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DTSTAMP:20250801T192932Z
DESCRIPTION:The Doctoral Colloquium is open to all.\n\nDoctoral Colloquium:
  Sylvain Margot\n\n\nFind out more about attending events at Schulich\n\n
 \n\nTitle: Toward an Analysis of Melodic Style: The Case of the Galliard a
 t the End of the Renaissance\n\n \n\nAbstract:\n\n	Very little is known abo
 ut dance music before the Baroque era. Most studies on the subject are by 
 dance historians\; only a few are by musicologists and none by music theor
 ists. This is somewhat surprising since we have many pieces from sixteenth
 - and seventeenth-century Europe. Transmitted and used for teaching by dan
 ce masters in the form of a simple melodic line\, dance music was often or
 namented\, published in polyphonic arrangements\, or reused within other w
 orks. The study of this corpus is particularly interesting for the analysi
 s of melodic style.\n\n	The galliard was a virtuoso dance found throughout 
 Europe. There are no less than 530 polyphonic galliards\, published in 50 
 collections. Although its choreographic unit\, the “cinque passi” or five-
 steps\, is usually danced to a metric unit of two ternary measures\, dance
  historian Barbara Sparti has noted that many later galliard sections have
  an odd number of measures. She interprets these deviations as the mark of
  a late evolution from dance music to “art” music. But is this the only ex
 planation?\n\n	The eight dance treatises of the end of the Renaissance that
  deal with the galliard seem to support Sparti’s assertion. The choreograp
 hic structure of the dance\, as described there\, is always symmetrical. T
 he two main choreographic functions\, the passage and the mutation\, are b
 oth built upon the elementary two-ternary-measure five-steps\, making it i
 mpossible to dance a section with an uneven number of measures.\n\n	On the 
 other hand\, early irregular galliards were printed in the same volumes as
  other regular pieces without notable distinction\, suggesting that they w
 ere danced too. Furthermore\, they show hypermetric deviations that are al
 so found in some later irregular galliards\, which undermines Sparti's the
 ory of a “late” evolution to art music. These include the compressed motiv
 e\, that is the shortening of a melodic sentence by deletion of its initia
 l repeating notes\; the extended cadence\, that consists in the addition o
 f a final measure after the cadence has resolved\; and the binary reinterp
 retation\, that is a play with hypermetric ambiguity often found in French
  galliards.\n\n	Fortunately\, an overlooked line in Arbeau’s dance treatise
  might provide a clue to how to dance on irregular galliards. Some types o
 f révérence can be danced outside of the five-steps framework\, thus allow
 ing the dancers to insert a choreographic measure where relevant. By using
  this technique with a musical example\, I will demonstrate that it is pos
 sible to solve the irregular galliard dilemma faced by many contemporary d
 ance scholars.\n\n\n\n	\n		\n			\n				 \n			\n		\n	\n\n\n \n
DTSTART:20230310T213000Z
DTEND:20230310T233000Z
LOCATION:C-201\, Strathcona Music Building\, CA\, QC\, Montreal\, H3A 1E3\,
  555 rue Sherbrooke Ouest
SUMMARY:Doctoral Colloquium (Music) | Sylvain Margot
URL:/music/channels/event/doctoral-colloquium-music-sy
 lvain-margot-346774
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