Chansons, madrigales & motetz à 3 parties of 1568 is one of two volumes that constitute the debut of Antwerp composer Noé Faignient (c.1537-1578). This musical collection (henceforth CM&M à 3) survives only in manuscript in three partbooks held at the Stifts- och Landsbiblioteket in Linköping, Sweden and has never before appeared as a complete modern edition. Like its sister volume for 4, 5, and 6 voices, Faignient’s 3-voice collection contains French chansons, Italian madrigals, Latin motets, and Dutch liedekens. A multi-genre debut was well chosen for the diverse city of Antwerp, the center of commerce and culture in the Low Countries in the 16th century, and for international distribution in pursuit of patronage or permanent employment abroad. The commercial value of chansons, madrigals, and motets had been well established in Western Europe by this time, but liedekens did not share the international marketability of the other genres. Liedekens are included in CM&M à 3 not for commercial reasons, but as vehicles of political propaganda and expressions of national identity corresponding with the outbreak of the Dutch Revolt against Spanish rule of the Low Countries. Faignient’s posture of religious nonalignment in CM&M à 3 parallels early rebel propaganda, but also reveals the composer to be a careerist; one of many composers of his generation to separate his professional and creative activities from religion in order to serve his professional ambitions and his political ideals amid the turbulence of the Reformation.
|Advisor:||Smith, Jeremy L.|
|Commitee:||Caballero, Carlo, Hammer, Paul E.J., Maloy, Rebecca, Riis, Thomas L.|
|School:||University of Colorado at Boulder|
|School Location:||United States -- Colorado|
|Source:||DAI-A 77/05(E), Dissertation Abstracts International|
|Keywords:||Belgium, Dutch revolt, Faignient, Noe, Liedeken, Low Countries, Polyphony, Propaganda|
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