著者

岸本 宏子

出版者

東京芸術大学

雑誌

東京芸術大学音楽学部年誌 (ISSN:02872048)

巻号頁・発行日

vol.11, pp.63-81, 1985

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The purpose of this study is to conduct a quantitative survey of the Italian secular vocal music in order to verify what was formal musical standard during the 16th and 17th centuries. This study is based upon an examination of three representative bibliographic tools of the field, Vogel, Il Nuovo Vogel and RISM, which are lists of printed music of the genre of the time. The historical developments are discussed according to the statistics on the number of voices and terms used, denoting any stylistic or formal meaning cited in the titles of collections listed in these three tools. The present study consists of three sections, Introduction, Main Text and Conclusion. The introduction mentions the difficult situation of Japanese scholars living in Japan and doing source study on European music, while located far from the Western World. However, recent bibliographic research projects, some of which have been international, have changed the situation so that today it has become possible with some limitations and reservations, for Japanese scholars to contribute to source study in many fields. The author's intention here is to present the possibility of a kind of source study, which can be done without using original materials. In the main part all known prints of the genre in existence, totaling 3,412 of which 2,312 are either the first edition or the earliest known edition, are examined statistically, using 11 tables and several supplementary tables and lists. The 11 tables are as follows: 1. Number of all prints between 1500 and 1700, total and subtotals for every 10 years 2. Number of first editions, total and subtotals for every 10 years 3. Number of reprints, total and subtotals for every 10 years. 4. Number of voices used in all prints, total and subtotals for every 10 years 5. Number of voices used in first editions, total and subtotals for every 10 years 6. Number of voices used in reprints, total and subtotals for every 10 years 7. Number of the 12 most frequently used terms denoting form or style in all prints, total and subtotals for every 10 years 8. Number of the 12 most frequently used terms denoting form or style in first editions, total and subtotals for every 10 years 9. Another presentation of table 7 10. Another presentation of table 8 11. Comparison of "madrigale" and "cantata" Following the first three tables, which show the changes in the number of music printed, Tables 4 through 6 are presented to examine stylistic characteristics of the music of the time according to the number of voices used. The last five tables are presented to show the changes in musical form and/or style according to the terms used in the titles. In the last part of this study it is concluded that the peak of music printing came in the second half of the 16th century, with its climax occurring between 1580 and 1610. The standard number of voices was five, followed by four-part writing in the second place. As for the musical form/style, the changes are clear. In the first generation of music printing, an enumeration of poetical forms in a given print of music is the common type of title, showing the close relationship between literary structure and music. The study also proves that no specific musical form or forms were dominant during the first two decades of the 16th century. After a decade of silence in music publishing came the golden age of music publishing, which was also the golden age for the madrigal. Around the turn of that century vague terms, such as "musiche" and "scherzi", became conspicuous, proving that forms like the madrigal and its related forms were no longer standard, but the new forms, too, were not yet standard. Towards the end of the 17th century, the term "cantata" became dominant, very scarce in actual number, but very dense in proportion to other forms. As far as the printed sources are concerned, it was thus proved that the Italian secular vocal music between 1500 and 1700 reached its climax in the late 16th century in the field of the five-voice madrigal, when both the composition of madrigals and the publication of music attained their peak.