืะช้น ซ้ำ*�งต่รืงกนข�ามีกบ chanson ท��บทกลอนมี�เน��อหาเก��ยวักบควัามีรืก
avoid using imitation and contrapuntal หล�กเล��ยงการืใช้� imitation และ conterpoint
use chordal texture and lively, dance-like rhythm ใช้� texture ท��เป+น chord และมี�จังหวัะท��สน"กสนาน คล�ายเพลงเต่�นรื�า
frequent use of syncopation and hemiola: a passage of duple-meter rhythms within a triple-meter context มี�การืใช้� syncopation และ hemiola: การืแต่$งจังหวัะแบบอต่รืาจังหวัะสองใน เพลงท��มี�อต่รืาจังหวัะสามี
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Hemiola
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Frottola
harmonic progression: I-IV-V-I ใช้�ทางเด�น chord I-IV-V-I
could performed entirely vocally, entirely by instruments, or combination of voices and instruments Frottola สามีารืถแสดงโดยรื�องท�งเพลง หรื�อ โดยเครื��องดนต่รื�ท �งเพลง หรื�อผสมีรืะหวั$างรื�องกบเครื��องดนต่รื�
many frottole were composed for solo voice and lute or for keyboard alone เพลง frottola หลายๆ เพลงจัะแต่$งส�าหรืบรื�องเด��ยวักบล0ท หรื�อ ส�าหรืบ keyboard เพ�ยงอย$างเด�ยวั
Example #44: Josquin El grillo (the cricket) chordal texture, sometimes antiphonal: music that sung or played alternately by two groups (mm.11-14)
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Renaissance instruments
เครื��องดนต่รื�ในย"คสมียฟื้2� นฟื้0ศิ�ลปวั�ทยาการื
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Keyboard
Organ: the organs expanded in size, range of pitches, number of pipes, and variety of timbres through out the Renaissance period
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The portative (portable) organ: was popular for use in the home
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The clavichord: developed from monochord in the early 15th century
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The harpsichord: emerged in the late 14th century, consist of single manual, four octaves
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Stringed Instruments เครื��องสาย
Lute: the most common plucked stringed instrument in the Renaissance, the early one had 4-5 strings, the standard on had 6 strings
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The viol: viol emerged in Spain during the late 15th century: had flat back, fretted fingerboards, six strings. Two types: a viol da braccio (viol of the arm) , a viol da gumba (viol of the leg)
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The violin families: slower to develop, the earliest violin was seen in the middle of 16th century in Cremona by Andrea Amati
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Winds
Recorder: the earliest dates from the late 14th century
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Shawm and crumhorn: the principal double-reed instruments throughout the Renaissance
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Slide trumpet
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Percussion
Drums, cymbals, tambourines, triangles, wooden xylophones
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Music Printing การืพ�มีพ4โน5ต่ดนต่รื�
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Gutenberg Press
แท$นพ�มีพ4ของก0เทนเบ�รื4ก
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Music Printing: The publisher Ottaviano Petrucci
printing of polyphonic music began in early 16th century by Ottaviano Petrucci of Venice (1466 - 1539)
การืต่�พ�มีพ4โน�ต่ดนต่รื�หลายแนวัเส�ยงเรื��มีมี�ในช้$วังต่�นศิต่วัรืรืษท�� 16 โดย Ottaviano Petrucci of Venice (1466 – 1539)
Ottaviano Petrucci printed his music in three steps: 1. The staves 2. The under laid text 3. The notes
ข�นต่อนการืพ�มีพ4โน�ต่ดนต่รื�ของ Ottaviano Petrucci มี� 3 ข�นต่อน ดงน�� 1. พ�มีพ4บรืรืทด 5 เส�น 2. พ�มีพ4เน��อรื�อง 3. พ�มีพ4ต่วัโน�ต่
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Music Printing: The publisher Ottaviano Petrucci
The first music collection by Petrucci titled “Harmonice musices odhecaton A” (Hundrend Songs of Polyphonic Music) was issued in 1501. Consists of 3-4 voices chansons and a few motets
หนงส�อรืวัมีเพลงเล$มีแรืกของ Petrucci ช้��อ “Harmonice musices odhecaton A” (Hundrend Songs of Polyphonic Music) พ�มีพ4ข*�นในป7 1501 หนงส�อเพลงเล$มีน��ปรืะกอบด�วัยเพลง Chanson ท��มี� 3-4 แนวัเส�ยง และ motet 2-3 บทเพลง
Petrucci was important in establishing the business of music publishing
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Renaissance notation: Mensural notation
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Neumatic notation