The_renaissance_ppt_2018.pdf

Music of the Renaissance MAPEH 111- Music Literature Mary Jeane V. Egloso, M.Mus.

The Renaissance (1450-1600) People turned away from the Church in favour of the secular world of art and science Renaissance “rebirth” Began in Italy Interest revived in ancient Greek and Roman arts and philosophy, Italians hoped they could bring about the rebirth of their glorious past

Statue of David by Michelangelo at the Galleria dell-Academia, Florence, Italy

The Renaissance (1450-1600) Age of humanism individual achievement humanistic spirit awakened an optimism that all things were possible and knowable Leonardo da Vinci’s sketch

The Renaissance (1450-1600) “the discovery of the world and of man” the age of Columbus and Magellan, Leonardo da Vinci, Copernicus, Galileo, and Shakespeare a world which human beings and nature, rather than God, have become the measure in philosophy, science and art

Leonardo da Vinci’s sketch

Music in the Renaissance the demand for secular music increased court musicians were hired to entertain in the homes of the wealthy Renaissance composers no longer felt obliged always to use plainchants, tend to treat them as melodies to listen to A new sensitivity to sonority and melody was one of the first signs of Renaissance attitudes towards music Having transformed plainchants into modern melodies with a more attractive profile, composers put them not at the bottom of the polyphony but on top, in the soprano, where they could be heard most clearly. the beginning of homophony- music in a harmonic, chordal structure

Music in the Renaissance Guillaume Du Fay (c. 1400-1474) born and bred in the north of France near modern Belgium ( a region that supplied the whole of Europe with musicians for many generations) a Franco-Flemish composer noted for both his church music and his secular chansons his chansons are normally in three voices , deal with subjects such as springtime, love and melancholy; most use the poetic musical forms of the ballade, rondeau, and virelai; a few written in freer form

Music in the Renaissance Guillaume Du Fay (c. 1400-1474) known for his plainchant harmonization notable works: “Beloved Mother of the Redeemer”, “L’homme armé”, “Gloria in the Manner of the Trumpet” Movement/Style: Franco-Netherlandish School, Burgundian School

Guillaume Dufay’s “Ave maris stella”

Harmonized hymn, “Ave maris stella” a homophonic setting of a Gregorian hymn a short tune is sung through many stanzas followed by an Amen best known Gregorian hymn, addressed to the Virgin Mary and sung on all of the many special feasts her honour and most Saturdays, too in the D (dorian) mode with six or seven stanzas Dufay set only the even-numbered ones to his music, leaving others to be sung Gregorian-style alteration

Music in the Renaissance Josquin Desprez (c. 1450-1521) first master of high Renaissance style born in the north of France brought the 15th century Mass to a brilliant climax and pioneered the 16th century chanson and motet famous for his motet, Ave Maria and Planxit autem David

Pange lingua Mass, one of Desprez’ masterpiece derived its melodic material from a hymn called “Pange lingua” a Gregorian hymn a four-part Mass

Important Composers of the Renaissance Franco-Flemish Composers Jacob Arcadelt (c. 1505-c.1567): wrote mainly chansons (songs) and madrigals Gilles Binchois (c. 1400-60): composed chansons for the court of Philip the Good of Burgundy Jacobus Clemens (c. 1510-c. 1567): composed mostly music for the church Guillaume Dufay (c. 1400-74): the leading composer of his day in Burgundy, Dufar wrote Masses and motets for church services and chansons for the courts Heinrich Isaac (c. 1450-1517): composed both church and secular music Clement Jannequin (c.1475-1560): wrote mainly chansons for the French courts

Important Composers of the Renaissance Franco-Flemish Composers Josquin des Prez (c.1440-1521): One of the greatest composers of the Renaissance, Josquin was born in France but spent most of his productive life in Italy. He wrote both Masses and secular chansons Claude Le Jeune (1528-1600): composed motets and chansons Orlando di Lasso (1532-94): Lasso, Lassus as he was known in Italy was born in the Franco-Flemish north. One of the greatest composers of the period, Lasso worked in Milan, Naples, Rome, and Music. He composed both sacred and secular vocal music. Jacob Obrecht (c. 1452-1505) composed church music and chansons

Important Composers of the Renaissance Italian Composers Constanzo Festa (c. 1490-1545): composed church music at the Papal Chapel in Rome, though he is best known for his Italian madrigals Andrea Gabrieli (c. 1533-85) He preceded hin nephew Giovanni Gabrieli as first organist at St. Mark’s in Venice. He composed both church music and madrigals Giovanni Gabrieli (c. 1555-1612) Composed church music, concerti, instrumental music ad madrigals Carlo Gesualdo (c. 1560-1613) Mainly known for his innovative chromatic madrigals

Important Composers of the Renaissance Italian Composers Luca Marenzio (c. 1553-99): though known mainly for his madrigals, Marenzio also composed many sacred motets Claudio Monteverdi (1567-1643): known fo his late opera words in the Baroque period, he wrote many madrigals as a young composer Giovanni da Palestrina (c. 1525-94): considered one of the greatest Renaissance church composers

Important Composers of the Renaissance Spanish Composers Antonio de Cabezon (c. 1510-66): mainly keyboard compositions Cristobal de Morales (c. 1500-53): an important church composer Tomàs Luis de Victoria (c. 1549-1611): the most important Spanish composer of the period

Important Composers of the Renaissance English Composers William Byrd (1543-1623): one of the best English composers prior to the Baroque. He composed church music, keyboard music and songs John Dowland (1562-1626): a prolific composer, Dowland wrote songs for several voices also music for the lute Thomas Morley (c. 1557-1602): known mainly for his popular English madrigals Thomas Tallis (c. 1505-85): he wrote his most important works for the church

The Mass the largest and most important of the Christian liturgy sung in plainchant

The High Renaissance Style Imitative counterpoint: depends on a carefully controlled balance among multiple voices; a first voice begins with a motive designed to fit the words being set, other voices soon enter, one by one singing the same motive and words but at different pitch levels ; the earlier voices continue with new melodies that complement the later voices

The High Renaissance Style

The High Renaissance Style Homophony: a major achievement of the High Renaissance style was to create a rich chordal quality of polyphonic lines that still maintain a quiet sense of independence passages of chord block writing used homophony as a contrast to imitative texture and for expression

The High Renaissance Style Other characteristics: a cappella (voices only), little changes in tempo and dynamics, rhythm is fluid without sharp accents, melodies never go too high or too low, ups and downs are carefully balanced, music rarely settles into the easy clear patterns

Music as an Expression music can “illustrate” certain words and to “express” certain feelings(“discovery of the world and of man”) composers derived inspiration for their exploration of music’s expressive powers from ancient Greece and Rome

Music as an Expression composers shared the expressive aim of matching words and music composers wanted their words of their compositions to be clearly heard - accurate declamation they made sure that the words were sung to rhythms and melodies that approximated normal speech the Renaissance was the first era when words were set to music naturally, clearly and vividly

Music as an Expression composers began matching their music to the meaning of the words that were being set -word painting

Late Renaissance Music

Music of the Late Renaissance Giovanni Pierluigi Da Palestrina (c. 1525-1594) an Italian Renaissance composer of more than 105 masses and 250 motets, a master of contrapuntal composition lived during the the period of the Roman Catholic Counter-Reformation and was a primary representative of the 16th Century conservative approach to church music

Music of the Late Renaissance Giovanni Pierluigi Da Palestrina (c. 1525-1594) Notable works: “Pope Marcellus Mass”, “Ave Maria”, “L’Homme armé”, “Tu es Petrus”, “Ecce sacerdos magnus”, “Veni creator Spiritus”, “Vestiva i colli”, “Ut, re, mi, fa, so , la” , “Cum ortus fuerit”, “Missa brevis” Musical style: use of cactus firmus (preexistent melody used in one voice part), contrapuntal, ornamentation of plainchant,

Music of the Late Renaissance

Motet was invented in the late Middle Ages relatively a short composition with Latin words, made up of short sections in the homophony and imitative polyphony that were the staples of the high Renaissance style words are always religious, taken usually from the Bible

Ave Maria (motet) by Josquin Desprez

Italian Madrigal a short composition set to a one-stanza poem -typically a love poem, with a rapid turnover of ideas and images ideally sung by one singer per part in an intimate setting uses imitative polyphony or homophony

Jacob Arcadelt’s Il bianco e dolce cigno

English Madrigal Italian madrigals reached Elizabethan England and became popular, led to composing madrigals in English liked by Queen Elizabeth I In 1601, 23 English composers contributed madrigals to a patriotic anthology in Elizabeth’s honor, called the The Triumphs of Oriana (a court inspired project, flattery)

Instrumental Music: Early Renaissance Developments After 1450, more instrumental music was written down music without voices were worth preserving indicates musical literacy for instrumentalists William Byrd devoted much of his attention to instrumental music musical instruments and instrumental music developed during this period dance music and instrumental versions of vocal music continued to be composed

Instrumental Music: Early Renaissance Developments Books in vernacular described instruments and offered instructions Musica getupscht und ausgezogen (Music Explained) by Sebastian Virdung, Germany 1511 Michael Praetorius’Syntagma musicus (Systematic Treatise of Music, 1618-20) includes woodcut illustrations of instruments

Musica getutscht und ausgezogen

(Music Explained) by Sebastian Virdung, Germany, 1511