Medieval and Renaissance Riches: Overlooked Early Music for Small Ensembles
Identifieur interne : 000B03 ( Istex/Corpus ); précédent : 000B02; suivant : 000B04Medieval and Renaissance Riches: Overlooked Early Music for Small Ensembles
Auteurs : Terence J. O'GradySource :
- Music educators journal [ 0027-4321 ] ; 1978-11.
English descriptors
- Teeft :
- American institute, Collegium musicum, Decorative title pages, Dover publications, Early music, Fourteenth century, French text, Galaxy music corporation, Genre, Gilles binchois, Guillaume dufay, Instrumental ensembles, Lorenzo, Machaut, Medieval music, Middle ages, Modern ears, Music sacra, Music sources, Musica, Musica edition, Musica sacra, Norton company, Original manuscripts, Profana, Renaissance music, Repertoire, Sacrum, Secular works, Title page, Voices instruments, Yale university.
Abstract
The author is assistant professor of creative communication at the University of Wisconsin-Green Bay. The engraving on the facing page is Israhel van 1's Lute Player and Harpist. Photo B-20, 631 courtesy of the National Gallery of Art, Washington, D.C., Rosenwald Collection.
Url:
DOI: 10.2307/3395592
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ISTEX:42418B33675C11BC5A04ECDBD0BC3242437BEB1BLe document en format XML
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<pub-date pub-type="ppub"><month>11</month><year>1978</year></pub-date><volume>65</volume><issue>3</issue><fpage>32</fpage><lpage>37</lpage><abstract>
<p>The author is assistant professor of creative communication at the University of Wisconsin-Green Bay. The engraving on the facing page is Israhel van 1's Lute Player and Harpist. Photo B-20, 631 courtesy of the National Gallery of Art, Washington, D.C., Rosenwald Collection.</p>
</abstract><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> Medieval and Renaissance Riches: Overlooked Early Music for Small Ensembles Music composed i before the time of Bach is too often considered to be obscure and difficult by even the most enthusiastic devotees of the standard repertoire. We have become so used to a diet of eighteenth- and nineteenth-century music, with an occasional excursion into the seventeenth or early twentieth century to demonstrate liberalism, that we tend to dismiss earlier music as unplayable or inaccessible simply because we seldom get a chance to play or hear it, save for the recordings and tours of such groups as the New York Pro Musica. We often take the somber religious works of Palestrina, Orlandus Lassus, and perhaps Jos-quin des Pres as representative of the entire body of medieval and Renaissance music. To be sure, the works of these sober contrapuntal-ists constitute a large and important portion of the pre-Baroque tradition. But there also exists a rich and lively repertoire of secular music from the Middle Ages and the Renaissance, unjustly neglected by directors of small vocal and instrumental ensembles. To suggest that these works provide no problems for modern performers would be naive. The absence of a strong metric pulse, the strangely syncopated rhythms, and the almost frightening independence of parts pose considerable challenges for instrumentalists. Singers must cope in addition with the problems of vocal production in early music. Ico-nographic evidence suggests a strained, probably nasal tone in which vibrato occurs only as an ornament (a similar tone quality has been suggested for instrumentalists as well). The frequent long melismas on a single syllable suggest that the voice should weave itself into the counterpoint in the detached and dispassionate manner of a viol or recorder. Neither this narrow concept of tone production nor this abstract and unemotional vocal posture is likely to be particularly attractive to singers used to nineteenth-century passion. Still, even though vibrato may never be purged completely and the unaccented metric subtleties of the music may never be completely mastered, early music offers an exciting opportunity for singers and instrumentalists to explore a largely unknown territory that offers many interpretive challenges without making excessive technical demands. 1 bertookb arlj Jteic for Terence J. 1'Grady The author is assistant professor of creative communication at the University of Wisconsin-Green Bay. The engraving on the facing page is Israhel van 1's Lute Player and Harpist. Photo B-20,631 courtesy of the National Gallery of Art, Washington, D.C., Rosen-wald Collection. mej/ 4______,i. i j ………-!! mej/ 33 Title page from Sylvestro di Ganassi dal 1's 1535 recorder instruction book, Opera Intitulata Fontegara. From Pictorial and Decorative Title Pages from Music Sources, edited by Gottfried S. Frankel, Dover Publications, Inc., 1968. Music of the early Middle Ages The earliest notated examples of Western music, such as Gregorian chant and the first types of organum, are usually ineffective in performance out of context. But the conductus of the twelfth and thirteenth centuries, a more homophonic and distinctively rhythmic genre written for two to four parts, is perfectly suitable for independent performance by voices and/or instruments. This flexibility is, of course, one of the beauties of medieval music. The top one or two lines may be sung while the bottom lines may be played by instruments such as recorder, lute, or guitar in the appropriate range. Such freedom was taken for granted by medieval musicians and should not be seen as taking liberties in any sense. The instrumental equivalent of the conductus, the estampie, is even more distinctively rhythmic and clearly dance-like in many cases, as one might expect from the title. Both genres may be accompanied by the use of percussion, preferably a subtle reinforcement of natural accents by hand drums and bells. The music of the trouveres, troubadors, and minnesingers also provides some fine literature for soloists and small ensembles. Much of this music consists of a single melody line that can be accompanied by a drone—a continuous reiteration of the tonic or possibly fifth note of the mode. These drones or “pedals” are not indicated in the original manuscripts, but performance tradition favors them, and many of the instruments used dur- ing the twelfth and thirteenth centuries feature drone strings or pipes, including hurdy-gurdies, vielles, and double recorders. Collections of monophonic melodies for instrumental use that benefit from the accompaniment of percussion and drones are also available. The fourteenth century An equally attractive if perhaps more sophisticated repertoire is to be found in the monophonic rondeaux and virelais of French composer and poet Guillaume de Machaut (c. 1300-77). These works, which also may be accompanied by a drone, exhibit a more flowing and generally less predictable contour than the songs of the trouveres and troubadors. On the other hand, the square, emphatic rhythms that give the songs of the German minnesingers their characteristic vigor are lacking. Machaut was also a prime contributor to the repertoire of two-part music. These works (virelais, rondeaux, and ballades) may be performed with two instruments or with an instrument on the bottom line only. Both parts are kept active, although the top line tends to carry the greater lyrical interest. The strange and beautiful dissonances that result from their interaction give this music a freshness that can awaken ears jaded by an overdose of common-practice harmony and workbook duets. The texts to the songs of Machaut and the troubadors are in Provengal and thus create performance problems, especially since trans- mej/ lations are not always readily available. Still, one can usually struggle through with a good modern French dictionary, making educated guesses in ambiguous situations. Since Italian is usually more familiar to the average singer, the two-part ballate of Francesco Landini (1325-97) provide an attractive alternative. His works are perhaps slightly less distinctive to modern ears than 1's in their treatment of dissonance, but they provide ample compensation in their energetic and active rhythms. Other fourteenth-century Italian genres that can prove quite appealing to modern audiences are the madrigal and the caccia. The early madrigal has little in common with the late sixteenth-century type other than its use of a ritornello, often in a contrasting meter. It demands a virtuoso technique capable of handling rapid and difficult rhythmic figures, and, for that reason, is probably performed more effectively by instruments than voices. An equally lively genre is the caccia, a programmatic work whose words usually describe a bustling or active scene such as a hunt, chase, or busy marketplace. It takes the form of a canon between the upper two voices, with a slower-moving third voice for accompaniment. Both the madrigal and caccia may be accompanied by percussion to increase the rhythmic excitement that these works so successfully generate. In keeping with the shorter note values, frequent repeated notes, and rhythmic distinctiveness of these works, a more detached and percussive style of articulation should be adopted, particularly when the upper voices are played by recorders. Both Machaut and Landini also wrote music of three and four parts. The availability of multiple parts, however, does not require that all parts be performed. It is quite acceptable, in a given work, to include the countertenor (a part moving in approximately the same range as the tenor or lowest voice) and omit the trip-lum or highest voice. The opposite is also permissible and sometimes more appropriate, depending on what instruments are available. Even the texted part, usually designated as the cantus, may be replaced by an instrument with lyric capabilities. In general, a clearly variegated timbral texture is desirable in medieval music. A combination of recorders, lutes or guitars, krumm-horns, and strings is not only justifiable but helpful in differentiating between the contrapuntal lines and in emphasizing the horizontal continuity that makes sense of the music. The cross-relationships and the passing dissonances must be heard as the natural consequence of the independent lines; a homogeneous instrumental grouping minimizes this necessary effect. Music of the Renaissance Moving closer to the Renaissance, we encounter the secular fifteenth-century Bur-gundian chansons of Guillaume Dufay (c. 1400-74) and Gilles Binchois (c. 1400-60). The basic texture of these works remains similar to that of 1's three- and four-part works: a suave, lyrical melody accompanied by slower-moving parts, usually played at a low dynamic level (although in 1's case the instrumental triplum often equals the cantus in activity if not in sustained lyrical in- From title page of Giorgio 1's 1582 edition of madrigals, Scelta di madrigali. From Pictorial and Decorative Title Pages from Music Sources, edited by Gottfried S. Frankel, Dover Publications, Inc., 1968. terest). The chansons may fail to surpass the works of Machaut in terms of purely sensuous appeal, but the predominantly consonant sonorities favored by Dufay and, to a lesser extent, by Binchois tend to fall more comfortably on modern ears. The extreme independence of 1's lines is here subjugated in favor of a more consistent, although certainly not tonal, harmonic structure. 1's cadences are recognizable as cadences by the modern listener, and his use of dissonance is offset by his tendency toward triadic-based euphony. Music of the sixteenth century presents few problems for a modern audience, particularly if the music is secular or influenced by the secular style. Although not tonal in the common-practice sense, Renaissance music is for the most part predictable in its treatment of dissonance and is therefore generally accessible to modern listeners. The sixteenth-century madrigal repertoire certainly requires no illumination here. But it should be pointed out that many madrigals may be performed as consort songs, that is, mej/ I VffiiSii-JtJLJ I From the title page of Elias Nikolaus 1's 1575 collection of instrumental transcriptions of contemporary songs, Bin New Kunst-lich Tabulaturbuch. From Pictorial and Decorative Title Pages from Music Sources, edited by Gottfried S. Frankel, Dover Publications, Inc., 1968. with some voices duplicated or replaced by instruments (preferably a matched rather than mixed consort) and with a lute or guitar playing all or as much of the often difficult lute part as possible. A rarely performed but attractive portion of the sixteenth-century repertoire is the group of dances and canzonas for instrumental ensembles published in the early part of the century by Petrucci and Attaingnant, with similar works appearing as late as the early seventeenth century (for example, 1's Terpsichore). These dances, usually grouped in sets, are generally brief, with clearly marked and lively rhythms. They are reasonably homophonic in texture and relatively easy to perform. Their lack of tonal and textur-al variety can be offset by a varied use of percussion accompaniment, which may include finger cymbals and triangles as well as small drums. The precise nature of appropriate percussion accompaniment is always open to conjecture, since percussion parts were never included in the original manuscripts. Performances by professional groups such as the New York Pro Musica are usually conservative in this respect, but recent recordings tend to favor a more aggressive use of percussion. This trend could, of course, be interpreted as a concession to popular taste rather than as evidence of scholarly research. Still, Renaissance music permits considerable freedom in its arrangements and interpretation, and a performance that allows a certain amount of spontaneity within reasonable limits is not necessarily inauthentic. The last group of works that should be mentioned are the sixteenth-century French chansons, a nationalistic genre characterized by vigorous rhythms and a quasi-imitative texture that often lapses into chordal homopho-ny. On the whole, these works are easier to perform than the more independently voiced madrigals. Both their rhythmic energy and the clarity of their harmonic progressions make them a promising source of repertoire, especially when doubled by a consort of matched instruments. New sounds in old music This survey of mostly secular works from the Middle Ages and the Renaissance is not meant to be all-inclusive. It represents no 1'than a subjective compilation of some of the most performable genres of early music that tend to be overlooked. The current trend for seeking out ethnic musics as a means of broadening the aesthetic experience of students and providing them with a standard of comparison is certainly worthwhile. And yet it would be unwise to forget the significance of the Western music heritage in the process. Like ethnic music, early Western music provides singers and instrumentalists with opportunities to play together in a way that is distinctively different from that usually encountered in conventional music study. It offers a style in which old elements seem refreshingly “new” but which requires little specialized vocabulary for study or performance. Given sufficient opportunity, the most jaded of students cannot help but recognize the fresh beauties of this timeless music. mej/ Selected List of Published Collections of Early Music The following list is a selection of some of the major collections of early music currently available in modern editions. Other collections and individual works are available from such publishers as the American Institute of Musicology; A-R Editions, Inc.; Bel win-Mills Publishing Corp.; Breitkopf and Hartel; Broude Bros., Inc.; Music Press, Inc.; E. C, Schirmer Music Company; Schott & Co., Ltd.; Stainer & Bell; and Summy-Birchard Co. Genres Performing editions: Brown, Howard Mayer, ed. Chansons for Recorders. American Recorder Society Editions. New York: Galaxy Music Corporation, 1964. (ATTB with voice ad lib) ______Thirty Chansons (from 1's Quarante et deux chansons musicales a trois parties, 1529). The Parisian Chanson, vol. 10, London Pro Musica Edition. New York: Galaxy Music Corporation, 1977. (three voices or instruments) Harriman, Ralph, ed. Italian Caccias of the 14th Century, Volume 1. San Lorenzo, California: Music Sacra et Profana, n.d. ______Italian Duets of the 14th Century, Volume 1. San Lorenzo, California: Music Sacra et Profana, n.d. Hettrick, William E., ed. Thomas Simpson: Dances for Recorder Quintet. American Recorder Society Edition. New York: Galaxy Music Corporation, 1971. Hopkins, Bernard, ed. Elizabethan Songs, Volume 1. San Lorenzo, California: Musica Sacra et Profana, n.d. (four voices and/or instruments) Morrow, Michael, ed. Italian Dances of the Early 16th Century. London Pro Musica Edition. New York: Galaxy Music Corporation, 1976. Thomas, Bernard, ed. Claude Gervaise: Cin-quiesme Livre de Danceries (1550). The At-taingnant Dance Prints, vol. 5, London Pro Musica Edition. New York: Galaxy Music Corporation, 1972. . Four Instrumental Pieces of the Late Fifteenth Century. London Pro Musica Edition. New York: Galaxy Music Corporation, 1973. Scholarly/collected editions: Gennrich, Friedrich, ed. Troubadors, Trou-vers, Minnesang und Meistersang. Cologne, Germany: Arno Volk Verlag, 1960. Knapp, Janet, ed. Thirty-Five Conductus for Two and Three Voices. Collegium Musi-cum, no. 6. New Haven, Connecticut: Yale University, 1965. Marrocco, W. Thomas, ed. Fourteenth-Century Italian Cacce, 2nd ed., rev. Cambridge, Massachusetts: Mediaeval Academy of America, 1961. Seay, Albert, ed. Thirty Chansons for Three and Four Voices from 1's Collections. Collegium Musicum, no. 2. New Haven, Connecticut: Yale University, 1960. Composers Performing editions: Harriman, Ralph, ed. Guillaume Dufay: Volume I, Four Four-Part Works. San Lorenzo, California: Musica Sacra et Profana, n.d. (varied instruments with French text) ______Guillaume de Machaut: Volume I, Four Chansons. San Lorenzo, California: Musica Sacra et Profana, n.d. (varied three-part instruments with French text) ______. Guillaume de Machaut: Volume II, Four Three-Part Pieces. San Lorenzo, California: Musica Sacra et Profana, n.d. (varied instruments with French text) Hopkins, Bernard, ed. Dufay: Three Sacred and Three Secular Works. San Lorenzo, California: Musica Sacra et Profana, n.d. (ATT instruments with texts in Latin, French, and English) ______Gilles Binchois: Chansons 1'Amour, Volume I. San Lorenzo, California: Musica Sacra et Profana, n.d. (SAT instruments with French text) —____Gijles Binchois: Chansons 1'Amour, Volume II. San Lorenzo, California: Musica Sacra et Profana, n.d. (varied instruments with French text) Scholarly/collected editions: Besseler, H., ed. Guillaume Dufay: Opera Omnia. Rome: American Institute of Musicology in Rome, 1947-66. Schrade, Leo, and Harrison, Frank LL, eds. Polyphonic Music of the Fourteenth Century. Monaco: Editions de 1'Oiseau-Lyre, 1956. (Machaut, vols. 2-3; Landini, vol. 4) Anthologies Davison, Archibald T., and Apel, Willi, eds. Historical Anthology of Music. Rev. ed. Cambridge, Massachusetts: Harvard University Press, 1950. Hoppin, Richard H., ed. Anthology of Medieval Music. New York: W. W. Norton & Company, Inc., 1978. Marrocco, W. Thomas, and Sandon, Nicholas, eds. Medieval Music. London: Oxford University Press, 1977. Parrish, Carl, ed. A Treasury of Early Music. New York: W. W. Norton & Company, Inc., 1958. Parrish, Carl, and Ohl, John F., eds. Masterpieces of Music Before 1750. New York: W. W. Norton & Company, Inc., 1951. </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Medieval and Renaissance Riches: Overlooked Early Music for Small Ensembles</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Medieval and Renaissance Riches: Overlooked Early Music for Small Ensembles</title></titleInfo><name type="personal"><namePart type="given">Terence J.</namePart><namePart type="family">O'Grady</namePart></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1978-11</dateIssued><copyrightDate encoding="w3cdtf">1978</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract lang="en">The author is assistant professor of creative communication at the University of Wisconsin-Green Bay. The engraving on the facing page is Israhel van 1's Lute Player and Harpist. Photo B-20, 631 courtesy of the National Gallery of Art, Washington, D.C., Rosenwald Collection.</abstract><relatedItem type="host"><titleInfo><title>Music educators journal</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1978</date><detail type="volume"><caption>vol.</caption><number>65</number></detail><detail type="issue"><caption>no.</caption><number>3</number></detail><extent unit="pages"><start>32</start><end>37</end></extent></part></relatedItem><identifier type="istex">42418B33675C11BC5A04ECDBD0BC3242437BEB1B</identifier><identifier type="ark">ark:/67375/M70-15XND62Z-V</identifier><identifier type="DOI">10.2307/3395592</identifier><identifier type="ArticleID">10.2307_3395592</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/42418B33675C11BC5A04ECDBD0BC3242437BEB1B/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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