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Music in The Renaissance (1450-1600) Adapted by Jennifer S. Cook from Dr. Amante (Community College of Road Island) & Raleigh Charter High School The Renaissance Rebirth, or renaissance of human creativity Period of exploration and adventure (Columbus, Vasco da Gama, Ferdinand Magellan, Sir Francis Drake, Sir Walter Raleigh) Curiosity and individualism Interest in realism Humanism Catholic Church is less powerful than during Middle Ages – Protestant Reformation Guttenberg invents the printing press Renaissance Monarchs Ferdinand And Isabella Elizabeth I Henry VIII Renaissance Art • Sculpture Important in the early and high Renaissance Movement toward portraying the body as though it were made of real muscle and bone Donatello, Michelangelo (sculptures of David) Renaissance Art con’t. • Painting While Medieval artists represented their ideas as symbols, Renaissance painters aimed for realism. Leonardo Da Vinci Renaissance Art con’t. Raphael Michelangelo Renaissance Literature William Shakespeare Christopher Marlowe Science Heliocentric Universe Copernicus: Galileo: Protestant Reformation Martin Luther Huldrych Zwingli John Calvin Henry VIII Counter Reformation A movement within the Catholic Church to reform itself in the wake of the Protestant Reformation Music in the Renaissance 1450-1600 Every educated person is expected to be trained in music Renaissance town musicians: higher pay and status Flemish composers: parts of the Netherlands, Belgium, and northern France. Germany, England and Spain – other countries with a vibrant musical life Characteristics of Renaissance music Words and music • Vocal music is more important than instrumental • Music enhances the meaning and emotion of the text. Word painting: musical representation of specific poetic images • Moderate, balanced way of expression: no extreme contrasts of dynamics, tone color or rhythm Characteristics of Renaissance music Texture • Chiefly polyphonic. 4, 5 or 6 voice parts with equal melodic interest • Imitation is common • Homophonic texture is also used • Fuller sound than medieval: bass register • Mild and relaxed: consonant chords. • Golden age of a cappella Characteristics of Renaissance music Rhythm and melody Rhythm is a gentle flow: Each melodic line has great rhythmic independence Melody usually moves along a scale with few large leaps Sacred music in the Renaissance 2 main forms: Motet and Mass Motet – polyphonic choral work set to sacred Latin text other than the ordinary of the mass Mass – polyphonic choral work with 5 sections: • • • • • Kyrie Gloria Credo Sanctus Agnus Dei Josquin Desprez (1440-1521) and the Motet A Flemish composer from Belgium, contemporary of Leonardo Da Vinci and Columbus Ave Maria…virgo serena: 4-voice motet Texture is varied: polyphonic and homophonic Duple/triple meter change Palestrina (1525-1594) and the Mass Italian Renaissance composer Giovanni Pierluigi da Palestrina 104 masses and some 450 other sacred works For centuries, his masses are regarded as models of church music Palestrina’s Pope Marcellus Mass A capella choir SATTBB Kyrie – 1st section of the mass: Kyrie Eleison Christe Eleison Kyrie Eleison Secular music Vocal music: groups of solo voices with the accompaniment. Word painting was common Madrigal – a piece for several solo voices set to a short poem, usually about love. Combines homophonic and polyphonic textures. More unusual harmonies Originated in Italy around 1520. Became popular in England. English madrigals are lighter and more humorous than Italian As Vesta Was Descending by Thomas Weelkes (1575-1623), and organist and church composer The Renaissance Ballet (Fa-La) A simpler type of secular vocal music A dance-like song for several voices Mostly homophonic in structure. Fa-la syllables are used as refrain Now Is the Month of Maying (1595) by Thomas Morley (1557-1603), English composer Each stanza: AA – refrain – BB - refrain Instrumental music Instrumental music becomes more independent Most music is for dance: • Pavane or passamezzo– duple meter • Galliard – triple meter Harpsichord, organ, lute, recorder, trumpet, cornett, sackbut (early trombone), viol, regal (small organ with reed pipes), shawm (ancestor of the oboe) Instrumental form of theme and variations The Venetian School: from Renaissance to Baroque 16th century Venice – a center of instrumental and vocal music Venetian School – music directors and organists of St. Mark’s Cathedral and their colleagues Giovanni Gabrieli (1555-1612) and the polychoral motet The most important Venetian composer of the late Renaissance before Monteverdi Polychoral motets – motets for 2 or more choirs, often with instrumentalists Plaudite (Clap Your Hands), 1597. Written for a large vocal and instrumental ensemble of 12 voice parts divided into 3 choirs: low, middle and high register choirs The homophonic structure of this piece brings it closer to Baroque style