Guillaume De Machaut The Mirror of Narcissus Rose, Liz, Rondeau For 4 Voices: Rose, Liz, Printemps, Verdure - Rondeau performed by: Gothic Voices
I believe we might have listened to this already in lecture or listening lab, as it sounds very familiar. I can hear some bold dissonances suspended for a couple of beats, which is neat. There is so much hocket in this piece it's just jumping out and biting me in the nose. The cadences of this time period seem so weak. I feel if it was not for the ritardando and silence afterward, it would be difficult even to identify the cadences. I can't say I prefer this piece to the Landini or the Dunstable.
Ah. Pandora is agian imperfect! This next piece on my Machaut station is labelled as Renaissance; I'm skipping that for a later date. Oh. and the next one is even by Dufay! What a goldmine! This is great evidence that Machaut is indeed one of the latest Medieval composers and Dufay is one of the first Renaissance composers.
Guillaume De Machaut: La Messe De Nostre Dame; Songs From Le Voir Dit performed by: Messe De Nostre Dame, Mass For 4 Voices: I. Kyrie:
This piece is quite smooth and soothing. The lyrics seem to be highly complicated. Just kidding. It's a Kyrie. It's difficult for me to pick out the chant line among four voices. I don't think I can do that yet. I don't really know what to say about this piece that's really unique except there seems to be a sort of refrain form. Agian, I'd love to go back and listen again to confirm that it is a rondo of sorts, but There is no rewind or back button, unfortunately. That is probably my biggest hesitation in these entries. I'm afraid to be wrong. These voices seem to move in a lot of oblique motion. The inner voices seem to have some parallelism to them. This must have been recorded in an acoustically wonderful venue, because when they cadence, the resonance goes on for days.
Monday, October 26, 2009
Landini Station Listening from oct 26
October 26th
Non Arva Mai Pieta, ballata for 3 voices. from the Codex Faenza by Francesco Landini
and
Preco Preheminencie, Isorhythmic Motet for 4 voices by John Dunstable
I think that it's interesting that I'm getting to the point where I can be clicking through some of the songs that come up on pandora and know which ones that I'm going to want to listen to because of the overall sound of a song. As I was flipping through, I came across these two songs that immediately struck me and said "I am medieval." It's relieving when the sonority of music finally comes through the thick noggin, and finds its way to a recognizable state. Prior to this year, even during music lit, it was significantly more difficult for me to identify any of the vocal recordings that were not accompanied by a period-instrument. I suppose this is an overall goal for the course, if not for the department, at least it is for me.
I hear parallel motion, and a few cadences that seem to have two notes decending instead of a double-leading tone motion or some other cadence. The unfortunate thing about pandora is that I have not figured out how to rewind, if possible at all to rewind, and I cannot go back to listen and really figure it out. Both of these pieces are a capella. This is something that I certainly not going to complain about. I love a capella music. I appreciate that in the time of Landini, we are finally getting to the point where harmonies are starting to be filled out instead of just featuring a solo voice with some contrapunctal motion. I also appreciate that the whole range of a male's voice is starting to be filled out. Bass notes are quite low, and the countertenors are soaring above the music in the stratosphere. They're truly wonderful performances, especially the Dunstable.
Mmm.
Good listening!
Non Arva Mai Pieta, ballata for 3 voices. from the Codex Faenza by Francesco Landini
and
Preco Preheminencie, Isorhythmic Motet for 4 voices by John Dunstable
I think that it's interesting that I'm getting to the point where I can be clicking through some of the songs that come up on pandora and know which ones that I'm going to want to listen to because of the overall sound of a song. As I was flipping through, I came across these two songs that immediately struck me and said "I am medieval." It's relieving when the sonority of music finally comes through the thick noggin, and finds its way to a recognizable state. Prior to this year, even during music lit, it was significantly more difficult for me to identify any of the vocal recordings that were not accompanied by a period-instrument. I suppose this is an overall goal for the course, if not for the department, at least it is for me.
I hear parallel motion, and a few cadences that seem to have two notes decending instead of a double-leading tone motion or some other cadence. The unfortunate thing about pandora is that I have not figured out how to rewind, if possible at all to rewind, and I cannot go back to listen and really figure it out. Both of these pieces are a capella. This is something that I certainly not going to complain about. I love a capella music. I appreciate that in the time of Landini, we are finally getting to the point where harmonies are starting to be filled out instead of just featuring a solo voice with some contrapunctal motion. I also appreciate that the whole range of a male's voice is starting to be filled out. Bass notes are quite low, and the countertenors are soaring above the music in the stratosphere. They're truly wonderful performances, especially the Dunstable.
Mmm.
Good listening!
Thursday, October 22, 2009
Ars Nova/ Trecento/ Ars Subtilior Thursday Listening
Belle, Bonne, Sage
This is in a 3-4 feel for sure, and the division of the beat was duple.
This piece is loaded with double leading tone cadences. This secular music is a duet of a high voice and low voice, to be expected, as well as a droning string that crosses voices with the low voice. Looking at the meaning behind the piece in the translation, it seems to be a serenade about a serenade. Because this piece is secular, in combo with the fact that the pope was in France at the time, and not in Italy, where the Ars Subtilior was being made, the division of the beat does not surprise me to be duple, because they were moving away from the sacred 'perfect' divisions.
Che Cosa E Quest Amor (Ballata)
This piece starts with an instrumental section. I hear strings predominantly, but with what sounds to be a recorder-type instrument carrying the high voice. The solo high soprano voice enters after the introduction. I hear a mixture of duple and perfect divisions in her melismas, but overall, the division is duple. There are apparent leading tone cadences, and the instruments frequently have a hocket. This Landini piece certainly has big Landini cadences throughout.
Douce pleysence/ Garison selon nature (motet)
This piece actually sounds a little more like Ars Nova, honestly. It is three voices, a capella, and is a clear perfect division. Looking at the lyrics, however we know that it is secular. I think that I heard some hocket at the beginning.
Ma fin est mon commencement (rondeau) - My end is my beginning
This sound is so much more full than some other pieces. The harmony seems much more tonal and powerful than others. There are still only three voices, but it sounds as if there is more. This is definately a good example of jumping back and forth between perfect and duple divisions. The hocket is so subtle in this piece that you wouldn't be able to hear it if the singers weren't taking such tremendous breaths. and HA I KNEW IT! These artists are clever... 'My beginning is my end' is word painting to match the music coming back to the end. Someone mentioned that there might be some retrograde. I didn't necessarily hear that, but the music definately returns to where it started... which makes sense for a rondeau.
This is in a 3-4 feel for sure, and the division of the beat was duple.
This piece is loaded with double leading tone cadences. This secular music is a duet of a high voice and low voice, to be expected, as well as a droning string that crosses voices with the low voice. Looking at the meaning behind the piece in the translation, it seems to be a serenade about a serenade. Because this piece is secular, in combo with the fact that the pope was in France at the time, and not in Italy, where the Ars Subtilior was being made, the division of the beat does not surprise me to be duple, because they were moving away from the sacred 'perfect' divisions.
Che Cosa E Quest Amor (Ballata)
This piece starts with an instrumental section. I hear strings predominantly, but with what sounds to be a recorder-type instrument carrying the high voice. The solo high soprano voice enters after the introduction. I hear a mixture of duple and perfect divisions in her melismas, but overall, the division is duple. There are apparent leading tone cadences, and the instruments frequently have a hocket. This Landini piece certainly has big Landini cadences throughout.
Douce pleysence/ Garison selon nature (motet)
This piece actually sounds a little more like Ars Nova, honestly. It is three voices, a capella, and is a clear perfect division. Looking at the lyrics, however we know that it is secular. I think that I heard some hocket at the beginning.
Ma fin est mon commencement (rondeau) - My end is my beginning
This sound is so much more full than some other pieces. The harmony seems much more tonal and powerful than others. There are still only three voices, but it sounds as if there is more. This is definately a good example of jumping back and forth between perfect and duple divisions. The hocket is so subtle in this piece that you wouldn't be able to hear it if the singers weren't taking such tremendous breaths. and HA I KNEW IT! These artists are clever... 'My beginning is my end' is word painting to match the music coming back to the end. Someone mentioned that there might be some retrograde. I didn't necessarily hear that, but the music definately returns to where it started... which makes sense for a rondeau.
Tuesday, October 20, 2009
Program notes from 10/6
Christopher Grapis
Program Notes – Music History Writing Lab
October 6, 2009
Requiem Aeternam from Ego sum Resurrectio: Gregorian Chant for the Dead
Performed by: Aurora Surgit
Directed by: Alessio Randon
Soloist: Alessio Randon
This work is for masses for the dead. Sung in Latin, Gregorian Chant’s native language, this performance features a soprano section responded to by a solo male voice, with a return to the soprano section. This particular version of the Requiem Aeternam was written in the tenth century, according to Naxos Music Library. It is in the sixth mode, also known as the Hypolydian mode. This means that the piece starts and ends on F, and the range of the pitches extends above and below F. According to Wikipedia, mode six was typically used for devout, tearful, and pious works. This is quite appropriate for a mass for the dead.
The latin text reads and the English Translation (according to the Perish of Saint Matthew):
Requiem aeternam dona eis, Domine, Grant them eternal rest, Lord,
et lux perpetua luceat eis. and let perpetual light shine on them.
Te decet hymnus, Deus, in Sion, You are praised, God, in Zion,
et tibi reddetur votum in Jerusalem. and homage will be paid to You in Jerusalem.
Exaudi orationem meam, Hear my prayer,
ad te omnis care veniet. to You all flesh will come.
Requiem aeternam dona eis, Domine, Grant them eternal rest, Lord,
et lux perpetua luceat eis. and let perpetual light shine on them.
Works Cited
"About this Recording." NaxosMusicLibrary.com. Web. 06 Oct. 2009..
"English Translation of Mozart's Requiem." The Parish of Saint Matthew: The Episcopal Church in Pacific Palisades. Web. 06 Oct. 2009..
"Musical mode -." Wikipedia, the free encyclopedia. Web. 06 Oct. 2009..
Program Notes – Music History Writing Lab
October 6, 2009
Requiem Aeternam from Ego sum Resurrectio: Gregorian Chant for the Dead
Performed by: Aurora Surgit
Directed by: Alessio Randon
Soloist: Alessio Randon
This work is for masses for the dead. Sung in Latin, Gregorian Chant’s native language, this performance features a soprano section responded to by a solo male voice, with a return to the soprano section. This particular version of the Requiem Aeternam was written in the tenth century, according to Naxos Music Library. It is in the sixth mode, also known as the Hypolydian mode. This means that the piece starts and ends on F, and the range of the pitches extends above and below F. According to Wikipedia, mode six was typically used for devout, tearful, and pious works. This is quite appropriate for a mass for the dead.
The latin text reads and the English Translation (according to the Perish of Saint Matthew):
Requiem aeternam dona eis, Domine, Grant them eternal rest, Lord,
et lux perpetua luceat eis. and let perpetual light shine on them.
Te decet hymnus, Deus, in Sion, You are praised, God, in Zion,
et tibi reddetur votum in Jerusalem. and homage will be paid to You in Jerusalem.
Exaudi orationem meam, Hear my prayer,
ad te omnis care veniet. to You all flesh will come.
Requiem aeternam dona eis, Domine, Grant them eternal rest, Lord,
et lux perpetua luceat eis. and let perpetual light shine on them.
Works Cited
"About this Recording." NaxosMusicLibrary.com. Web. 06 Oct. 2009.
"English Translation of Mozart's Requiem." The Parish of Saint Matthew: The Episcopal Church in Pacific Palisades. Web. 06 Oct. 2009.
"Musical mode -." Wikipedia, the free encyclopedia. Web. 06 Oct. 2009.
Monday, October 12, 2009
Writing Assignment - Ordo Virtutum - Hildegard von Bingen
I was absent on Thurday, unfortunately, but I 'YouTubed' this assignment.
Ordo Virtutum - Hildegard von Bingen
1. Qui sunt hi, qui ut nubes?
2. Processional of embodied souls
3. O nos peregrine sumus
4. Anima processional
from : http://www.youtube.com/watch?v=tbO8NXbgdbE
1. This starts out with parallel organum sung in two male voices. It is followed by a unison soprano line. This soprano line is quite melismatic. The male parallel organum makes another brief statement to conclude this movement.
2. Strangely, strange to me at least, this movement is instrumental. I don't hear any instruments that I recognize specifically, but I hear a bowed instrument, and what sounds like a tenor double-reed instrument, however I can't pick out specifically what it might be. This movement has a lot of call and response; often, it is a direct repeat of what happened before it.
3. Soprano unison line. This movement seems initially neumatic, but as it develops, it shows its true colors as a melismatic segment. As we proceed down the timeline, I'm noticing that high soprano features brilliantly sung by women and countertenore are evolving into more of a mezzo-sporano voice sung primarily by women.
4. This is also instrumental. There is a lot of drone strings. I hear a flute this time. I wonder if this youtube version is a modern interpretation of Hildegard von Bingen's work, because it has not been typical, yet, to hear instrumental works, especially solely instrumental works, in any music thus far. This is probably a secular move away from the norms of sacred music
Overall, this piece was calm and soothing. I liked it.
Ordo Virtutum - Hildegard von Bingen
1. Qui sunt hi, qui ut nubes?
2. Processional of embodied souls
3. O nos peregrine sumus
4. Anima processional
from : http://www.youtube.com/watch?v=tbO8NXbgdbE
1. This starts out with parallel organum sung in two male voices. It is followed by a unison soprano line. This soprano line is quite melismatic. The male parallel organum makes another brief statement to conclude this movement.
2. Strangely, strange to me at least, this movement is instrumental. I don't hear any instruments that I recognize specifically, but I hear a bowed instrument, and what sounds like a tenor double-reed instrument, however I can't pick out specifically what it might be. This movement has a lot of call and response; often, it is a direct repeat of what happened before it.
3. Soprano unison line. This movement seems initially neumatic, but as it develops, it shows its true colors as a melismatic segment. As we proceed down the timeline, I'm noticing that high soprano features brilliantly sung by women and countertenore are evolving into more of a mezzo-sporano voice sung primarily by women.
4. This is also instrumental. There is a lot of drone strings. I hear a flute this time. I wonder if this youtube version is a modern interpretation of Hildegard von Bingen's work, because it has not been typical, yet, to hear instrumental works, especially solely instrumental works, in any music thus far. This is probably a secular move away from the norms of sacred music
Overall, this piece was calm and soothing. I liked it.
Thursday, October 1, 2009
Liturgical Drama - Listening
Christmas Conductus (Conducti?)
Quem Quaeritis in Sepulchro?
This is a conversation between the Angel standing at the tomb (sepulchro, or sepulchre) and the three women that came to care for the body of Jesus. The music reflects this by a responsorial type where the angel speaks and is responded to by three female singers.
Beata Viscera
High Soprano singing of Mary's miracle of chrildbirth. This song contains a refrain, "O new wonder and new joy: the mother's chastity after childbirth." Conductus - sacred nonliturgical vocal composition. This song is solemn, and peaceful, much like the birth of Jesus.
O Maria of Felix
"O Maria" indicates that this song is about Mary. The song goes on poetically describing analogies of Jesus' purity and making allusions to past sacred stories of David, Solomon, and Jacob. There is actually a quote from Jonah 4:6-8! This song is also strophic.
Ave virgo virginum
It's interesting that we have a rhythmic mode. Sounds like 6/8. There are two singers in harmony.This is a Hail Mary. It seems as though, other than many parallel fifths, and the last cadence, that we have some contemporary leading-tone cadences. Sounds like we're nearing counterpoint, as we have lots of contrary motion.
Vetus abit Littera
This is the first time that I hear what could be mixed voices singing sumultaneously. There is still a ton of Perfect intervals. I also hear three voices from time to time, although I think it's primarily two voices. Also another 6/8. This song is quite joyful because it's an "out with the old in with the new" feel, where the new guys is liked a whole lot better. The title says 4-part conductus, although I didn't identify where that happened. It's strophic. It seems like at the end of the stanzas, it could be like a refrain, but the text does change.
Pia Mater Gratie
Another song honoring Mary. I would assume 'mater' being mother, and 'gratie' being a thanks to the 'mater'. This song has long melismas. It seems more fluid than the other examples.
Allelulia Pascha Nostrum
HUGE melismas. This song uses a lot of pedal in the bass. The bass line definately has rhythmic motives used.
Quem Quaeritis in Sepulchro?
This is a conversation between the Angel standing at the tomb (sepulchro, or sepulchre) and the three women that came to care for the body of Jesus. The music reflects this by a responsorial type where the angel speaks and is responded to by three female singers.
Beata Viscera
High Soprano singing of Mary's miracle of chrildbirth. This song contains a refrain, "O new wonder and new joy: the mother's chastity after childbirth." Conductus - sacred nonliturgical vocal composition. This song is solemn, and peaceful, much like the birth of Jesus.
O Maria of Felix
"O Maria" indicates that this song is about Mary. The song goes on poetically describing analogies of Jesus' purity and making allusions to past sacred stories of David, Solomon, and Jacob. There is actually a quote from Jonah 4:6-8! This song is also strophic.
Ave virgo virginum
It's interesting that we have a rhythmic mode. Sounds like 6/8. There are two singers in harmony.This is a Hail Mary. It seems as though, other than many parallel fifths, and the last cadence, that we have some contemporary leading-tone cadences. Sounds like we're nearing counterpoint, as we have lots of contrary motion.
Vetus abit Littera
This is the first time that I hear what could be mixed voices singing sumultaneously. There is still a ton of Perfect intervals. I also hear three voices from time to time, although I think it's primarily two voices. Also another 6/8. This song is quite joyful because it's an "out with the old in with the new" feel, where the new guys is liked a whole lot better. The title says 4-part conductus, although I didn't identify where that happened. It's strophic. It seems like at the end of the stanzas, it could be like a refrain, but the text does change.
Pia Mater Gratie
Another song honoring Mary. I would assume 'mater' being mother, and 'gratie' being a thanks to the 'mater'. This song has long melismas. It seems more fluid than the other examples.
Allelulia Pascha Nostrum
HUGE melismas. This song uses a lot of pedal in the bass. The bass line definately has rhythmic motives used.
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