西音史笔记.docx
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西音史笔记.docx
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西音史笔记
西音史筆記
-第10章-
LutheranChurch
創辦人:
MartinLuther(德)
TheLutheranChorale
Originally:
有metric﹐rhymed﹐strophicpoemandamelodyinsimplerhythm
sunginunison﹐withoutharmonizationoraccompaniment﹐
由集會的人所唱
Now:
infour-partharmonizedsettings
chorales來源:
1.Gregorianchant的改編
2.Germandevotionalsongs
3.世俗歌曲配上新的歌詞-Contrafactum
4.新的創作
PolyphonicChoraleSettings
Servedtwopurposes:
1.Groupsinginginhomesandschools
2.Performanceinchurchbychoirs
早期-Choralemotet:
Chorale用16thmotet的風格,旋律在tenor
晚期-Choralemotet:
Chorale用Choralhomophony,旋律在最高聲部,用和絃伴奏
Cantionalstyle
早期-intenor
晚期-安置choraleswiththetune在高聲部
accompaniedbyblockchordswithlittlecontrapuntalfiguration﹒
AfteritsuseinchoralecollectionscalledCantionale(Latinfor‘songbook’)
CalvinistChurches
創辦人:
Calvin(Geneva)
metricalpsalms
Metric﹐rhymed﹐strophictranslationsofpsalmsinthevernacularthatweresetto
newlycomposedmelodiesortunesadaptedfromchant﹒
Publishedincollectionscalledpsalter﹒
ChurchinEngland
Taverner:
16世紀早期英國世俗音樂的領導者
Massesandmotetsforlongmelismas﹐fulltexture﹐andcantus-firmus
structures﹒
Tallis:
Latinmassesandhymns﹐Englishservicemusic﹐其他是訴作品反映在英
國的宗教和政治上的動亂
Anglicanmusic基本的兩個形式
1.TheService:
musicforcertainportionsofMatins,HolyCommunion﹐andEvensong﹒
aGreatService–acountrapuntalandmelismaticsettingoftheseportions﹒
aShortService–setsthesametexts﹐butinasyllabic﹐chordalstyle﹒
2.Theanthem:
CorrespondstoaLatinmotet﹒
ApolyphonicworkinEnglish﹐usuallysungbythechoirneartheendofMatinsor
Evensong﹒
SettextsfromtheBibleorBookofCommonPrayer.
Twomaintype:
1.fullanthem–forunaccompaniedchoirincontrapuntalstyle
2.verseanthem–employsoneormoresolovoiceswithorganorviol
accompaniment﹐alternatingwithpassagesforfullchoirdoubled
byinstruments﹒
WilliamByrd
SingjoyfullyuntoGod
1.Fullanthemforsixvoices﹐pointsofimitation﹐homophonicdeclamation﹒
2.Theimitationoftenwithchangesofintervalandrhythm
Catholicchurch-1.AdrianWillaert2.NicolasGombert3.JacobusClemens
手法:
1.小心使用不協和音程&注重各聲部的平等
2.四聲部擴展到五、六聲部(音域對比變大)
3.藉由終止式和旋律性的輪廓讓polyphonicworks的調性更清楚
4.大多都是2拍子﹐有時候加上簡短的對比性較大的3拍子passages
5.Imitationmass較常見
6.Chantmelodies,freelythroughparaphraseinallvoices﹒
GiovanniPierluigidaPalestrina(義)
Melody-long-breathed
豐富的節奏變化
旋律具歌唱性
級進進行少重複音
跳進後反向級進
有cambiata
一個聲部從不協和音程往下大跳至協和音程﹐然後再解決
stileantico古老風格-巴洛克時期作曲家用來稱呼Palestrina的風格。
CounterpointbooksfromJohannJosephFux’sGradusadParnassumtorecent
textshaveaimedatguidingyoungcomposerstorecreatethisstyle﹒
OrlandodiLasso(德)
1.Franco-Flemishcomposers﹒
2.寫很多世俗歌曲
3.擁護emotionalexpression&thedepictionoftextthroughmusic﹒
4.motet:
(1)華麗的
(2)pictorial(3)dramatic
5.Tristisestanimamea:
words:
(1)rhythms
(2)accents(3)contoursofthemusicalmotives
music:
(1)harmoniceffects
(2)textures(3)suspensions(4)pointsofimitation
(5)theweightandplacementofcadences﹒
西音史筆記
-第11章-
Spain
Villancico
1.themostimportantformofsecularpolyphonicsonginRenaissance﹒
2.thetexts通常是鄉村或流行的主題﹐為貴族們所寫作的
3.特色:
(1)short
(2)strophic(3)syllabic(4)homophonic
4.form:
(1)arefrain
(2)oneormorestanza
(3)thestanzasbeginwithanewsection
(4)concludewitharetuentothemusicoftherefrain
5.基本的旋律在最高聲部
6.其他的聲部由唱歌或是樂器表現
Encina
1.thefirstSpanishplaywright﹐wasaleadingcomposer﹒
2.Oycomamosybebamos
simpleinmelodyandharmony﹐withdancelikerhythmsbyhemiolas﹒
Italy
Frottola
1.Italiancounterpartofvillancico
2.特色:
(1)four-partstrophicsongsetsyllabicallyandhomophonically
(2)旋律在最高聲部
(3)markedrhythmicpatterns
(4)simplediatonicharmonies
3.socialsetting:
(1)寫一些模仿流行的歌給宮廷貴族們的娛樂
(2)流行於15世紀晚期&16世紀早期的義大利宮廷(Mantua﹐Ferrara﹐and
Urbino)﹒
MarcoCara
Iononcompropiusperanza
16th義大利Madrigal(1530~1638)
1.seculargenreof16thItaly﹒
2.寫給由男人和女人們組成的混和團體在社交即會場合唱
3.enrichthemeaningandimpactofthetextthroughthemusicalsetting:
(1)neweffectsofdeclamation
(2)imagery(3)expressivity
(4)characterization(5)dramatization
4.通常使用多種義大利的詩歌的形式﹐fromsonnetstofreeform﹒
5.text:
(1)由一個單獨的stanza加上一個7-or11-syllabiclines所組成﹐eithera
standardorfreerhymescheme﹒
(2)norefrainorrepeatedlines﹒
(3)典型的17this*through-composed﹒
*eachstanzaorotherunitofapoemissettonewmusic
6.theme:
love﹐sex﹐witthatcouldcharm﹐surprise﹐amuse﹐entertain﹒
早期:
開始有partbook;4聲部
Verdelot:
a)four-voice:
homophonic﹐withlineendingsmarkedbyleisurelycadences﹒
b)fiveorsixvoice:
motetlike﹐imitation﹐varyingvoice-groupings﹐and
overlappingpartsatcadences﹒
Arcadelt:
a)mixinghomophonywithoccasionalimitation
b)Ilbiancoedolcecigno
中期:
5聲部或6或已上聲部
Rore:
a)5聲部b)changesoftexture
c
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