...The leader of this group, Ronsard, repeatedly argued that poetry should originally be sung, and at the end of his collection of love poems, Les amours (1552), he included examples of compositions by Janequin and others, classifying each poem as one that could be sung according to one of these examples. In addition, the Académie de Poésie et de Musique, which was founded in 1570 by J. A. Baif, a member of the same group, with the royal charter of Charles IX and the musician Joachim Thibault de Courville (?-1581), attempted to create metrical music, which attempted to transfer long and short syllables to long and short notes in the same way as classical poetry. Representative musicians of the second half of the 16th century include J. Arcadelt, Guilaume Costeley (1530 or 1531-1606), O. de Lassus, Claude Le Jeune (c. 1528-1600), and A. Bertrand. Along with homophonic writing dominated by the highest voice, polyphonic writing was revived, and the style became more diverse with the introduction of tone-picture techniques and chromaticism derived from the Italian madrigal. *Some of the terminology that refers to "metrical music" is listed below. Source | Heibonsha World Encyclopedia 2nd Edition | Information |
…一派の領袖ロンサールは,本来,詩が歌われるべきものであることを繰り返し説き,自らの《恋愛詩集Les amours》(1552)巻末にジャヌカンらによる作曲の実例を添え,収録の全詩がその実例のいずれかに則して歌えることを示し,分類している。また,同派のJ.A.deバイフが1570年にシャルル9世の勅許を得て音楽家クールビルJoachim Thibault de Courville(?‐1581)とともに創設した〈詩と音楽のアカデミーAcadémie de Poésie et de Musique〉では,古典詩法にならって音節の長短をそのまま長短の音符に移そうとする〈韻律音楽musique mesurée à l’antique〉の試みがなされた。16世紀後半の代表的音楽家としてはJ.アルカデルト,コストレGuilaume Costeley(1530か31‐1606),O.deラッスス,ル・ジュヌClaude Le Jeune(1528ころ‐1600),A.ベルトランらが挙げられるが,最上声部支配のホモフォニックな書法と並んでポリフォニックなものの復活,さらにイタリアのマドリガーレに由来する音画技法や半音階法などとも相まって,その様式は多様化している。… ※「韻律音楽」について言及している用語解説の一部を掲載しています。 出典|株式会社平凡社世界大百科事典 第2版について | 情報 |
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