Introduction to Western Music

Week 4: Recitation 4B Listening & Reading (Neff)

Key Terms

Madrigal: A genre of secular music that developed in Italy in the early 16th century. The madrigal is a short composition for 4**–**6 voice parts that usually sets a one-stanza poem. Mostly on topics related to love, the madrigal was intended to be sung by one person to each voice part, creating an intimate performance. Madrigals also feature the use of multiple textures within a single piece and make effective use of a compositional technique called text painting.

Text Painting: Compositional technique in which a composer directly relates musical gestures to specific words or phrases in the text being set. For example, if the text is “high above,” the composer might “paint” this text by setting it in the highest voice part.

Cipriano de Rore, “Mia Benigna Fortuna” (Italian madrigal)

Performed by Profeti della Quinta. [Listen on YouTube]

The text and translation are given as subtitles in the video.

Madrigals became very popular in Italy and elsewhere. In England, the texts of Italian madrigals were translated into English, and then English composers began writing their own madrigals (sometimes called “ayres”).

John Dowland, “What if I Never Speed” (English madrigal)

This work is a four-part version of the lute song we studied in Lecture 3. Dowland wrote the music so that it could be performed by a four-part chorus or by a soloist with lute accompaniment.

• Soloist with instruments version performed by The Consort of Musicke, Andrew King, tenor [Listen on YouTube]
• Four-part voice version directed by Robert Reimer [Listen on YouTube]

Here is the text:

What if I never speed,  Shall I straight yield to despair,  And still on sorrow feed  That can no loss repair?  Or shall I change my love,  For I find power to depart,  And in my reason prove  I can command my heart?  But if she will pity my desire and my love requite,  Then ever shall she live my dear delight.  Come, come, come, while I have a heart to desire thee.  Come, come, come, for either I will love or admire thee.  Oft have I dreamed of joy,    yet I never felt the sweete,    But tired with annoy,    my griefs each other greete. Oft have I left my hope,    as a wretch by fate forlorn,    But Love aims at one scope,    and lost will still returne. He that once loves with a true desire    never can depart,    For Cupid is the king of every heart.    Come, come, come, while I have a heart to desire thee.    Come, come, come, for either I will love or admire thee.

IN YOUR DISCUSSION POST: Identify at least one instance of text painting in each of the pieces assigned above. Be sure to include specific timings with each example. How does this compositional technique affect your enjoyment and/or understanding of this music?