University of Wisconsin-Green Bay

Literature and Styles in Music I

National Styles

I Beginning in early 16th century, national styles gain widespread popularity

II National Styles in Italy

A. Frottola (more important national genre)

strophic form
homophonic texture; usually 4 parts
distinctive rhythmic patterns typical
often syllabic & declamatory: following natural word accents
melody (in top voice) generally simple, limited chromaticism
still considered "courtly music," but far less complex than contrapuntal style of Netherlands
direct forerunner of madrigal; also influences French chanson

B. Lauda (polyphonic version)

religious counterpart to frottola
- (e.g., homophonic, syllabic, rhythmically distinctive, melody in top voice, etc.)
non-liturgical devotional song; example of "popular piety" (although occasionally in Latin)

C. Frottole and Laude gain in popularity

many contained in Petrucci's collections from 1504-1514

D. Carnival Songs

simple, homophonic 3 or 4-part songs sung at Florentine carnivals and similar celebrations

III National Styles in France

A. New French-style chanson emerges ca. 1520

previously, French composers had imitated Netherlands style in their masses and motets
new style of chanson resembles frottola and Italian carnival songs
- generally 4 parts
- distinctive stylistic elements:
  - first section usually duple, often using dactylic rhythms
  - contrasting passages or sections possibly in triple meter
  - although generally homophonic with melody in top voice, opening section often makes use of imitative counterpoint
- Pierre Attaingnant, first major French music publisher, publishes over 50 collections of the new French chanson from 1528-52
  - chansons appear in numerous transcriptions and arrangements, e.g., for keyboard or lute or for solo voice with lute accompaniment
- Principal composers
  - Claudin de Sermisy
  - Pierre Certon
  - Pierre Sandrin
  - Clement Janequin
    - known for descriptive-programmatic chansons incorporating bird songs and street cries; also for "La Guerre" (1515) depicting a battle)
Netherlands composers influenced by the style of the new French chanson toward a more homophonic texture, but most retain some older characteristics as well, e.g.,
- more frequent use of imitation
- less pronounced rhythm
- longer, more melismatic melodic lines
- Example: Thomas Crecquillon

B. Quodlibet

French (and others) also compose songs made up of borrowed segments from a number of other songs

III National Styles in Germany

A. German Lied

Major sources: Lochamer Liederbuch, Glogauer Liederbuch
Style: originally a polyphonic, motet-like treatment of melodic material derived from German folksong
- Principal composers: Isaac, Finck, Senfl
Later style: more homophonic (influenced by frottola & madrigal)

B. Quodlibet

IV National Styles in Spain

A. Villancico

Short, strophic song with refrain in A B c c a B form; comparable to Italian frottola
- some are slower tempo with somber text
- some are faster, more dance-like in quality
Notable composers:
- Juan del Encina (1469-1529)
- Cristobal de Morales (1500-53)
- Nicolas Gombert (1500-ca. 1556; Netherlander)

B. Also known for distinctive sacred style marked by generally somber tone but a "passionate intensity in the expression of religious emotion"

V National Styles in Eastern Europe

A. Eastern European composers (e.g., Polish and Bohemian) largely under western influence, composing in typical Netherlands sacred style, but also writing chansons and instrumental works (especially works for organ)

B. Principal composers: Waclaw of Szamotul (Poland) and Jacobus Gallus and Jan Trajan Turnovsky (Bohemia)

VI National Styles in England

A. Political-social atmosphere begins to stabilize with Henry VII (1485) and musical production increases

But Henry VIII (known also as an amateur composer) bans the Catholic church and disbands monasteries, with many monks subsequently seeking employment as musicians

B. Franco-Flemish (Netherlands) influence not extensive until middle 16th century when continuous imitative counterpoint in Netherlands style is adopted for Psalm settings and motets

C. English composers continue to work in an independent, distinctive style in a variety of secular styles and in masses, motets and Votive antiphons

D. English known for stylistic tendencies rather than a specific national genre

full 5 or 6 voice sonorities (varied by different combinations of voices)
strong harmonic orientation
tendency to use long melismatic passages in concluding sections of motets

E. Prominent English composers:

Early 16th century:
- William Cornysh (ca. 1465-1523) , known for secular songs and motets
  - Holds title of "Master of the Singing Boys" at the Royal Court, but also works as composer, playwright, provider of pageants, paving-stones, lavatories, and guttering
    - Also known as traveling concert director: in 1513 brings choir to France for a a series of one-night performances
- Robert Fayrfax (1464-1521): known mostly for Masses and other sacred works
- John Taverner (1490-1545)
  - Masses and Magnificats typical of early 16th century "florid homophony" and free counterpoint (mixed with some imitative passages)
    - famous for his Western Wynde Mass based on variations of well known melody of period
  - Thomas Tallis (1505-1585)
    - greatest composer of later 16th century
    - composes in a wide variety of styles and genres dependent on political circumstances: Masses, votive antiphons, Anthems (in English) for Anglican service, motets, "Lamentations of Jeremiah"
    - Use of imitation more extensive than earlier English composers, but in context of lyrical, idiomatically vocal melodies which are expressive of the text
      
      Last Update 6/21/06
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