On The Origin And Main Style Changes Of16^th Century Italian Madrigal

The Renaissance is one of the periods of European musical brilliance, during which vocal music creation is noted for its colorful and exquisite techniques, hence winning the reputation of "golden period of vocal polyphony". Among them, Italian madrigal is the most important and influential secular music genre, which, as a kind of polyphonic poem-music genre, seeks to maximize the poetry content, image, emotion through the performance of music, compelling composers to fully tap new, old music techniques, madrigal almost becomes a testing ground for all musical innovation where the majority of poetry music techniques are established in Italian madrigal in the sixteenth century, influencing all Europe, largely embodying the music development trajectory of the Renaissance, so, exploring the origin and evolution of its style has an important academic value and practical significance.The research on the Renaissance music abroad has been more deeply and widely conducted, but "the domestic research in this field has been lagging behind, not being started until the last ten years."(Mr. Yu Runyang), and a probe into the poetic meaning of music expression and rheology of Italian madrigal is not yet found. Based on the extensive reading of relevant literature(especially foreign), this dissertation intends to make an analysis of typical madrigal composers-mainly exploring the meaning expression in soundtrack and specifically deconstructing madrigal form. At the same time, by listening to some representative actual audios, the research conclusion will be verified. By means of analysis, synthesis, the production of Italian madrigal in the sixteenth Century can be condensed into the three marriage fruits of foreign techniques (Franco-Flemish composers), local and foreign genre (Carnival songs, frottola, chanson, motet) and Italian songs. Its main style development focuses on preliminary form, style maturization, style mixing, style diversity, wherein, word-painting serves as the essential property of the genre, reaching the peak of perfection, especially in the second, fourth style. Centering on this philosophy, the composers resort to every conceivable means, including the corresponding performance of voice-moving, texture, and harmony.The analysis of madrigal form at home and abroad has not yet been found, so this paper will focus on the study of it. Through the analysis of a large number of music scores, the author selects the three representative works and makes a detailed analysis, concluding the basic argument that "based on the variant-sectional structure, combined with different choice of poetry form, there is more freedom in music form". The structure also contains the germination of several classical fixed forms, meanwhile confirming the form being one of the most important attributes as the madrigal "the music genre painting poem". The Italian madrigal of the sixteenth Century has a far-reaching influence, mainly embodied in the communication of music techniques, reformation of music performance forms, so as to create conditions for the birth of subsequent styles and Baroque music genre. In short, the Italian madrigal of the sixteenth Century firstly makes Italy truly the European music center, laying a solid foundation for the future prosperity of Italian music and its subsequent two-hundred-year influences on European music. To understand its origin and style changes, not only can understand the genre itself, also is helpful for us to explore the music aesthetics and performances of the European Renaissance.