Readings—

• J. Peter Burkholder, A History of Western Music, 8th edition
•  Chapter 10: Sacred Music in the Era of the Reformation, pp. 211-239
•  Chapter 11: Madrigal and Secular Song in the Sixteenth Century, pp. 240-263
•  Chapter 12: The Rise of Instrumental Music, pp. 264-285
• J. Peter Burkholder, Norton Anthology of Western Music, 6th edition, Vol. 1 (NAWM)
• NAWM 44-65, pp. 231-386
• Laura Macy, "Speaking of Sex: Metaphor and Performance in the Italian Madrigal." The Journal of Musicology, Vol. 14, No. 1 (Winter 1996), excerpts from pp. 1-34.
• Oliver Strunk, Source Readings in Music History, 1st ed. (RESERVE)
• Giovanni de’ Bardi, Discourse on Ancient Music and Good Singing, pp. 290, 293-299
• Gary Tomlinson, ed., Strunk’s Source Readings in Music History, rev. ed., Vol. 3: The Renaissance (RESERVE)
• Martin Luther, Wittemberg Gesangbuch, Foreword, pp. 83-84
• Giovanni Pierluigi da Palestrina, Second Book of Masses, Dedication, pp. 95-96
• Piero Weiss and Richard Taruskin, Music in the Western World: A History in Documents (RESERVE)
• Luther and Music, pp. 100-101, 105-107
• The Reformation in England, pp. 109
• The Life of the Church Musician, pp. 127-128
• The Counter Reformation, pp. 135-137
• Madrigals and Madrigalism, pp. 143-145

I. Renaissance Research Project
The Italian & English Madrigal (Group Presentations)

Project Overview

For this second research project, you will form small groups, research the relevant historical and musical features of one group-selected madrigal, and share your madrigal research in a 10-minute classroom presentation for your peers. Each group should include 4-5 members (5 max!). Each group will decide whether they want to prepare a presentation on an Italian Madrigal (for our October 24 class) or an English Madrigal (for our October 26 class).

Eight different madrigals (4 in Italian & 4 in English) have been posted in the Assignments module under Encounter Listening. Each group will choose one of these eight madrigals for their presentation. (Every group must choose a different madrigal! We do not want to listen to two presentations of the same piece!) No matter which madrigal your group chooses, you can expect to find the following on Blackboard—

• Madrigal lyrics (and English translations for the Italian madrigals)
• Recordings—either streaming audio or recommended period perormances from the Naxos Library on the college library website
• Scores—For some you can download the score directly from Blackboard; for others we have provided instructions for finding the score online from the IMSLP Petrucci Music Library or through the library's subscription to the "Classical Scores Library" database. (I prefer IMSLP—you can actually download the scores, and sometimes they even have facsimiles of original manuscript sources or early publications!)

Project Guidelines

Each group presentation should include the following features. We recommend dividing these features among group members and having each student present his/her share of the research!

1. Relevant Historical Background of the Composer
   • When/where did the composer live and work?
   • What was he known for (what kind of style? what kinds of works?)? What kinds of works was he primarily known for? Madrigals? Other kinds of works?
2. Relevant Historical Background of the Madrigal
   • Where/when was it composed?
   • For which likely audiences?
   • Reception history—Was this work well known or relatively obscure? Did people like it or not? How can you tell? Does this seem like a popular madrigal by this composer?
3. Close Musical Analysis
   • What formal and musical (stylistic) features are present in this madrigal?
   • How effective is the text setting in this madrigal? Which is more important here, text depiction or text expression (consider Zarlino/Morley’s comments, among others)? Give examples.
   • Is this madrigal typical or atypical of madrigal composition (consider Zarlino/Morley’s comments, among others)? If atypical, which features make this work unique?
   • (We suggest that multiple students work on the close analysis together!)

Practical Matters

1. Every group member should arrive five minutes before class to set up for the presentation. All PowerPoint presentations, scores, recordings, and other digital media, need to be loaded and ready to go before the beginning of the class period! Your presentations will begin promptly at the beginning of class. (If you have any technical questions about digital formats, using your own laptop, etc., please contact your instructor a couple of days before your presentation.)
2. We want to ensure a good learning experience for all our students, and we do not turn over the classroom to just anybody. YOU are the teacher during your presentation. Therefore, we expect you to give the same kind of knowledgable, high-quality, professional presentation you have come to expect from Doc or Wendy—in other words, you need to do enough research & preparation to sound like you know what you’re talking about!
3. As Item 1 suggests, please be on time. Not only is it unprofessional to show up late on the day of your presentation, it WILL count against your grade.
4. Every presentation should save time to play a few minutes of a recording of their selected madrigal before discussing close musical features.
   • You are strongly encouraged to use the recordings provided (or recommended) on Blackboard. These are among the best performances available, and they are done by groups that specialize in period performance practice. (If you find a period performance on Youtube, you can use that—but most Youtube recordings will not work!) On the other hand, we will NEVER discourage a live performance if your group feels ambitious!
5. Outlines of your main points along with visual images and music notation (in PowerPoint or on the chalk board) are strongly encouraged—but not required. The main goal is to prepare an informative, high-quality presentation on your topic!

Format (What to hand in!)

• Written Summary—Each individual student must prepare a written summary of their own research and their comments for the class presentation. This summary should be 1-2 pages long. Note: If you write two pages, you cannot simply read your report to the class—you will need to summarize your findings for the class. The 10-minute limit on overall presentation time means each group member will have only two minutes to give their part of the presentation. (And if you go too long, we will cut you short!).
• Bibliography—This should include all research sources consulted. See Required Readings & Research below for a complete list of the things you will need.

Immediately after each presentation—

• Group members will submit their individual written summaries and bibliographies.
• If your group uses electronic media (Powerpoint, Keynote, etc.), a designated person in your group will turn in a copy to the instructor.

Every student in each group will be graded independently for their written summary, bibliography, and verbal presentation. There will be no group grade, nor will there be any kind of written group report.

Required Readings & Research

There are only two required introductory readings for this project. Both are chosen to help guide your group research and analysis. These readings are available in the Assignments module (under Encounter Readings).

1. Weiss and Taruskin, Music in the Western World: A History in Documents. "Madrigals and Madrigalism," pp. 143-145.
   • If you have trouble with the link, right-click and select "Open link in new window."
2. Macy, Laura. "Speaking of Sex: Metaphor and Performance in the Italian Madrigal." The Journal of Musicology, Vol. 14, No. 1 (Winter 1996), 1-34.
   • You only need to read the excerpt of this article included in the folder.

But, in order to prepare a thorough historical and musical presentation of your madrigal, you will need to do further research on you own. Search appropriate scholarly sources for further information about your group's selected composer and madrigal. Please include the following:

• The two required readings above.
• At least one article from Grove Online—This is always a good starting point, especially if an article’s bibliography leads you to books and scholarly journal and periodical articles.
• At least one more article from a scholarly journal—Check the library's databases in this order: RILM, JSTOR, Project MUSE, Academic Search Complete, etc.
• A good book or scholarly article on performance practice—This is just as important here as with the Middle Ages Research Project (Encounter 2)!
• At least one book that deals with your topic as closely as possible—perhaps a composer biography or a book on the history of the madrigal?
• A period history—A book that covers the entire history of a particular era. For this unit you are looking for book titles such as Renaissance Music or Music in the Renaissance.
• If you consult our textbook, NAWM, or any useful websites, please include these in your bibliography. These may not be used instead of the other items above!

Please cite all sources you consult in your bibliography (as described in Format above). This bibliography should be in MLA format.

Project Deadlines

• Italian Madrigal Group Presentations - In class on Monday, October 24!
• English Madrigal Group Presentations - In class on Wednesday, October 26!

II. Paper Preparation

1) If you have not yet done so, make sure you find a good source on performances practice for your bibliography. You already consulted a couple of these for the Middle Ages Research Project (Encounter 2), and you are doing so again for the Renaissance Research Project above. Best of all is a soucrce that deals specifically with performance practice in the era your piece comes from. You can find other useful sources on RESERVE in the library. It is crucial that you wrestle with questions related to the actual sounds of an early music performance, questions related to instrumentation, sound quality (timbre), ornamentation, tempo, and so on. And of course, primary sources similar to the ones in the Madrigal Project above (in Weiss & Taruskin) will be extremely helpful.

2) On the due date posted at the top of this Encounter, hand in the first draft of your completed bibliography for the paper. Make sure it includes everything the assignment requires (see the “Format” section of the Music 343 Paper web page.) These must be typed using proper MLA bibliographic format. NB: Treat New Grove entries as encyclopedia entries! (Use the right format the first time and you won’t have to do it again!)

Thinking ahead to the next step—Map out the main ideas of your paper. (Who will you be? Where will the concert take place? etc.)

Listening Assignment 4

Reformation & Counter-Reformation—16th Century Madrigal & Song

The listening portion of the Renaissance Exam will be in two parts. In the first part will be several listening identification examples accompanied by questions drawn from the Study Questions below. In the second part we will play madrigal excerpts taken from different phases of the madrigal’s development—from works you may or may not have heard!

I.	Early madrigal (c. 1525-1545)	Arcadelt, Festa, Verdelot	NAWM 52 & RESERVE CD
II.	Midcentury (classical) madrigal (c. 1545-1580)	Willaert, Rore	NAWM 53 & RESERVE CD
III.	Later madrigal (c. 1580-1620)	Marenzio, Gesualdo, Luzzaschi	NAWM 54-55, & RESERVE CD
IV.	English madrigal (c. 1590-c. 1625)	Morley, Weelkes, Gibbons	NAWM 59-60 & RESERVE CDs

The chart above gives a brief overview of the four phases you must know. As you listen to each madrigal on the Listening List you will want to pay attention to specific musical features associated with each phase , including the number of voices, instrumentation, and general mood as well as the features listed below (chromaticism, texture, etc.).

For each excerpt you hear on the madrigal listening portion of the exam, you must answer the following:

1. Describe style features for each example, especially:
• Chromaticism
• Texture
• Text depiction and expression (texts and translations will be provided!)
• Other features of interest (degree of virtuosity required, use of instruments, etc.)
2. Determine which phase each excerpt represents
3. Identify a possible date and composer

Each cluster of works listed below is accompanied by a set of Study Questions. The Study Questions and recordings together are designed to help you prepare for Unit Exam and require no written report.

Listening List

Reformation & Counter-Reformation

The Reformation and Music

Before you listen to A-C, look at the following items from the Readings list above:

• J. Peter Burkholder, A History of Western Music, 8th edition
•  Source Reading, Martin Luther on Congregational Singing (p. 214)
•  Source Reading, Jean Calvin on Singing Psalms (p. 221)
• Piero Weiss and Richard Taruskin, Music in the Western World: A History in Documents (RESERVE)
• Luther and Music: introductory material on pp. 100-101 and the section on parody (or contrafactum) on pp. 105-07
• The Reformation in England: introductory notes and the Lincoln Cathedral injunction on the bottom of p. 109
• Gary Tomlinson, ed., Strunk’s Source Readings in Music History, rev. ed., Vol. 3: The Renaissance (RESERVE)
• Martin Luther, Wittemberg Gesangbuch, Foreword, pp. 83-84

A) NAWM 44—Martin Luther, Nun komm, der Heiden Heiland & Ein’ feste Burg (Chorales)

• a) Attributed to St. Ambrose, Veni redemptor gentium (Latin hymn)—CD3, track 8
• b) Martin Luther, Nun komm, der Heiden Heiland (German chorale)—CD3, track 9
• c) Martin Luther, Ein’ feste Burg (German chorale)—CD3, track 10
• d) Johann Walter, Ein’ feste Burg (setting for four voices)—CD3, track 11

B) NAWM 45—Loys Bourgeois, Psalm 134 (Or sus, serviteurs du Seigneur)

• a) Psalm 134, Or sus, serviteurs du Seigneur (Metrical psalm)—CD3, track 12
• b) William Kethe, Psalm 100: All people that on earth do dwell (English metrical translation)—CD3, track 13

C) NAWM 46—William Byrd, Sing joyfully unto God (Full anthem)—CD3, tracks 14-18

Study Questions on A-C:

1. What role did the works in A & B play in Protestant worship services? How do these works compare with the plainchant you listened to in Encounter 1?
2. How does the full anthem in C compare with the Catholic Masses and motets you listened to in Encounter 3 (by Josquin & others)? What role did works such as these play in Protestant worship services?
3. How do the readings above (from the textbook, Strunk, and Weiss & Taruskin) help you better understand what was going on in the Reformation? Which of A-C best fit the guidelines spelled out in these readings?

The Counter-Reformation

Before you listen to D-F, read the following items from the Readings list above:

• Piero Weiss and Richard Taruskin, Music in the Western World: A History in Documents (RESERVE)
• The Life of the Church Musician: introductory material on the bottom half of p. 127 and an excerpt from Zarlino’s Le istituzioni musiche (the paragraph that begins “A singer should also not force”) at the bottom of p. 128
• The Counter Reformation: introductory material, the excerpt from a letter by Cirillo Franco on pp. 135-137, and the Council of Trent’s 1562 decree on church music on p. 137
• Gary Tomlinson, ed., Strunk’s Source Readings in Music History, rev. ed., Vol. 3: The Renaissance (RESERVE)
• Giovanni Pierluigi da Palestrina, Second Book of Masses, Dedication, pp. 95-96

Zarlino’s paragraph (1558) describes the ideal sound vocalists should make in singing for church, while Cirillo (1549) complains of singers and composers who violate good taste. The 1562 decree of the Council of Trent lays out their concerns and recommendations for music in the Catholic church. Finally, in his dedication to the 1567 publication that included his Missa Papae Marcelli (D below), Palestrina notes the ways he has paid attention to the decree of that Council (“most serious and most religious-minded men”).

D) NAWM 47—Giovanni da Palestrina, Pope Marcellus Mass (Counter Reformation Mass)

• a) Credo (excerpt) —CD3, tracks 19-26
• b) Agnus Dei I—CD3, track 27
• Alternate Recording: RESERVE MCD T149B—The Best of the Renaissance—CD 2, tracks 6 & 8
• Alternate Recording: Naxos Music Library 8.550573—Palestrina, Missa Papae Marcelli—tracks 3 & 5
• Alternate Recording: Classical Music Library—Palestrina, Missa Papae Marcelli (The Sixteen, cond. Christophers)

E) NAWM 48—Tomás Luis de Victoria, Works on O magnum mysterium

• a) O magnum mysterium (Motet)—CD3, tracks 28-31
• Alternate Recording: Classical Music Library—Victoria, O magnum mysterium (Choir of Westminster Cathedral, cond. Hill)
• b) Missa O magnum mysterium: Kyrie (Imitation Mass)—CD3, tracks 32-34
• Alternate Recording: Classical Music Library—Victoria, Missa O magnum mysterium (Choir of Westminster Cathedral, cond. Hill)

F) NAWM 49—Orlande de Lassus, Cum essem parvulus (Motet)—CD3, tracks 35-37

Study Questions on D-F:

1. Do these performances come close to Zarlino’s ideal, or do they sound more like Cirillo’s description?
2. Are there clear examples of text depiction or expression in any of these works? Which ones? Can you hear any stylistic differences between these composers? Which examples seem most expressive? Why?
3. Which movement of Palestrina’s Mass (D) best addresses the concerns of the Council of Trent and Cirillo Franco: Credo or Agnus Dei? Which style features of the “new manner” (mentioned by Palestrina in his dedication) can you hear?
4. Do the works by Victoria & Lassus also reflect the changes requested by the Council of Trent? Do either of them seem to ignore the Council’s decrees? Which style features reflect the changes requested by the Council of Trent? Which do not?

1. Compare the works above to the Masses and motets you listened to in Encounter 3. Which specific works are most similar? Which ones differ the most? Piece by piece, what are the similarities and differences (consider elements such as texture, text expression, and so on). In what ways do A-C reflect Reformation concerns? In what ways do D-F reflect Counter-Reformation concerns? In comparison with Encounter 3 listening, which had the bigger impact on sacred music (which changed music the most), the Reformation or the Counter-Reformation?

16th Century Madrigal & Song

The Renaissance Madrigal

Madrigal Precursors

G) NAWM 51—Marco Cara, Io non compro più speranza (Frottola)—CD3, tracks 39-45

The Early Renaissance Madrigal

H) NAWM 52—Jacob Arcadelt, Il bianco e dolce cigno (Early Italian madrigal)—CD3, tracks 46-47

The Classical (Middle) Renaissance Madrigal

I) NAWM 53—Cipriano de Rore, Da le belle contrade d’oriente (Classical Italian madrigal)—CD3, tracks 48-50

The Late Renaissance Madrigal

J) NAWM 54—Luca Marenzio, Solo e pensoso (Late Italian madrigal)—CD3, tracks 51-56

K) NAWM 55—Carlo Gesualdo, “Io parto” e non più dissi (Late Italian madrigal)—CD3, tracks 57-59

L) Concerto delle donne CD (Blackboard RESERVE)—MCD H654E

• Luzzascho Luzzaschi, Non sa che sia dolore (Later Italian madrigal)—track 3
• See Encounter Listening in the Assignments module.

The English Madrigal

M) NAWM 60—Thomas Weelkes, As Vesta was (English madrigal)—CD3, tracks 76-80

Study Questions on G-M:

1. For each madrigal above (separately), What is its overall mood? What are the important style features (consider things like texture, form, text setting, rhythm, and number of voices)? What trends do you observe as we move from early to midcentury to later Italian madrigals (consider texture, text setting, rhythm, etc.)? What are the most striking differences between early, midcentury, later Italian, and English madrigals?
2. What texture types are used most frequently in these works?
3. Can you find any good examples of chromaticism or other forms of text depiction or expression in these works? Where?
4. Which of the late Italian madrigals provide especially striking examples of text depiction or expression? of chromaticism? of virtuoso vocal techniques? of the use of instruments? Where?
5. Which of the features described by Zarlino and Morley (in the readings for Part I above) can you hear in the madrigals by de Rore (I) and Weelkes (M)? Where?
6. How does the English madrigal differ from Italian ones (besides the language!)? Which phase of the Italian madrigal does this English madrigal most closely resemble, early, midcentury, or later?

Other 16th Century Secular Songs

Spain—The Villancico

N) NAWM 50—Juan del Encina, Oy comamos y bebamos (Villancico)—CD3, track 38

France—The Chanson

O) NAWM 56—Claudin de Sermisy, Tant que vivray (Parisian chanson)—CD3, tracks 60-62

P) NAWM 57—Orlande de Lassus, La nuict froide et sombre (Chanson)—CD3, tracks 63-64

Q) NAWM 58—Claude Le Jeune, Revecy venir du printans (chanson—vers mesuré)—CD3, tracks 65-72

England—The Lute Song

R) NAWM 61—John Dowland, Flow, my tears (English lute song or air)—CD3, tracks 81-83

Study Questions on N-R:

1. Which type of madrigal (precursor, early, midcentury, or later) most closely resembles the villancico (N)? each of the French chansons (O-Q)? the lute song (R)?
2. How are these French chansons (O-Q) similar to and different from the Josquin chansons from Encounter 3?
3. Can you find good examples of text depiction or expression in any of these songs? Where?

Extra Credit Listening Ideas—

• MCD B995g—Byrd, The Great Service (Tallis Scholars)
• VIDEO 782.26 L784—The Tallis Scholars: Live in Rome DVD
• This superb DVD contains recordings of Palestrina’s Missa Papae Marcelli (Pope Marcellus Mass) and several of his motets
• MCD T149B—The Best of the Renaissance (Tallis Scholars)
• This two-CD set contains complete recordings of Palestrina’s Missa Papae Marcelli (Pope Marcellus Mass) and Byrd’s Mass for Five Voices as well as motets by Tallis, Lobo, Gesualdo, Taverner, and Cardoso
• MCD H654E—English and Italian Renaissance Madrigals (Hilliard Ensemble)
• Disc One of this two-CD set contains many early and classical Italian madrigals by Arcadelt, Verdelot, Compère, Willaert, Rore, Marenzio, & Lasso; Disc Two features English madrigals by Morley, Weelkes, Wilbye, Gibbons, and others
• MCD G118m—G. Gabrieli, Music for San Rocco (Gabrieli Consort)
• MCD D489 1998—Development of Western Music recordings (DWMA), 3rd edition, Volume I, CD2-CD3
  • DWMA 62—Cristóbal de Morales, Emendemus in melius (Motet)—CD3, track 7
  • DWMA 70—Clément Janequin, À ce joly moys de may (Chanson)—CD3, track 15
  • DWMA 74a—Hans Leo Hassler, Mein G’müth ist mir verwirret (Lied)—CD3, track 19
  • DWMA 81—Giovanni Gabrieli, Sonata pian’ e forte (Sonata)—CD 3, track 27

Naxos Music Library

• 8.550573—Palestrina, Missa Papae Marcelli & Missa Aeterna Christe munera
• 8.550836—Palestrina and Lassus, Masses
• 8.550842—Lassus, Masses for Five Voices & Infelix ego
• 8.550575—Victoria, Masses
• GCD 920919—Luzzaschi, Madrigali ... per cantare e sonare
• GCD 920922—Monteverdi, Secondo Libro dei Madrigali