Speaking strictly in musical terms, the English madrigal is the result of assimilation. The genre generally referred to as the English madrigal was borne of the Italian madrigal form. However, just as historians no longer refer to America as the cultural melting pot, rather a tossed salad. The English madrigal caused a blur of secular Italian forms including the villanelle alla napolitana, canzonetta, villanelle, villota, moresca, greghisca, and the giustiniana. Though a new genre was created, characteristics of their predisessors remain in tact
[...] p Linda Phyllis Austern, “Alluring the auditorie to effeminacie: Music and the idea of the feminine in early modern England,” Music And Letters August 1993, p William Lovelock, Music In Sixteenth Century England. Melbourne: Allans Music Australia Limited p. 26-32. Paula Johnson, Form and Transformation in Music and Poetry of the English Renaissance. New Haven: Yale University Press 104-105. Joseph Kerman, “William Grove Music Online, ed. Laura Macy (Accessed November 11, 2005), www.grovemusic.com. Lehman Engel, Renaissance To Baroque. “What is William Byrd, composer. [...]
[...] The term “ethical” madrigal has been coined and is usually reserved for describing works of Orlando Gibbons, however it can easily be applied to this work. The ethical madrigal has no great religious meaning, however its subject is often dealing with morals.[11] Thomas Morley, born in 1558, began his musical career as a chorister just like the majority of his predicessors and contemporaries. His careers included organist at St. Paul's cathedra and the last patent holder for the monopoly over music printing.[12] Despite the importance of these career highlights, and the fact he composed more than fifteen substantial keyboard pieces, Morley is most known for his collections and compositions of English ballets and madrigals.[13][14] Sing We And Chant It, by Morley, a completely homophonic madrigal employs a popular poem by Michael Drayton. [...]
[...] Macey, Laura, “Speaking of Sex: Metaphor and Performance in the Italian Madrigal,” Journal of Musicology 14. Winter 1996. Mason, Dorothy E., Music In Elizabethan England. Washington: Folger Shakespeare Library Morley, Thomas, Renaissance to Baroque- English Music. “Clorinda Flase, Adieu!” Edited by Lehman Engel. New York: Harold Flammer, Inc (Score). Morley, Thomas, Renaissance to Baroque- English Music. “Sing We and Chant Edited by Lehman Engel. New York: Harold Flammer, Inc (Score). Murphy, Catherine A., Thomas Morley Editions of Italian Canzonets and Madrigals. [...]
[...] “Shakespearina in a Thomas Weelkes Dedication from Musical Times 146.1892 (Autumn 2005), p Mark Even Bonds. Anthology of Scores to A History of Music in Western Culture. Vol.1. New Jersey: Pearson Education Inc p Laura Macey, “Speaking of Sex: Metaphor and Performance in the Italian Madrigal,” Journal of Musicology 14. Winter 1996, p. 1-24. Lehman Engel, Renaissance To Baroque. Clorinda False, Adieu!” Thomas Morley, composer. New York: Harold and Flammer, Inc p Lehman Engel, Renaissance To Baroque. To Shorten Winter's Sadness” Thomas Weelkes, composer. [...]
[...] At Oriana's presence each thing smileth, The flower themselves discover, Birds over her do hover.” The return of homophony when describing Oriana could be considered a madrigalism or text painting. All the voices come together to describe how the world reacts to Oriana's presence. The homophony may even be used to show respect for the queen. The composition comes to a climactic ending when the phrase “Long live fair Oriana” is imitated in all four voices several times employing a range of over three octaves. [...]
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