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ジョスカンとデュファイの音楽の相違点をわかりやすく説明した英文を見つけたので原著者の了解を得て、翻訳しました。まちがっているところもあると思うので原文も載せています。誤訳があったらお知らせいただければ幸いです。
How is the musical style of Du Fay different from that of
Josquin?
The late fifteenth and sixteenth century saw the rise of
a new musical style, one in which harmonies began to center on full triads and
the setting of the text became an important concern to composers. Guillaume
Dufay (1400-1474) and Josquin des Prez (1440-1521) are two of the most important
figures in the development of Western polyphony during this exciting time
period.
Dufay is commonly associated with the Burgundian court
and during this period four principal types of compositions were prominent:
Masses, Magnificats, motets, and the secular chansons with French texts. At the
beginning of the Burgundian period there was no distinctive sacred style of
musical composition, both the mass and the motet were composed in the chanson
style. On the contrary during Josquin’s period a firm and more consistent sacred
style was developing. In the motet and mass, Dufay used a freely composed
melodic treble voice, supported by a tenor and contratenor in a three-voice
texture. The treble might be newly composed, but often it was an embellishment
version of chant. The chant melody was always recognizable. Similar rules
applied to Dufay’s hymns. The treble contained the chant melody and in the
fauxbourdon tradition, the two outer voices were written down while the middle
voice improvised to fill out the harmony. This was not a practice of des Prez.
The even numbered stanzas were sung polyphonically and the others were performed
as plainchant. On occasion Dufay would write isorhythmic motets for solemn
public ceremonies.
It was also of growing importance to Josquin that the
meaning of the texts was clear. This was not a vital characteristic in the music
of Dufay. Josquin was also beginning to use motive and fugal imitation, in which
each phrase of text is assigned a musical subject that is then taken up by each
of the voices. This was not a known practice during the three- part writing
period of Dufay. Again, for Dufay, all parts were not equal. The chant melody
always prominent in the vocal texture.
In his motets, Josquin often included sections of
homophonic four-part writing in which root-triads harmonize recitation psalm
tones, Magnificats, and Lamentations. This technique came to be known as
falsobordone. By contrast to the fauxbourdon technique used by Dufay that is
usually applied to hymns in, in which the chant was accompanied by sixths and
thirds expanding to octaves and fifths at cadences. Josquin’s technique allowed
the text to be more audible and comprehensible. This became one of the most
important qualities of the music of Josquin as he moved later into his career.
He would use every possible resource to bring clear meaning to the message of
the text. Naturally, this also had an effect on the contemporaries of
Josquin.
Another striking quality of the music of these two
important composers was the use of consonance and dissonance. Dufay tended to be
rather conservative in his use of dissonance, always resolving tension quickly
and between beats. Josquin on the other hand was not afraid from using
dissonance on strong beats and in places where it was more obvious to the
listener.
Clearly there are many differences in the music of these
two important composers, but what is important to see is the evolutionary
development of music and its many forms. Dufay, in
many respects, paved the way for future composers to use greater imagination and
ingenuity in musical composition. |