Essay on Thomas Morley as the Father of the English Madrigal

Introduction

A composer, theorist, and organist are some of the rare references made towards Thomas Morley. Thomas Morley was born at around 1557 and died between 1602 and 1608 after undergoing a long illness. He studied with William Byrd and Sebastian Westcote, who is opined to be amongst those who influenced his works. His biography reveals that he was awarded a degree in Music from Oxford University at around 1588, after then, he took the position of being an organist at St. Giles, Cripplegate. The subsequent years saw him serve as an organist in various institution with some of them being St. Paul where he joined the Chapel Royal later in the years. On the other hand, John Dowland is opined as one of the few stylish of English Renaissance singer, lutenist, and composer. Most people, particularly those in the field literature and music admire him to date. He is remembered for his astounding compositions, for examples in the following songs. "Come, heavy sleep, Come again." Others included, "In darkness let me dwell," and the most memorable is noted on, "I saw my Lady Weep." It is from the works of the two great personalities that the paper seeks to put Morley in the context of his time which is around 1557 and to draw a contrast between him and John Dowland. Most of the arguments on the contrast will focus on their works mainly the songs which they wrote. My thoughts and connections will equally form an important area of discussion about the historical findings of the two personalities.

Is your time best spent reading someone else’s essay? Get a 100% original essay FROM A CERTIFIED WRITER!

Save 25%

Thomas Morley has been regarded as the father of the English madrigal. He is noted as the first chief personality on matters of commercial transportation particularly those of the madrigal tradition to England. He was also behind the quick assimilation of the Italian styles and forms with specific concern on the burgeoning English tradition. He is also the person who translated the Italian canzonet into the native dialect. These concerns are described in the English short styles, in his Canzonets of 1593 and those of 1595. His last collection also took to account a sample of the instrumental fantasias which all have the Italian titles coupled with marvelous examples of both new and sprightly English counterpoint. Thomas Morley is also noted to have had a specific concern about the Italian Models in his works. He used the models even when paraphrasing simple concepts though tone sophistication and harmonic varieties surpassed most of them. Most of the music he produced was regarded as sacred with a moving tone as the madrigals and the Canzonets.

Conclusion

The sacred works, when viewed from the new English style employed by most artists, showed no greater skills and little elegance. It is also worth noting that Thomas Morley began most of his compositions shortly after 1591 when he realized his ability. It was at the time that he started to publish sets of madrigals. He posted at least 25 canzonets which were explicitly little songs for at least three voices in 1593. Four years later, he again released 17 for five tones and four more canzonets which were concerned with at least six voices in the same year. It was after then that his set of madrigal made an appearance in 1594. The first appearance included at least 22 sets and a year later 20 ballets were published. The 20 ballets were modeled on the balletti of Giovani Giacomo though mush expression was targeted on the musical development with a stronger sense and an actual direction. The subsequent years saw him excel in canzonets and madrigals of a lighter nature.