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Download Renaissance - Valley R-6
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Renaissance 1450-1600 Important People Shakespeare (1564-1616) Copernicus (1473-1543) Magellan (1480-1521) Leonardo da Vinci (1452-1519) Leonardo da Vinci Printing Music!!! Printing from movable type C. 1450: “Gutenberg Bible” Ottaviani Petrucci (Venice): first to apply this concept to music 1501: 3 impressions (staff, notes, text) 1520: 1 impression Renaissance Music Smoother, more homogenous sound Texture: Homophony with “points of imitation” (counterpoint) Instrumental music gradually gains in importance (more of this music is preserved) Gradual use of greater chromaticism New tuning systems evolve More expressive music and text more closely aligned English Music in the 1400s English music always tended towards homophony & a feeling of “sweeter” tonality More use of 3rds and 6ths Carol: religious poem set in popular style Alternates between 2 and 3 voice texture When two voices: lots of parallel 6th John Dunstable (c. 1390- December 24, 1453) Most important English composer of this era His style: important influence on European composers (He worked in both France and England) Wrote: Isorhythmic Motets, Settings of the Ordinary of the Mass, other sacred & secular compositions Quam pulchra es: Homorhythmic and Triadic Guillaume Dufay (c. 1397-1474) Most famous composer of the era Born near Brussels Illegitimate son of a priest & an unmarried woman Worked in Italy & ended up as Canon of Cathedral in Cambria (NE France) Wrote: masses, isorhythmic, motets, rondeau, ballades, secular songs “Burgundian” Masses Cantus Firmus Masses: Use the same melody in the tenor of each movement of the Ordinary of the Mass Tenor: could be chant OR the tenor of polyphonic secular song If the tenor was from a polyphonic song, the mass would often be called by the title of the song. Thus Mass L’ homme arme Tenor: would be written in relatively long note values and could receive isorhythmic treatment, except when it comes from a popular song in which case it will retain the original rhythm, often in prolonged note values SATB Tends towards fauxbourdon textures Example: Ballade- Se la face ay pale; missa Sa la face ay pale Josquin des Prez (c. 1450-1521) Born in N. France (near Belgium) (in land controlled by the Dukes of Burgundy) 1470s: Worked for Duke Anjou Moved to Italy Worked for Sforza family, rulers of Milan, in 1480s 1489-1495: Member of the Papal Choir 1501-03: Worked for King Louis XII of France 1504: Provost of Church of Notre Dame in native region (Conde sur l’Escaut) Josquin des Prez Music Motets Chansons (including instrumental works) Masses “Imitation” Mass (Imitating a pre-existing work) (“Parody Mass”) “Paraphrase” Mass: paraphrasing (using) pre-existing melodies in all four voices Homophonic sections alternate with imitative sections Use of “text depiction” (word painting) and “text expression” (overall mood) Reformation Started with Martin Luther (1489-1546) Monk, priest, and “Doctor of the church” (taught at University of Wittenburg) Posted his “95 Thesis” on the door of a Church (initially, primarily opposed to the sale of “indulgences”) on October 31, 1517 Ultimately, came into conflict with the Pope and was excommunicated in 1521 This lead to the formation of the Lutheran Church and the beginning of Protestantism (“Reformation”), which spread rapidly, especially throughout Northern Europe. Developed the Lutheran theology which departed from Catholicism in a number of ways Translated the Bible into the vernacular Wrote music that encouraged congregational singing Early Lutheran Church Retained much of Latin chant & polyphony Some of the Latin: translated into German German Mass: Published by Luther in 1526 Lutheran Chorale Most important (musical) innovation of the Lutheran Church Originally, just a text and a tune (monophonic) Intended for congregational singing Strophic In German Simple rhythms (Syllabic) Many text & some melodies written by Luther himself “Ein Feste Burg:” one of the most famous Also, “Nun Komm, der Heiden Heiland” Reformation Music Outside Germany Calvin & other Protestant sects opposed Catholic liturgy, ceremony, and music much more than the Lutherans Prohibited singing any texts or hymns Notable musical contribution: Psalter (Psalms used as texts for hymns) Protestant Church in England England separates from Rome: 1534 Orlando Gibbons (1583-1625) William Byrd (1540-July 4, 1623) William Byrd English composer Remained a Catholic, wrote for both Catholic & Anglican Churches Post with Chapel Royal In contact with the English court: Queen Elizabeth (1533-1603; Reigned from 1558-1603): Moderate Protestant; enjoyed elaborate ritual & music Very influential composer Wrote 470 works Songs, Madrigals, Masses, Anglican Church Music, Instrumental Music (Consort Music) Students included Thomas Morley & Thomas Tomkins Example: Sing joyfully unto God Italian Madrigal Most important genre of Italian secular music in the 16th century Originated in Italy in the 1520s Characteristics Through composed Sung at aristocratic gatherings For mixed voices (Female and Male) Texts were poems of serious nature (Petrarch) In 4 and later 5 and 6 parts Intended for performance with one on a part Instruments could double or substitute for one or more parts Cipriano de Rore (1516-1565) Franco-Flemish composer who worked in Italy Leading Madrigalist of his generation Also wrote Masses & Motets/worked at St. Mark’s Cathedral in Venice Taught by Franco-Flemish composer Jacob (Jacques) Arcadelt Instrumental Genres Dance Music Arrangements of vocal music Settings of existing melodies Variations Abstract instrumental works Instrumental Usage Instruments often used in “blended” ensembles of matching instruments of varying sizes Notion of a “family” of instruments playing together: “Consort” of instruments Example: used for banquets Notion also of “loud” (“haut”) vs. soft (“bas”) instruments Example: used for Queen Elizabeth going to sleep Lute Family Instrument Families Crumhorn Family Viola da Gamba Family Recorder Family Other Instruments Vihuela Sackbut Virginal Giovanni Pierluigi da Palestrina (1525/61594) Probably born in Palestrina (n. Rome) Organist & choirmaster at Cathedral in Palestrina (1544-1550) 1550: Bishop at Palestrina: elected Pope (became Pope Julius III): 1550-1555 Palestrina’s first & most influential patron Brought Palestrina to Rome 1551: Appointed to Julian Chapel, Rome 1555: Admitted to Papal Chapel 1555: Next Pope: Pope Marcellus, who only reigned for 6 weeks Palestrina ultimately dedicated one of his masses to this Pope: the “Pope Marcellus Mass” that reputedly “saved” polyphony for the church Stays in Rome for the rest of his life, positions at Julian Chapel & other churches in Rome 1580: Wife died of the plague 1581: Married a wealthy widow; continued to compose, publish his music, etc. Commissioned to revise official chant books in line with recommendations from Council of Trent Wrote 104 Masses, over 300 Motets, many other scared liturgical works Early in his life, also wrote some secular madrigal Palestrinian Style Known as the “Stile autico” or “Stile Palestrina:” imitated, studied, and held as a model by many successive generations Used cantus firmus for a few of his compositions Tends towards 4 rather than 5 or 6 parts Avoids chromaticism Step-wise motion in voices (“chant-like”) Flowing melodies Dissonances resolved Rhythmic flow: gently marked feeling of cut time or common time Very transparent texture Use of homorhythm/imitation Text expression/text depiction Council of Trent Catholic Church’s way of dealing with Reformation Referred to as the “CounterReformation” Music had too much congregational singing, couldn’t understand the words, and there were instruments and chromaticism Thought about going back to chanting Palestrina’s “Pope Marcellus Mass” saved polyphonic music
