西 音 史 筆 記
－第１０章－
time of day
Lutheran Church
創辦人：Martin Luther (德fly的过去式)
The Lutheran Chorale
Originally：有metric﹐rhymed﹐strophic poem and a melody in simple rhythm
sung in unison﹐without harmonization or accompaniment﹐
由集會的人所唱
Now：in four-part harmonized ttings
chorales來源：
1. Gregorian chant的改編
2. German devotional songs
3. 世俗歌曲配上新的歌詞－Contrafactum
4. 新的創作
Polyphonic Chorale Settings
Served two purpos：
1. Group singing in homes and schools
2. Performance in church by choirs
早期－Chorale motet：
Chorale用16th motet的風格, 旋律在tenor
晚期－Chorale motet：
Chorale用Choral homophony, 旋律在最高聲部, 用和絃伴奏
Cantional style
早期－in tenor
晚期－安置chorales with the tune在高聲部
accompanied by block chords with little contrapuntal figuration﹒
After its u in chorale collections called Cantionale(Latin for ‘songbook’)
Calvinist Churches
創辦人：Calvin (Geneva)
metrical psalms
Metric﹐rhymed﹐strophic translations of psalms in the vernacular that were t to
newly compod melodies or tunes adapted from chant﹒
Published in collections called jungle是什么意思psalter﹒
Church in England
Taverner：16世紀早期英國世俗音樂的領導者
Mass and motets for long melismas﹐full texture﹐and cantus-firmus
structures﹒
Talliskortney kane：Latin mass and hymns﹐English rvice music﹐其他是訴作品反映在英
國的宗教和政治上的動亂
prevented
Anglican music 基本的兩個形式
1. The Service：
music for certain portions of Matins, Holy Communion﹐and Evensong﹒
a讽刺英文 Great Service–a countrapuntal and melismatic tting of the portions﹒
a Short Service–ts the same texts﹐but in a syllabic﹐chordal style﹒
2. The anthem：
Corresponds to a Latin motet﹒
A polyphonic work in English﹐usually sung by the choir near the end of Matins or
Evensong﹒
Set texts from the Bible or Book of Common Prayer.
Two main type：
1. full anthem–for unaccompanied choir in contrapuntal style
2. ver anthem–employs one or more solo voices with organ or viol
accompaniment﹐alternating with passages for full choir doubled
by instruments﹒
William Byrd
Sing joyfully unto God
1. Full anthem for six voices﹐points of imitation﹐homophonic declamation﹒
2. The imitation often with changes of interval and rhythm
Catholic church－1. Adrian Willaert 2. Nicolas Gombert 3. Jacobus Clemens
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polyphonic works的調性更清楚
高中语文必背文言文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. Imitation mass較常見
6. Chant melodies, freely through paraphra in all voices﹒
Giovanni Pierluigi da Palestrina (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
stile antico古老風格－巴洛克時期作曲家用來稱呼Palestrina的風格。
Counterpoint books from Johann Joph Fux’s Gradus ad Parnassum to recent
texts have aimed at guiding young compors to recreate this style﹒
Orlando di Lasso(德)
1. Franco-Flemish compors﹒
2. 寫很多世俗歌曲
3. 擁護emotional expression & the depiction of text through music﹒
4. motet：(1)華麗的 (2)pictorial (3)dramatic
yuin5. Tristis est anima mea：
words：(1)rhythms (2)accents (3)contours of the musical motives
music：(1)harmonic effects (2)textures (3)suspensions (4)points of imitation
(5)the weight and placement of cadences﹒
西 音 史 筆 記
－第１１章－
Spain
Villancico
1. the most important form of cular polyphonic song in Renaissance﹒
2. the texts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) a refrain<estribillo>
(2) one or more stanza<coplas>
(3) the stanzas begin with a new ction<celebratesmudanza>
(4) conclude with a retuen to the music of the refrain<vuelta>
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. the first Spanish playwright﹐was a leading compor﹒
2. Oy comamosy bebamos
simple in melody and harmony﹐with dancelike rhythms by hemiolas﹒
Italy
Frottola
1. Italian counterpart of villancico
2.特色：(1) four-part strophic song t syllabically and homophonically
(2)旋律在最高聲部
(3) marked rhythmic patterns
(4) simple diatonic harmonies
3. social tting：
(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)﹒
counterattackMarco Cara
Io non compro piu speranza
16th義大利Madrigal(1530~1638)
1. cular genre of 16th Italy﹒
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
