UNIVERSITI TEKNOLOGI MARA (UITM) SHAH ALAM

SEMESTER 1 2022
MARCH - JULY 2022

CLASS: MUF 405

WESTERN ART MUSIC HISTORY

ASSIGNMENT:
DIFFERENCE AND SIMILIARITIES BETWEEN
MADRIGALS OF THE RENAISSENCE AND ART SONG
ROMANTIC PERIOD

PREPARED BY:
RAYME BIN JOMINI
(2022961399)

DATE OF SUBMISSION:
5 AUGUST 2022

SUBMITTED FOR: PROFESOR MADYA HANIZAH

MUSIB
INTRODUCTION

ROMANTIC PERIODS

Romanticism, usually referred to as the Romantic movement or the Romantic

age, was a literary, artistic, musical, and intellectual movement that began in
Europe at the end of the 18th century and reached its height in most places
between the years of 1800 and 1850. Romanticism's emphasis on emotion and
individualism, idealisation of nature, mistrust of science and industrialization, and
exaltation of the past with a clear preference for the mediaeval over the classical
—were its defining traits. It was in part a response to the Industrial Revolution,
the political and social standards of the Age of Enlightenment, and the scientific
rationality of nature. While it had a significant influence on history, it was most
firmly represented in the visual arts, music, and literature. Chess,education both
the social and natural sciences. [6] Romantic philosophers had a huge and
intricate impact on politics, influencing nationalism, liberalism, conservatism, and
liberalism.
 RENAISSENCE

The Renaissance is a historical period. is a time period in European history that

spans the 15th and 16th centuries and marks the transition from the Middle Ages to
modernity? It is defined by a desire to resurrect and outdo concepts and
accomplishments from classical antiquity. It followed the Late Middle Ages Crisis and
was marked by significant societal change. Proponents of a "long Renaissance" may
place its start in the 14th century and end in the 17th century in addition to the
conventional periodization.

Renaissance has near similitudes to both, particularly the late and early sub-The

The conventional view focuses extra at the early cutting-edge components of the
Renaissance and argues that it changed into a wreck from the past, however many
historians these days awareness extra on its medieval components and argue that it
changed into an extension of the Middle Ages.[4][5] However, the beginnings of the
duration – the early Renaissance of the fifteenth century and the Italian Proto-
Renaissance from round 1250 or 1300 – overlap appreciably with the Late Middle
Ages, conventionally dated to c. 1250–1500, and the Middle Ages themselves have
been a protracted duration packed with slow changes, just like the cutting-edge age;
and as a transitional duration among both, the Renaissance has near similarities to
both, in particular the overdue and early sub-durations of either.

ds of either
DIFFERENCE BETWEEN MADRIGALS AND ARTS SONG

PERFOMANCE

Traditional madrigals are performed a cappella, with two to eight voice parts on a
given madrigal. Most are through-composed, meaning that different melodies
accompany different sections of the piece. By the seventeenth century, madrigalian
composition included instrumental accompaniment.

This is a polyphonic work, which means it has many musical lines of equal
importance. Madrigals were sung with lots of imitation, which means the voices take
turns singing the same melody. Madrigals were performed in groups of four, five, or
six singers. They sang secular music. This is non-religious music. Madrigals were
usually love songs.

An art song is the musical representation of a poem. It developed in 19th century

Germany, where it was called lied, or song. A group of songs was known as lieder.
Some composers wrote series of theme-based songs, referred to as liederkreis

Art songs different from songs in musicals and opera in two respects. First, they are
not performed with stage action or scenery. Second, they are usually accompanied
by a piano rather than an orchestra. Orchestral songs, in contrast, are performed with
an orchestral accompaniment

INSTRUMENT

as we know that the madrigals do not use any musical instrument and they use voice
instead of the musical instrument itself Traditional madrigals are performed a
cappella, with two to eight voice parts on a given madrigal. Most are through-
composed, different melodies accompany different sections of the piece. This means
that each vocal with a different melody plays a role in accompanying the other vocal
to create the acapella

Instead for the art song of the Romantic era, this song use instrument
accompaniment but art song also only involves voice and piano in the song and
requires some special skills for both the singer and pianist.

The degree of intimacy "rarely equaled in other kinds of music" requires that the two
performers "communicate to the audience the most subtle and evanescent emotions
as expressed in the poem and music." The two performers must agree on all aspects
of the performance to create a unified partnership, making art song performance one
of the "most sensitive type of collaboration.
MUSICAL ANALYSIS

To identify differences through musical analysis im using a Madrigals song which is

the “April is in My Mistress’ Face” written by Thomas Morley.

Pairing the metaphorical descriptions of this mistress, or love interest, with the
musical phenomenons that are present, this madrigal comes to life. The piece opens
in a minor key, and the first line of the text is sung in every voice part until the voice
parts meet on a long tone chord. After this, the parts repeat the same line of text, this
time staggering their entrances and varying the duration of the words. Although the
madrigal is set in a minor key, the mood at the opening of the madrigal is quite
energetic and spirited. In this way, the music matches the first line of the text with its
description of the mistress’s face as pleasing and refreshing, like April. The madrigal
maintains this soaring mood throughout the second line of text. In fact, the soprano
line reaches a mini climax as it flies through a string of high notes. In this way, the
passion and warmth of July that is described in the mistress’ eyes are reflected in the
music. As the seasons in the poem shift to colder, calloused months, so does the
tone of the music. Throughout the portion of the madrigal that pertains to the third
line of the text, there are many long, held notes. This slows down the momentum of
the madrigal. As a result, listening to this section of the madrigal makes you feel like
you are taking a step back and looking at a larger picture. This correlates to the text
because the narrator seems to be realizing that his mistress is bleak and unfeeling
within her bosom, which should be a source of nurturing and care. Finally, the
madrigal moves on to the last piece of text. In this closing portion of the madrigal, the
vocal parts resolve to a major chord after each repetition of this line of text. Yet, as
soon as the melodies go on to repeat this final line of text, they switch back to the
original minor key. This back-and-forth action heightens the minor vibe of this ending
section, which in turn emphasizes the bitterness of the text and the resolution that the
mistress is harsh to the core.

For musical analysis for the art song, I used an art song from Franz Schubert,
Gretchen am Spinnrade Each of the ten stanzas of the original text by Goethe
consists of four lines which all have approximately the same length. On the other
hand, the rhyme scheme (mostly abcb), the cadenzas (mostly masculine) and
especially the measure which is not continously iambic on the other hand show some
irregularities. Goethe gave the text an “A B C A D E F A G H” form with stanza A
acting as a chorus which suggests that Goethe probably also intended it to be sung
by Gretchen. Each of these stanzas consists of four lines which have all
approximately the same length. The placement of the chorus makes sense with
regard to the content: First, Gretchen expresses her longing for Faust and how their
encounter confuses her. From stanza D on, she describes how she waits for him
every minute and romanticizes his appearance by listing all his features. Eventually,
the first peak is reached at the end of strophe F in which she first mentions their kiss.
 SIMILIARITIES BETWEEN MADRIGALS AND ARTS SONG

WORD PAINTING

The art of writing music that reflects a song's literal meaning is known as word
painting. For instance, lyrics about rising would be accompanied by ascending
scales, whereas lyrics about dying would be accompanied by slow, ominous music.
At least as far back as Gregorian chant, words have been painted in tone. Little
Musical Patterns are musical words in Gregorian that convey theology as well as
emotive notions, like as gladness. Word painting is when the music describes the
action. Word painting was popular in 16th century secular music. An example of word
painting would be when someone is going down a hill, the music descends as well.

A lot of madrigals, especially those from the seventeenth century, make use of word-
painting, a storytelling-based musical method in which the melodies and tonalities
purposefully correspond to the text. Madrigals are a precursor of programmatic music
because of this.

In the art song there is also using word painting For example, if the text describes a
sad event, the music might be in a minor key. Conversely, if the text is joyful, the
music may be set in a major key.
REFERENCES

https://scholarworks.calstate.edu/concern/theses/h989r6873?locale=fr

https://artsandculture.google.com/entity/art-song/m06q6jz

https://second.wiki/wiki/madrigal_mc3basica

https://owlcation.com/humanities/Music-of-the-Renaissance-Era-Motets-vs-Madrigals

https://www.musicalexpert.org/what-is-a-madrigal.htm

https://www.mozartsroses.com/facts-and-fun-about-madrigals.html

https://www.masterclass.com/articles/madrigal-definition

https://www.gramophone.co.uk/review/renaissance-madrigals

https://www.britannica.com/art/madrigal-vocal-music

https://www.mozartsroses.com/facts-and-fun-about-madrigals.html

https://www.newworldencyclopedia.org/entry/Madrigal