14. The Renaissance

1. The Enjoyment of Music 10th Edition 14. The Renaissance The Renaissance (c. 1450�1600) Means �rebirth� in French Restored learning & values of ancient Greece & Rome Rise of secular & instrumental music 1501, Music printing = accessible/demand Interest in individual, human body Greek philosophy = music affects body

2. The Enjoyment of Music 10th Edition The Arts in the Renaissance Europe becomes world power Wealth centralized in Italy Rulers used musicians to glorify themselves & their cities� reputations Europe (Italy!) laid foundation for Renaissance

3. The Enjoyment of Music 10th Edition Humanism Study of humanities Revive ancient learning Alongside Christianity, had faith in humans to improve conditions and create great works of art

4. The Enjoyment of Music 10th Edition Musicians in Renaissance Society Churches, cities, and courts Court chapels Trades of instrument building, printing, and music publishing Merchant class music patrons Amateur musicians

5. The Enjoyment of Music 10th Edition Renaissance Musical Style Word painting: music reflects meaning of text Vocal music dominates but rise of instrumental music Variety of textures to capture different moods Imitation, Paired imitation Homophony, Homorhythm Cantus firmus Professional singers in church setting

6. The Enjoyment of Music 10th Edition Renaissance Musical Style Melody: Stepwise (conjunct) motion Moderately narrow range Harmony Less dissonance than medieval music Consonant triad becomes the foundation of harmony Rhythm Duple meter common as triple meter Sacred music = relaxed, w/o strong beats Secular music = lively, syncopated

7. The Enjoyment of Music 10th Edition Renaissance Musical Style Color More instrumental music survives than from the Middle Ages Unaccompanied (a cappella) vocal music predominant Texture Imitative counterpoint Four to five lines most common Homophonic texture inserted for variety

8. The Enjoyment of Music 10th Edition 15. Renaissance Sacred Music The Early Renaissance Mass Settings of Mass Ordinary Kyrie, Gloria, Credo, Sanctus, Agnus Dei Latin not vernacular Early Masses based on Gregorian chant cantus firmus (fixed melody; other voices not fixed, can be composed from scratch)

9. The Enjoyment of Music 10th Edition The Motet in the Renaissance Sacred (usually) Single Latin text Written for 3, 4, or more voices Cantus firmus Used in religious service

10. The Enjoyment of Music 10th Edition Josquin Des Prez (1455--1521) Early career in Italy Temperamental and egotistical personality Composed about 17 Masses and 100 motets Used a mix of imitation and homophony to reflect the texts Imitation obscured the cantus firmus and the text

11. The Enjoyment of Music 10th Edition Josquin: Ave Maria . . . virgo serena (Listening Guide) Renaissance motet Combinations of voices and textures Quotation of chant Rest of work is newly composed Imitative vs. homorhythmic sections Final couplet: simple texture, example of humanistic spirit

12. The Enjoyment of Music 10th Edition The Late Renaissance Mass Martin Luther (1483�1546): Reformation Lutheran Chorale: homophonic rhythm; vernacular texts; strophic form Counter-Reformation (1530s�1590s) Council of Trent Corruption of chant by embellishment Use of certain instruments in religious services Incorporation of popular music in Masses Secularism of music Irreverent attitude of church musicians Pure vocal style that respected the integrity of the sacred texts

13. The Enjoyment of Music 10th Edition Palestrina and the Pope Marcellus Mass Giovanni Pierluigi da Palestrina (c. 1525�1594) Italian composer that captured the counter-reformation style Little dissonance Clear phrasing Preserved plainchant Prolific composer: 100 Masses

14. The Enjoyment of Music 10th Edition Palestrina: Pope Marcellus Mass, Gloria (Listening Guide) Satisfies the new strict demands of the Council of Trent Probably performed a cappella Written for six voice parts Opens with a monophonic intonation Choral sections are polyphonic Text is clear and audible

15. The Enjoyment of Music 10th Edition 16. Renaissance Secular Music 1501, Moveable Type, Music Printing Fostered creation & dissemination of music for amateurs Vernacular styles emerged in certain regions Music became more accessible Easy to play Easier to access Music for amateur and professional musicians flourished

16. The Enjoyment of Music 10th Edition Music in Court & City Life Professional musicians: courts and civic functions Merchant class amateurs: played and sang at home Lute, keyboard instrument in homes Children taking lessons Professional singers, esp. women Chanson and madrigal Francesco Petrarch (1304�1373) Pierre de Ronsard (1524�1585)

17. The Enjoyment of Music 10th Edition The Chanson Burgundy and France in the 15th century 3 or 4 voices Courtly love verses Freer poetic structures

18. The Enjoyment of Music 10th Edition Josquin: Mille regretz (A thousand regrets) Last year of composer�s life Four-voice texture Courtly love Church mode Homorhythm, imitation Expressive text setting

19. The Enjoyment of Music 10th Edition Instrumental Dance Music Period of growth Publishing & printing Increased secularization Amateur musicians Publishing centers: Venice, Paris, Antwerp Instrumentation was unspecified Used vocal music & improv

20. The Enjoyment of Music 10th Edition Susato: Three Dances (Listening Guide) Set of three rondes from the 1551 Danserye collection Instrumental dances published by Tielman Susato (c. 1515�c. 1571) Binary form (A-A-B-B) Repeated sections with added improvised embellishments

21. The Enjoyment of Music 10th Edition The Italian Madrigal Chief form of Renaissance secular music Italian courts Text: short poem of lyric or reflective nature Includes �loaded� words: weeping, sighing, trembling, dying, etc. Music: sets text expressively (madrigalisms) Instruments double or substitute for the voices Three phases of the madrigal First phase (c. 1525�1550) Second phase (c. 1550�1580) Third phase (c. 1580�1620)

22. The Enjoyment of Music 10th Edition Italian Madrigal Through-composed: new music for every line of poetry, no repetition, only contrast. Text chosen by renowned poets Mostly on topics of love, sex, and wit that could charm, surprise, amuse, and entertain Initially employed 4 voices but five voices became the norm by mid-sixteenth century (one singer per melodic line) Written less to be performed in front of an audience, and more for the enjoyment of the singers themselves at social gatherings Declamation of text Imagery, Expressivity, Characterization, Dramatization, and later Vocal Virtuosity!

23. The Enjoyment of Music 10th Edition Italian Madrigalists Early Madrigalist Jacques Arcadelt (1507 � 1568) Uses a mixture of textures to express texts Adrian Willaert Mid-century Madrigalists Cipriano de Rore (1507 � 1568) The use of texture, rests, inflection and interval to express text Used chromaticism Later Madrigalists Luca Marenzio (1553 � 1599) Carlo Gesualdo (1561 � 1613) Extreme diatonic and chromatic contrast intensified text, dissonance and consonance, homophonic and imitative, slow-moving and active

24. The Enjoyment of Music 10th Edition Jacques Arcadelt, Il bianco e dolce cigno Il bianco e dolce eigno Cantando more. Et io Piangendo giung� al fin del viver mio. Stran� e diversa sorte, Ch�ei more sconsolato, Et io moro beato. Morte che nel morire, M�empie di gioia tutt�e di desire. Se nel morir� altro dolor non sento, Di mille mort� il di sarei contento

25. The Enjoyment of Music 10th Edition Carlo Gesualdo, �Io parto� e non piu dissi �Io parto� e non piu dissi che il dolore Privo di vita il core. Allor proruppe in pianto e disse Clori Con interrotti omei: �Dunque ai dolori io resto. Ah, non fia mai Ch�io non languisca in dolorosi lai.� Morto fui, vivo son che I spirti spenti Tornaro in vita a si pietosi accenti.

26. The Enjoyment of Music 10th Edition Monteverdi and the Madrigal Claudio Monteverdi (1567�1643) Italian Renaissance and Baroque Eras Eight books of madrigals

27. The Enjoyment of Music 10th Edition Monteverdi: Ecco mormorar l'onde (Listening Guide) Courtly poem by Torquato Tasso Exaggerated contrasts of delight and despair Expressed musically with word painting Images include waves, rustling leaves, birds' song, etc. Five-voice texture Style inspired by the famous ensemble of professional women singers Concerto delle donne (Ensemble of the Ladies) Contrast between high and low voices foreshadows Baroque techniques

28. The Enjoyment of Music 10th Edition The English Madrigal English further developed the Italian madrigal Homophonic rhythms with imitative �fa la la� refrain sections Simpler and lighter in style Thomas Morley, John Farmer, etc.

29. The Enjoyment of Music 10th Edition Farmer: Fair Phyllis (Listening Guide) Cheerful mood Sectional repetitions Contrapuntal imitation Contrasting texture (homorhythmic, polyphonic) World painting

30. The Enjoyment of Music 10th Edition Morley: My Bonny Lass She Smileth Cheerful mood Primarily homorhythmic texture Imitative �falala� section Strophic with �falala� refrain