2016년 11월 10일 목요일

Roundelay

Roundelay

The musical forms in in the Middle Ages when the roundelay (Buddha: rondeau, the plural form: rondeaux) was made based on two of French 15 poetry having crambo and them of the thirteenth to the 15th century and the Renaissance early days. With ヴィルレー and a ballad, it was three major poetry with a fixed form of French poetry of the thirteenth to the 15th century and the music. It is distinguished from the rondo form (Buddha: rondo) of the 18th century.

There is the declension called the roundelay body (British: roundel) which Algernon Charles Swinburne devised.

Table of contents

Roundelay of the literature

The roundelay is used as verses form in English poetry. It uses a refrain repeated according to a specific stylized pattern. It was thought how you located a refrain for the purpose of the poetry by an as possible concise and impressive method conventionally to have it realized with a problem. The roundelay consists of 13 lines of 8 syllables and two banks (each half lines of 4 syllables) of the refrain and uses only three rhyming. The stanza (poetry clause, ream) is three, and the rhyming constitution is "AABBA AABC AABBAC" (in "C" a refrain). The words of the refrain line must be things identical to the start of the first line.

WE wear the mask that grins and lies, (A)
It hides our cheeks and shades our eyes,— (A)
This debt we pay to human guile; (B)
With torn and bleeding hearts we smile, (B)
And mouth with myriad subtleties. (A)
Why should the world be over-wise, (A)
In counting all our tears and sighs? (A)
Nay, let them only see us, while (B)
We wear the mask. (C)
We smile, but, O great Christ, our cries (A)
To thee from tortured souls arise. (A)
We sing, but oh the clay is vile (B)
Beneath our feet, and long the mile; (B)
But let the world dream otherwise, (A)
We wear the mask! (C)
-- Pole Laurence Dunbar (en:Paul Laurence Dunbar) "We Wear the Mask" (the words that the bold-face is used for a refrain)

Roundelay of the music

A strict pattern of verses and the repetition of the refrain according to rhyming constitution of the versification is demanded, and, as for the form of the roundelay, the length has the width from eight to up to 21. The most common form is "ABaAabAB", and I point to the repetition of the music, and, on the other hand, a small letter is the different lyric, and the capital letter points at repetition only for music with the lyrics of the refrain (2 voices). The early roundelay is found as the thing which was usually inserted in long gest, and only for convoluted part of the monophony exists independently. The roundelay of the early poetry had the meter that I often mixed, but it is rare in the roundelay having later music.

Among the roundelay of many voices, the existing immediate early thing is a thing of Pandanus tectorius de la Al of the trouvere. Guillaume de Machaut, the well-known composer of Guillaume Dufay et al. made a lot of music of this form later.

It is rarer than use in France, but a thing called Italian (トレチェント music) ロンデーロ (rondello) is occasionally made and includes it in Italian poetry and music. One piece of ロンデーロ remains in Rossi manuscript (en:Rossi Codex). Furthermore, some French roundelay remains for Italy, the low land district, the German documents in complete form if they say, and those music ("Esperance, qui en mon cuer") may not be the France origin purely.

When it was the baroque, the word (or an adjectival phrase called en rendeau) "roundelay" was applied to the movement of the dance of the simple refrain form by a composer such as Jean = Batty strike Rue re-Louis Couperin.

References

  • Randel, Don, ed. (1986). The New Harvard Dictionary of Music. (pp. 716-717). Cambridge: Harvard University Press. ISBN 0-674-61525-5
  • Cuthbert, Michael. "Esperance and the French song in Foreign Sources". Studi Musicali 35.2, 2007.


Outside link

This article is taken from the Japanese Wikipedia Roundelay

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