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The Renaissance

The Renaissance. Music. Renaissance Music by 1425. Mensural (Measured) Notation had reached the point of using dots, flags, white and colored notes. Consonance vs. Dissonance. Consonance: What sounds good Dissonance: What sounds bad

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The Renaissance

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  1. The Renaissance Music

  2. Renaissance Music by 1425 • Mensural (Measured) Notation had reached the point of using dots, flags, white and colored notes

  3. Consonance vs. Dissonance • Consonance: What sounds good • Dissonance: What sounds bad • 3rds and 6ths added to the list of consonant sounds (Perfect 4th, 5th, 8ve)

  4. Renaissance MusicJohannes Tinctoris • Renaissance Music Theorist and Composer • Pythagoras-Antiquity • Boethius-Medieval • Believed in what sounded good to the ear • “[T]he pleasure of the ear is derived…then, not by heavenly bodies, but by earthly instruments with the cooperation of nature.”-1477 Book on the Art of Counterpoint

  5. Renaissance MusicJohannes Tinctoris • Tinctoris wrote that the musical Renaissance began in England and moved to France COMPOSERS INCLUDE: • John Dunstable (1390-1453)-English used interval of thirds—Triads • Guillaume du Fay (1400-1474)-Belgium-Italy • Johannes Ockegham (1420-1496)-France • (among others)

  6. Renaissance Music • Texture-homogeneous texture (same part, different time, forms vertical structure)-polyphonic—employs uses of pervading imitation • Rhythm-Flowing, less strong downbeats (specifically vocal)—tactus (steady pulse) governs work • Melody-usually newly composed-lyrical • Harmony-3rds, 6ths added to 4ths, 5ths, 8ves • Compositional Buzz Words-cantus firmus, motet, chanson, frotolla, cyclic Mass

  7. Renaissance MusicJohn Dunstable ♫2:4 • English Composer given credit for being among the first to use new harmonies • Qulam pulchra es (“How Fair You Are”) c.1430 • Motet (polyphonic religious work) • Uses consonant sounds, moving chordally, hymn-like (strophic) • Very few dissonant sounds used

  8. Renaissance MusicGuillaume du Fay ♫2:6 • Born in what is now Belgium, moved to Italy for most of career (spent time in France) p.106-107 • Last well-known composer to write plainchant, upon commission in 1457 (found in 1988)

  9. Renaissance MusicGuillaume Du Fay ♫2:6 • Nuper rosarum flores (“The Rose Blossoms”) • Motet • Written for the consecration of the dome of the cathedral in Florence March 25, 1436 • Sounds very similar (rhythmically) as middle ages, harmonically (chordally) much different • Uses cantus firmus-fixed melody (chant or melodic line that music is written around) • All parts singing the same thing, one moving faster

  10. The Florence Cathedral Domedesigned by Filippo BrunelleschiSmaller inner shell helps support the outer shell

  11. Renaissance MusicJousquin des Prez ♫2:7 • Born in Belgium/France c1450-1521 and spent most of life in either Italy or France p.108-9 • Ave Maria…virgo serena (Hail the Serene Virgin Mary) c. 1470-80 (page 108, 110, 111) • Published in Petrucci’s First Book of Motets • Uses not only normal Renaissance harmonies (triads-3rds, 4ths, 5ths, 6ths, 8ves) but… • Pervading imitation…series of musical ideas presented imitatively (echo)—replaces isorhythm • The point that a new idea is presented is the “point of imitation”

  12. OLD Liturgically Appropriate No Unifying musical concept throughout Monophonic, Polyphonic Only later instrumentally accompanied NEW Focus placed on musical continuity Based on single Cantus Firmus (presented throughout)—May or may not be chant related Polyphonic Usually accompanied (organ, other instruments) Renaissance MusicCyclic Mass

  13. Renaissance MusicGuillaume Du Fay ♫2:9 (0:0-:34, 7:28-end) • Cyclic Mass • Missa Se la face ay pale (“Mass: If My Face Is Pale”)-p.117 • First to be based on secular tune (composed by Du Fay) • Tenor no longer lowest voice—allowed more harmonies (still fairly consonant)

  14. Renaissance MusicCantus Firmus • Generally applied in one of three ways: • Strict Technique: Cantus Firmus remains constantly in one voice (usually tenor) • Ostinato Technique: Cantus Firmus repeats constantly, always appearing in at least one voice • Free Technique: Cantus Firmus migrates from voice to voice or may drop out completely • May be canonic: in the form of a canon…strict imitation (parody) of original theme or altered (augmentation, inversion, retrograde, retrograde inversion)

  15. Renaissance MusicThe Motet • Religious Polyphonic Work—Prayer set to music • Three types: • Liturgical—written within the liturgy of the Mass Proper (usually Offertory texts) • Devotional—Non-liturgical services or gatherings (including confraternities and Memorial Services)—(Usually non-liturgical poetry) • Occasional—Commissioned for special circumstances (Usually non-liturgical poetry or prose)

  16. Renaissance MusicWord-Painting • The use of Musical Elements to imitate the meaning of a specific passage of text

  17. Renaissance Music Word-Painting Example ♫2:15 • Musical Example: Absalon, fili mi (“Absalom, My Son”) Josquin (possibly Pierre de la Rue) • In the Bible, a son of David who staged a revolt against his father's kingship and was defeated and killed in the ensuing battle. • His body was then taken down and cast into a pit dug in the forest, and a heap of stones was raised over his grave. When the tidings of the result of that battle were brought to David, as he sat impatiently at the gate of Mahanaim, and he was told that Absalom had been slain, he gave way to the bitter lamentation: "O my son Absalom, my son, my son Absalom! would God I had died for thee, O Absalom, my son, my son!" (2 Sam. 18:33. Comp. Ex. 32:32; Rom.9:3).

  18. Renaissance Music Word-Painting Example ♫2:15 • Motet • Written in lament of a lost son. Exact loss unknown (p.126-127) • Uses Word-Painting to symbolize the Depths of Hell • Another example would be an ascending line while text is saying ascending in to heaven or climbing a mountain.

  19. The Renaissance Secular Music

  20. Secular (vocal) Music of The Renaissance • Most music was still memorized, improvised or embellished from what we have—Fewer works are available than sacred for this reason.

  21. Renaissance MusicThe Chanson (French: song) • Secular Polyphonic Work—Poem or Prose set to Music (Secular Version of the Motet) • Instruments often replaced text (served same melodic purpose) • Progressed much like the motet—from several non-related lines to a unifying theme and mood prevailing throughout AND more rhythmic denotations

  22. Chanson ExamplesDu Fay ♫2:16 • Adieu ces bons vins de Lannoys (“Farewell These Good Wines of Lannoys”) • Ca 1425-1450 • Three melodic lines (superius, tenor and contratenor) only superius is vocal—can be vocal or instrumental.

  23. Chanson ExamplesHayne van Ghizeghem ♫2:17 • De tous biens plaine (“Of All Good Things”) • Ca 1470 • Three melodic lines (superius, tenor and contratenor) again, vocal or instrumental. • More fluid melodic line • Very popular—several arrangements survive

  24. Chanson ExamplesHeinrich Isaac ♫2:18 • Helas, que devera mon coeur (“Alas, that my heart will devour?”) p.130 • Ca late 1480’s • Pervading Imitation • Paratactic structure-successive points of imitation present new material—all voices are equal • Three-Voiced Rondeau (each strophe consists of eight lines of text set to music following the rhyme scheme ABaAabAB—Uppercase letters show Refrain that remains constant strophe to strophe)

  25. Renaissance MusicFrottola • Italian version of the Chanson • Lighthearted and sarcastic rather than the courtly love themes in chansons • Characterized by dance-like rhythms with syncopation (hemiola) • Highly published by Petrucci • Most for solo voice, lute or keyboard • Spread throughout Europe—did not remain just in Italy • Occasionally written in antiphonal style (moving back and forth)

  26. Frottola Musical ExamplesMarchetto Cara (c. 1470-1525) ♫2:19 • From Mantua, Italy • Hor venduto ho la speranza (“I have just sold hope”) • Published in 1504 in Petrucci’s first book of frottolle (plural)

  27. Frottola Musical ExamplesJosquin des Prez ♫2:20 • El grillo (“The Cricket”) • Antiphonal • Only partially imitative

  28. The Parisian ChansonClaudin de Sermisy ♫2:21 • Parisian Chanson, influenced by Frottola—Lighter text. (Based in France) • Still Polyphonic, and homorhythmic (moving together). • Tant que vivray (“As Long As I Live”)-1528 • Parisian Chanson began to become more complicated, some using onomatopoeic techniques (words that describe sounds “crash, kaplooie, bang….’Batman’”)—Described subjects such at War, Birds, Cries, Gossip

  29. The Italian Madrigal • Developed in Italy • Similar to Frottola, • Differences: • More rhythmic variation (contrapuntal) • More “daring” harmonies (use of dissonance) • Through-composed—Each line of text set to new music (allowed for word-painting) • This is different than the madrigal encountered in the Middle Ages

  30. The Italian MadrigalMusic Examples-p.145 ♫Bonus:1 • Jacob Arcadelt • Il bianco e dolce cigno (“The White and Gentle Swan”)-1539 • Early Italian Madrigal

  31. The Italian MadrigalMusical Examples ♫Bonus:3 • Madalena Casulana (p.148-149) • Morir non puo il mio cuore (“My Heart Cannot Die”)-1566—p.147 • Among earliest published female composers

  32. The Italian Madrigal Musical Examples ♫3:1 • Matona mia cara (“My Dear Lady”)-1581 • Orlando de Lassus (p.171) • Considered an anti-madrigal from its light-hearted parody on the madrigal style • Difficult to translate to English as it is intentionally written as a German soldier speaking broken Italian

  33. Review of Secular Vocal Music of the Renaissance • Call and Answer of musical genres (more of variations on innovations): • France: Chanson (1450-1500) • Italy: Frottola (1480s) • France: Parisian Chanson (1520s) • Italy: Madrigal (1530s)

  34. Renaissance Music-Germany • Lied (“Song”) and Tenorlied (“Tenor Song”)-Musical selection prominent in Germany • Meistersingers (“Master Singers”)-Group of singers, sophisticated • Most famous, Hans Sachs

  35. Renaissance Music-Germany ♫3:2 • Musical example: • Henrich Isaac • Innsbruck, ich muss dich lassen (“Innsbruck, I Must Leave You”)

  36. Renaissance Music-Spain ♫BONUS:4 • Villancico-Musical form of the Renaissance • Similar to Italian Frottola • Al amor quiero vencer (“I Want to Conquer Love”) • Solo voice with vihuela (guitar-like) accompaniment • Specific directions for embellishment (do or don’t or do what I say)

  37. Renaissance Music-England ♫3:3 • Italian Madrigal form moved to England…English Madrigal • Thomas Morley (1557-1602) • Now is the Month of Maying (“Now is the Month of Maying”)-1597 • Renaissance Ballata (Ballet), Fa-La • Lighter side (English Madrigals included light and more serious)

  38. Renaissance Music-England ♫3:4 • John Dowland (1563-1626) • Known for Lute Song (strophic, notated for lute and 1+ voices) • Come, Heavy Sleep • Serious side of English Renaissance

  39. Again, To Review: • France: Chanson (1450-1500) • Italy: Frottola (1480s) • France: Parisian Chanson (1520s) • Italy: Madrigal (1530s) In their own right: • Germany: Lied and Tenorlied (1500s) • Spain: Villancico (Late 1400s) • England: English Madrigal—Renaissance Ballet (Fa-La) and Lute Song

  40. The Renaissance Sacred Music

  41. Renaissance Music: State of the Art • Up until the beginning of the Reformation, there was one church, one (religious) language and one liturgy • More churches (sects) began to form, regional vernacular slipped in and the liturgy was altered.

  42. Music of the Reformation • Martin Luther, in addition to German Monk—Lutenist, flutist, singer and composer (admired works by Josquin des Prez) • Some Protestant composers still used parts of the traditional Roman Liturgy (i.e. Introits, Graduals) • Latin still used (some), vernacular used frequently • Communal Music important-CHORALES-German term for hymn (strophe)

  43. Music of the Reformation • All Protestants did not embrace music like Luther • Jean Calvin-Calvinists (later Presbyterian) only allowed unaccompanied unison singing of the Psalms (NO OTHER MUSIC) • Ulrich Zwingli-NO MUSIC • Luther comments: “I am not satisfied with him who despises music, as all fanatics do,…Music is a gift of God, not a gift of Men.”

  44. The Chorale: • Meant to be sung by a congregation • Began to be combined for “special” music with form of tenorlied (polyphonic work set around tenor melody)

  45. Musical Examples ♫3:5 • Ein feste Burg ist unser Gott (“A Mighty Fortress is Our God”)-1551 • Johann Walter (Protestant Composer) • Set using text that Martin Luther adapted for his own hymn (that he composed) by the same name • Elaborated chorale

  46. Musical Examples ♫3:6 • Verily, Verily I Say Unto You • Thomas Tallis (1505-1585) (Protestant Composer) • Uses word-painting “I will raise Him up” • Anthem-meant to be sung by choir

  47. Musical Examples ♫3:7 • Sing Joyfully Unto God • William Byrd (1542-1623)-(Catholic Composer) • Anthem • 6 voices

  48. Music of the Counter-Reformation • Refer to earlier notes regarding Council of Trent’s Stand on the place of music • In addition: secular music was discouraged as a model for sacred compositions (motet)

  49. Pierluigi da Palestrina ♫3:8 • Missa Papae Marcelli (“Mass for Pope Marcellus”)-1567 • Polyphonic work—Accepted by the Catholic church, as the TEXT does not get lost from moving parts • Palestrina considered poster-child for Catholic compositions

  50. The Renaissance Instrumental and Dance Music

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