Lauda (song)

The ''lauda'' (Italian pl. ''laude'') or ''lauda spirituale'' was the most important form of vernacular sacred song in Italy in the late medieval era and the Renaissance. ''Laude'' remained popular into the nineteenth century. The lauda was often associated with Christmas, and so is in part equivalent to the English carol, French noel, Spanish villancico, and like these genres occupies a middle ground between folk and learned lyrics.

Origin and spread of the lauda

Originally, the ''lauda'' was a monophonic (single-voice) form, but a polyphonic type developed in the early fifteenth century. The early ''lauda'' was probably influenced by the music of the troubadours, since it shows similarities in rhythm, melodic style, and especially notation. Many troubadours had fled their original homelands, such as Provence, during the Albigensian Crusade in the early 13th century, and settled in northern Italy, where their music was influential in the development of the Italian secular style.

A monophonic form of the ''lauda'' spread widely throughout Europe during the 13th and 14th centuries as the music of the flagellants; this form was known as the '' Geisslerlied'', and picked up the vernacular language in each country it affected, including Germany, Poland, England and Scandinavia.

After 1480, the singing of ''laude'' was extremely popular in Florence, since the monk Savonarola (and others) had prohibited the dissemination of any other style of sacred vernacular music. Many of Josquin's motets and masses are based on melodies he heard in ''laude'' during his sojourns in Italy around this time.

''Laude'' had a resurgence of popularity again at the time of the Counter-Reformation, since one of the musical goals of the Council of Trent was to increase the intelligibility of text, and the simple, easily understood laude provided an ideal example.

The significance of the lauda diminished as the oratorio evolved. However, tunes and lyrics continued to influence later music.

Latin songs with some characteristics of the lauda

Song Latin songs, notably 13 Latin antiphons preserved in the Bobbio Abbey, have sometimes been called "Latin laude," however, which more closely resemble the Latin language version of the Italian ballata.Christopher Kleinhenz, John W. Barker. ''Medieval Italy : an encyclopedia'': Volume 2, p. 612. "These pieces often are called Latin laude, but their relationship to the Italian lauda is tenuous. The best-known are the thirteen songs for the nativity or for the Virgin recorded in a fourteenth-century antiphonary from Bobbio."

Selected recordings

* ''O cieco mondo'' - composers Jacopo da Bologna, Alexander Demophon, Francesco Landini, Vincenzo Ruffo, and Anonymous. Paul Van Nevel Huelgas Ensemble, Deutsche Harmonia Mundi

References

Further reading

*
* Gustave Reese, ''Music in the Renaissance''. New York: W.W. Norton & Co., 1954. .
* ''The New Harvard Dictionary of Music'', ed. Don Randel. Cambridge, Massachusetts: Harvard University Press, 1986. .
* Richard H. Hoppin, ''Medieval Music''. New York: W.W. Norton & Co., 1978. .
* John Joseph Fiore, ''The Canzonetta Spirituale in the late sixteenth century in Italy''. Chicago, Illinois: University of Chicago, 2009. UMI number 3386989, ProQuest.

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Italian music history
Song forms
Renaissance music
Italian styles of music
Medieval music genres