When I watch Elam's videos I always like to guess what bottles of strong alcoholics he has on the background. They change every time... Elam, you thirsty my friend? 😉 well if that's what it takes for you to deliver such beautiful lectures, keep drinking!!! Cheers from Italy
your videos are so helpful and i thank you. 9:16 there is a modulation in that section and this is a "new music", therefore i conclude it emphasizes the modulation (while it emphasizes treating to melody in a new way as you remark), not borrowing a note from the other parts.
Wow! Please keep doing such impressive and informativ videos on topics like this! I like your channel very much. For my work I´m taking something interesting with me every time. It´s a joy to see your ideal of breaking things down historically, theoretically, musically - simply driven by sheer experiencing music. THX
This channel continues to be one of the great joys of UA-cam. I am in true awe of your splendid work and research. I just love the in-depth details of the subjects and the careful structure behind the episodes. Cheers from a swedish opera singer, choral conductor and bachelor of vocal pedagogy, Carl.
Most of the time I do only understand half of the musical explanations in the videos (due to my poor musical education), but I am very fascinated nonetheless!
Your channel consistently introduces me to concepts that a simple youtube or google, and even Wikipedia, search, cannot provide. Bravo! Keep up up the great work!
Woooow. Im learning composition and those videos are pure gold. Im trying to learn how to compose music and have decided to start from early stuff Im working on Gauldins 16th century counterpoint and I did know what an anticipation is but now actually understand it and the list of topics your videos have cleared for me is long! Thank you so much
Wonderful video … The work you do is exceptional, always highly educational and very enjoyable … Thank you so very much for the beautiful videos, Elam Rotem
Very interesting and well explained. Speaking of harmonic anticipations "Plorate Colles" in Carissimi's Jephte always comes to mind. I would like to see a video like this on 18th Century recitatives. (I've written some myself and I learnt by imitation of composers, but there are definitely some things that I can't really explain to myself. It would be interest to put such "weird" things in context 😊)
Thank you! But I just noticed too that the canto should have a treble clef, not a soprano clef. I noticed these by singing all the staffs--or by trying to.
It might explain the multiple, quirky jumps between major and minor thirds in modern recordings of late renaissance music. A system standard in theory but a constriction in practice. I’m sure that outside the boundaries of notation, most regular people learned by ear and played microtonal ”blue” notes, even in central Europe. It would explain why some early music sometimes reminds me of how a computer fails trying to play blues from a simple MIDI score. It just sounds stiff and odd.
Does anyone know where I can find a detailed theoretical analysis of Monteverdi's L'Orfeo? Maybe analyzing parts of the opera would even make for some good viedos?
Arghh!! I've just noticed the last two notes of the Tenore are one step too high as well! (Currently it's ending on B flat, but should be an A surely?) Sorry to find faults :-) You're quite right about the c1 clef though of course. (For some reason I'd mis-remembered the bassus as being f3 when I posted before.)
Could it be that another explanation for not resolving the suspensions (as you discuss in 10:10) is that diminutions were expected to be added? Such that the line you presented in performance is sung E-D-C-B-A B in which case, the suspension does get resolved
Fauxbourdon is different, though. It’s a method of producing primitive polyphony from a single line, where one auxiliary voice produces consonances about an octave below the main voice (and jumps around a bit), and the other auxiliary voice strictly doubles the main voice at the perfect fourth below.
Thanks for the video. I am a bit confused between the terms monody, stile rappresentativo, and recitative. I need to differentiate these terms for an exam coming up in a few days. Could you provide some insight into what the differences or similarities between these terms might be?
The evolution of music can be interpreted as reflecting the evolution of culture. In terms of expressive license, I'm wondering how we got from there to here? What was it within the cognitive faculties of post Renaissance humans that enabled the maturation of musical aesthetics from the rules of pre-classical counterpoint to thrash metal? I'm wondering if cultural evolution is lawful/predictable or if the next style/rage is going to catch us by surprise every time? If anyone tries to convince me of the incidental or tangent nature of music to culture, let me point out the decade of the 1960's as an extremely fertile region, not only musically, for Sherlock Holmesing - where we are, where we have been, where we are going
The ukulele is more of less a renaissance guitar that survived. The tuning is the same, except that 16th century guitars were strung in double courses with the Gs both high and the Cs in octaves. In the 17th century the most popular size was a 4th lower, with an additional bass course: ADGBEA. And yes, guitars were very popular as accompaniment instruments.
+Ludmilla Thompson Frottola may be categorized under the term "pseudo monody", as all the parts (typically four) are composed. In practice normally only one voice is sung but the composition is polyphonic.
One thing that puzzles me about Petrucci's publications of frottole is that almost always there are four voices of polyphony presented as separate parts, yet as I understand it, these pieces were frequently performed by one singer with lute or keyboard accompaniment. Yet if this was the case, how could the three lower voices be practically combined directly from the source material, especially without the presence of barlines in mensural notation? This seems completely impractical! Did lutenists (re-)intabulate the lower voices themselves from the published works before learning the pieces, or were the lower voices more commonly played by a small group of monophonic instruments (recorders, for example), where having the parts presented separately would not pose problems? It seems like a very strange way to notate music that was intended primarily for solo voice and lute!
I think that the printing in parts allows the greatest flexibility. You get all the material and you have the possibility to perform it in several different ways. Lute and keyboard instruments made intabulations out of the different parts, this was a standard procedure.
Thank-you both for your replies. I agree that the performance of frottole pieces would probably have been "by heart" and not directly from the publications, since at least in Petrucci's case there are no separate part-books to work from, and the material is not laid out in such a way that performers could easily gather around the books to sing and/or play (as was done later with some of the published works of Dowland, for example). However, to learn the songs one would need to begin from the book, and I thought that would be impractical for the lute and keyboard players using the material as presented by Petrucci. It does make sense then that these players would have to intabulate the works themselves from the separate parts in order to learn them, and I agree that Petrucci's decision to publish the parts separately does provide the greatest flexibility to performers, though perhaps not the greatest convenience! Do you know if any of the tablature manuscripts that must have been made from these books have survived the centuries? If available, they could provide some interesting additional insights into performance practices, or clarify the use of ficta (though from what I've seen Petrucci was quite good at marking important sharps and flats).
When I watch Elam's videos I always like to guess what bottles of strong alcoholics he has on the background. They change every time... Elam, you thirsty my friend? 😉 well if that's what it takes for you to deliver such beautiful lectures, keep drinking!!! Cheers from Italy
Your italian accent is perfect and very appropriate (and your singing very pleasant), thank you for your videos!
I love your voice! So clear and sweet. As always, great video!
your videos are so helpful and i thank you. 9:16 there is a modulation in that section and this is a "new music", therefore i conclude it emphasizes the modulation (while it emphasizes treating to melody in a new way as you remark), not borrowing a note from the other parts.
Wow! Please keep doing such impressive and informativ videos on topics like this! I like your channel very much. For my work I´m taking something interesting with me every time. It´s a joy to see your ideal of breaking things down historically, theoretically, musically - simply driven by sheer experiencing music. THX
This channel continues to be one of the great joys of UA-cam. I am in true awe of your splendid work and research. I just love the in-depth details of the subjects and the careful structure behind the episodes. Cheers from a swedish opera singer, choral conductor and bachelor of vocal pedagogy, Carl.
amazing video Elam. you have a wonderful voice. THANKS
Most of the time I do only understand half of the musical explanations in the videos (due to my poor musical education), but I am very fascinated nonetheless!
Your channel consistently introduces me to concepts that a simple youtube or google, and even Wikipedia, search, cannot provide.
Bravo! Keep up up the great work!
Woooow. Im learning composition and those videos are pure gold. Im trying to learn how to compose music and have decided to start from early stuff Im working on Gauldins 16th century counterpoint and I did know what an anticipation is but now actually understand it and the list of topics your videos have cleared for me is long!
Thank you so much
Wonderfully done Elam. Very clear and concise. The Monteverdi excerpt was inspiring.
Spectacular as always!How about a video on rhetorical figures in music?
i will do
Most complicated subject told in an easy-to-understand way. A great video!
Great Episode Mr. Rotem! Thank you so much for your work.
Such great channel, so great episode! Keep going!!!
Amazing video! Thanks for the content!
At 5:38 you probably meant to write A as last two notes in tenor voice.
Love your channel, keep up the amazing work!!
Love the chittarone!
Such a great episode! Thanks a lot and, please, keep going!
Amazing, as always ! Thank you!
Well done and informative as always
Amazing examples!! Me quito el sombrero!!
Wonderful video … The work you do is exceptional, always highly educational and very enjoyable … Thank you so very much for the beautiful videos, Elam Rotem
Thank you for sharing this content with us!
Nice singing! This chitarone sounds almost like a tripple harp!
Wow. Early 17th-century monodies were so intricate.
Very interesting and well explained. Speaking of harmonic anticipations "Plorate Colles" in Carissimi's Jephte always comes to mind. I would like to see a video like this on 18th Century recitatives. (I've written some myself and I learnt by imitation of composers, but there are definitely some things that I can't really explain to myself. It would be interest to put such "weird" things in context 😊)
Splendid! One correction: At 5:38, the tenor ends on two B-flats; they should be two A's.
Thank you! But I just noticed too that the canto should have a treble clef, not a soprano clef. I noticed these by singing all the staffs--or by trying to.
It might explain the multiple, quirky jumps between major and minor thirds in modern recordings of late renaissance music. A system standard in theory but a constriction in practice.
I’m sure that outside the boundaries of notation, most regular people learned by ear and played microtonal ”blue” notes, even in central Europe.
It would explain why some early music sometimes reminds me of how a computer fails trying to play blues from a simple MIDI score. It just sounds stiff and odd.
Thank you for this great knowledge about music ❤❤❤
Thank you!
Does anyone know where I can find a detailed theoretical analysis of Monteverdi's L'Orfeo? Maybe analyzing parts of the opera would even make for some good viedos?
At 4:51, surely the cantus should have a g2 clef not a c1?
ps. Fantastic video again!
you are right! thanks for noticing. It should stay c1 but the music should be shifted.
Arghh!! I've just noticed the last two notes of the Tenore are one step too high as well! (Currently it's ending on B flat, but should be an A surely?) Sorry to find faults :-)
You're quite right about the c1 clef though of course. (For some reason I'd mis-remembered the bassus as being f3 when I posted before.)
thanks, it's completely fine. luckily this example is not about the music, but about the concept.
Very, very interesting and educational...
12:33 😂😂😂 you 're a genius man !
So good .. thanks for those videos ! ! :)
I love this channel, maybe the best one in youtube.
Where can i read more about medieval and renaissance music?
Books, dear friend! I recommend The Performance of 16th-Century Music by Anne Smith
Ludmilla Thompson thx!
Bravo!
Could it be that another explanation for not resolving the suspensions (as you discuss in 10:10) is that diminutions were expected to be added? Such that the line you presented in performance is sung E-D-C-B-A B in which case, the suspension does get resolved
I don't think so. The resolution is not the pitch alone, it is the pitch combined with its metrical place - this point is where the A is.
So you mean "Faux Bourdon", at first didn't get it XD . Great video as always.
Fauxbourdon is different, though. It’s a method of producing primitive polyphony from a single line, where one auxiliary voice produces consonances about an octave below the main voice (and jumps around a bit), and the other auxiliary voice strictly doubles the main voice at the perfect fourth below.
❣
12:13 "and we like it" (insert grumpy Artusi face)
Great!
Would you make a video about motet?
Very informative :)
excelente!!
That Bb though
Well done! Keep it up ☝
Grazie
Thanks for the video. I am a bit confused between the terms monody, stile rappresentativo, and recitative. I need to differentiate these terms for an exam coming up in a few days. Could you provide some insight into what the differences or similarities between these terms might be?
Eccelenti!
"Anticipation anticipation anticipation..." 😂😂😂
How is Falso Bordone related to Fauxbourdon and faburden (if at all)?
I don't think it's related.
That's interesting since they all mean the same thing literally. One in Italian, one in French, and one in English, but of course you know that :)
They are actually often confused.
interestingly enough, there is no rest in any voice at the beginning of Sfogava con le stelle
The evolution of music can be interpreted as reflecting the evolution of culture. In terms of expressive license, I'm wondering how we got from there to here? What was it within the cognitive faculties of post Renaissance humans that enabled the maturation of musical aesthetics from the rules of pre-classical counterpoint to thrash metal? I'm wondering if cultural evolution is lawful/predictable or if the next style/rage is going to catch us by surprise every time? If anyone tries to convince me of the incidental or tangent nature of music to culture, let me point out the decade of the 1960's as an extremely fertile region, not only musically, for Sherlock Holmesing - where we are, where we have been, where we are going
ThZ for your great production. Lots to learn.
One question: for accento , is it the same as escape tone or echappée ?
according to some sources, yes, you could say so.
They must have mass produced lot of "ukeleles" or equivalent instrument to accompany the monodys.
The ukulele is more of less a renaissance guitar that survived. The tuning is the same, except that 16th century guitars were strung in double courses with the Gs both high and the Cs in octaves. In the 17th century the most popular size was a 4th lower, with an additional bass course: ADGBEA. And yes, guitars were very popular as accompaniment instruments.
my church still does falsi bourdoni
You guys are very creative :). One question: isn't the frottola in the XVI century also considered a monody?
+Ludmilla Thompson Frottola may be categorized under the term "pseudo monody", as all the parts (typically four) are composed. In practice normally only one voice is sung but the composition is polyphonic.
One thing that puzzles me about Petrucci's publications of frottole is that almost always there are four voices of polyphony presented as separate parts, yet as I understand it, these pieces were frequently performed by one singer with lute or keyboard accompaniment. Yet if this was the case, how could the three lower voices be practically combined directly from the source material, especially without the presence of barlines in mensural notation? This seems completely impractical!
Did lutenists (re-)intabulate the lower voices themselves from the published works before learning the pieces, or were the lower voices more commonly played by a small group of monophonic instruments (recorders, for example), where having the parts presented separately would not pose problems? It seems like a very strange way to notate music that was intended primarily for solo voice and lute!
+Andrea Falconiero I think frottola was played and sung by heart
I think that the printing in parts allows the greatest flexibility. You get all the material and you have the possibility to perform it in several different ways. Lute and keyboard instruments made intabulations out of the different parts, this was a standard procedure.
Thank-you both for your replies.
I agree that the performance of frottole pieces would probably have been "by heart" and not directly from the publications, since at least in Petrucci's case there are no separate part-books to work from, and the material is not laid out in such a way that performers could easily gather around the books to sing and/or play (as was done later with some of the published works of Dowland, for example). However, to learn the songs one would need to begin from the book, and I thought that would be impractical for the lute and keyboard players using the material as presented by Petrucci.
It does make sense then that these players would have to intabulate the works themselves from the separate parts in order to learn them, and I agree that Petrucci's decision to publish the parts separately does provide the greatest flexibility to performers, though perhaps not the greatest convenience!
Do you know if any of the tablature manuscripts that must have been made from these books have survived the centuries? If available, they could provide some interesting additional insights into performance practices, or clarify the use of ficta (though from what I've seen Petrucci was quite good at marking important sharps and flats).
Let's see.
👏🏻👏🏻👏🏻
Eh Batman, he sings too
prety voice
this is stil nuovo, not antico, such licenses are alowed
monody
wiled! be good to train it
where is he from?, Germany, France?
I friggin love musicians breaking rules lmao
In English, aspects of, not aspects in. "Aspects in" makes no sense in English.
A lot of information and only one musical example? All your videos miss sound examples, it is hard to understand you