HMU111H1 Lecture Notes - Lecture 9: Nicola Vicentino, Luca Marenzio, Carlo Gesualdo

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Published on 1 Apr 2016
School
UTSG
Department
Ethnomusicology
Course
HMU111H1
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Document Summary

Italy remained most inluential region of europe from 1700-1800. Baroque: from portuguese barocca misshapen pearl. Renaissance to baroque: renaissance symmetrical, framed, contained, baroque theatrical, movement. Music should move the listener and act on the emotions. Italian musicians: new idioms: basso continuo, monody, recitative, new styles: unprepared dissonance and solo voice/instrument, supporting bass line, new genres: opera. Ferrara reviving chromaticism, experimentation, enharmonic tetrachords (four pitches within span of perfect 4th) Nicola vicentino: theorist and instrument builder built piano with up to 3 keys/key. Wide range of feelings, continuing eforts of 16th century madrigal. Through-composed setting of a short poem with lines of 7 and 11 syllables. Chromaticism expressed intense emotions in vocal works, suggested harmonic exploration in instrumental pieces, created distinctive subjects for treatment in imitative counterpoint. Luca marenzio: solo e pensoso (1590: madrigalisms (5 voices, word painting/imagery, striking rising chromatic soprano lines.

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