Music from the Earliest Notations to the Sixteenth Century
FIG. 17-8 Detail from the huge painting The Wedding at Cana (1562) by Veronese, which now faces Leon ...
based on poems in iambic pentameter, the Shakespearean meter, with hemiolas—the breaking of a normal tripl ...
the seas, and specially from Italy, be it never so simple, contemning that which is done at home thou ...
EX. 17-23A John Dowland, Can shee excuse my wrongs, first strain ...
EX. 17-23B John Dowland, Can shee excuse my wrongs, voice part rebarred to show hemiola scansions (One ...
complete with falas, from both pieces. Morley’s publications are a fitting conclusion to a chapter all ...
EX. 17-24B Orazio Vecchi, So ben mi c’ha bon tempo ...
The most impressive thing about Ward’s descriptive technique is its strategy. In order to paint “joining” wi ...
...
The pictorialism in Ward’s first quatrain show an enormous affinity for those in Monteverdi’s. It is ...
CHAPTER 18 Reformations and Counter Reformations MUSIC OF THE LUTHERAN CHURCH; VENETIAN CATHEDRAL MUSIC THE CHALLENG ...
FIG. 18-1 The beginning of the Reformation: Martin Luther posts his ninety-five theses on the church door ...
Unlike his counterparts, moreover, Luther was personally a fervent music lover, who played several instruments, ...
EX. 18-1B Non moriar sed vivam (Ps. 118:7) as set by Ludwig Sennfl ...
THE LUTHERAN CHORALE The Tenorlied texture was not only distinctively German—although that was important enough ...
secular songs. One with a particular resonance, and a particular irony, was Innsbruck, ich muss dich lassen (“I ...
EX. 18-3 Heinrich Isaac, Innsbruck, ich muss dich lassen, underlaid both with original text and with ...
appeared, the work of Johann Walther (1496–1570), formerly a Saxon (East German) court singer, who had beco ...
The two settings of Ein’ feste Burg in Ex. 18-5 are at two textural extremes. The first is by Martin A ...
was a commercial bonanza. Rhau met Luther in 1519, while occupying the position of cantor at the St. Thom ...
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