2008 - Communication Across the Curriculum (CAC)

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H u m a n i t i e s The Gift of Song by Kirsten Hallford HUMA 1302: Introduction to the Humanities. Kirsten Hallford undertook to compose and write the lyrics for two pieces of music, greatly indebted to the age of the Italian and northern European Renaissance, as well as the Islamic cultures. Her essay, in which she provides both historical and cultural background to the lyrics she wrote, is intended to accompany her songs. Adele Yung Music has been around for as long as people have had vocal chords. Singing is universal. We sing to celebrate, to entertain, to mourn, and to inspire. We sing on Broadway, in the shower, at school, at church, in a group or by ourselves. There are so many different ways to sing and types of music to sing to, it would take up countless books to categorize. The music of the times of the European Renaissance is to be noted, however, because it is one of the first time periods where their melodies have been carried to our time. This fascinating era introduced new musical ideas, including the madrigal, the ballade, and the round. When I decided to write a Renaissance song, I first wanted to do a madrigal, “a poetic and musical form. The poem was usually of two or three stanzas, each one three lines long, followed by a refrain of two rhyming lines. The music was usually for two voices or parts, sometimes for three, and the melody for the stanzas differed from the melody for the refrain.” (web – “singers”) I liked the idea of more than two voices singing, and also putting to music Patriarch’s sonnets. Romantic and cute, the madrigal would be something I would want to sing were I in Renaissance times. But continuing to reflect made me decide I wanted to write my own song, with my own lyrics, accompanied by my own guitar (or, “oversized lute”). What was supposed to be as a love sonnet to music became a story of sorts. It’s sung by a young, romantic teen girl who lived in Venice, and is an account of her encounter with a handsome young sailor who just came off the deck his ship. They flirt a little, and he soon is gone, leaving her with dreams in her head. My madrigal had become a short ballade, but with the nonsensical words in-between the verses, typical of a madrigal. Simple and innocent, I deemed it the first “Badrigal” – not the catchiest name, but served its purpose. I attempted to put a couple Renaissance-song characteristics into one song, and it worked out fairly nicely. …Why not try it again I knew my second song was to be about Christmas, or at least 6 3 W r i t i n g A c r o s s t h e C u r r i c u l u m
R e s e a r c h e d E s s a y had something to do with Christmas. I wanted it to be more sacred, less informal, yet no complex words or thoughts so everyone could understand the idea being presented. Again, I combined several Renaissance aspects to one song. Martin Luther wrote songs for the church, so that was a good place to start. “It is evident that Luther was a strong supporter of art music within the Church, for he stated: “This precious gift [music] has been bestowed on men alone to remind them that they are created to praise and magnify the Lord. But when natural music is sharpened and polished by art, then one begins to see with amazement the great and perfect wisdom of God in his wonderful work of music….” (web – “carolinaclassical”). He wrote hymns, chorales, music with many voices and harmonies. I liked that there were no solos, and built the first part of the song in unison and then the same phrase in harmony, recording myself three times over. The second part was the “main theme” of the song. I hoped people would picture the actual angels gathered in the sky, singing out of joy. And then…then I remembered a very different piece of music composition from the early African tribes: “The essentially communal spirit of African culture is reflected in the use of responsorial chants involving call-and-answer patterns similar to those of African poetry.” (Fiero 97) So I incorporated that in a formal-sounding setting, repeating Ha-le-lu-ia four times after the soloist. Last, after the main theme again, I integrated caccia, the Italian word for “chase” – “a lively fourteenth-century Italian musical form that deals with everyday subjects…” (Fiero 22). Finally, the song crescendos, repeating itself with the same tune as well as different tunes, and slows to a three-part finish. There are so many parts to different Renaissance music, it would be almost impossible to incorporate all of them into a single song. But it was fun to attempt it. Though neither piece is purely one specific type of Renaissance music, it was enjoyable to try to piece them together, to create an overview of singing and music from this time period. Works Cited http://www.singers.com/choral/madrigals.html http://www.carolinaclassical.com/articles/luther.html Fiero, Gloria K. The Humanistic Tradition. Book 3, The European Renaissance, The Reformation, and Global Encounter. New York: McGraw-Hill, 2006. V o l u m e I V : F a l l 2 0 0 8 6 4
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2008 - Communication Across the Curriculum (CAC)

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