The Forms of German Polyphonic Song from the 15th and 16th Centuries
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Abstract
The article is devoted to the peculiarities of the poetical and musical organization of the German polyphonic song
from the 15th and 16th centuries. The topicality of the given aspect of the problem of secular German Renaissance
polyphonic music is stipulated by its peripheral position in research literature in German-language. The author bases
her research on the representational material of song collections assembled by Georg Forster, Ludwig Senfl and
Hans Leo Hassler. Basing herself on the typological approaches of Kurt Gudewill and Natalia Simakova, the author
examines the researched musical material in the aspect of a number of principled positions: the derivation in most cases
of the musical organization from the verbal; the cantus firmus (tenor) in the role of the main constructive element of
the form; the deep relation of the bar-form with the couplet-strophic form; the significance of the through principle for
the construction of separate integral specimens or strophes. The solutions of the bar-form within the boundaries of the
compositional standard and its modification and the varieties of the versification of the couplet-strophic form, the paths
of realization of refrain qualities (refrain-stanza, refrain-line) are presented in a consistent manner. The basic results
include the indication of signs of influence of song structures from other nations on the structure of 15th and 16th
century German song, the introduction of the concept of “madrigal” form in relation to the studied material, as well as
the solution of the architectonic specificity of the sources of the Нofweise and the Volksliedweise.
Keywords: German polyphonic song, bar-form, refrain, Hofweise, Volksliedweise, madrigal form.
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References
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