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Vocal Music cont…

Vocal Music cont…. Renaissance Ballett (Fa-La) Simpler than madrigal, dance-like For several solo voices Homophonic (a contrast to most Ren. music), melody in highest voice Same music repeated for each verse/stanza, syllables “fa-la” used as refrain

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Vocal Music cont…

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  1. Vocal Music cont… • Renaissance Ballett (Fa-La) • Simpler than madrigal, dance-like • For several solo voices • Homophonic (a contrast to most Ren. music), melody in highest voice • Same music repeated for each verse/stanza, syllables “fa-la” used as refrain • Also originated in Italy, cultivated in England

  2. LISTENING TO BALLETT • Now Is the Month of Maying (1595) Thomas Morley • See books pg. 113

  3. INSTRUMENTAL MUSIC • Early 1500’s: inst. music was largely adapted from vocal music. • Harpsichord, organ, lute Lute – plucked string instrument with body shaped like half a pear

  4. Late 1500’s (16th c.): more music written specifically for inst. • Mostly intended for dancing (common pass time) • Everyone expected to know how, taught by professional dance masters • Popular dances: • pavane or passamezzo (duple meter) • Galliard (triple meter)

  5. Instrumental Music, cont… • musicians distinguished between loud, outdoor instruments like trumpet, and shawm (ancestor of oboe), and soft, indoor inst. like lute and recorder.

  6. Other inst. of the Renaissance • Cornett – wooden, cup-shaped mouthpiece

  7. Sackbut – early trombone

  8. Viols – pretty obvious • Regals (small organ with reed pipes)

  9. Passamezzo (or pavane) – stately dance in duple meter • This recording includes bowed strings, plucked strings, woodwinds, brasses, keyboard ints., timpani. • 3 sections (abc), each immediately repeated louder, with more instruments (a a’ b b’ c c’)

  10. Galliard – carefree dance in triple meter • Same melody as our passamezzo, more upbeat • Smaller ensemble: bowed strings, plucked strings, woodwinds, harpsichord • 3 short sections, each ending with a cadence and brief pause, then repeated more fully (just like pavane) • But then, each section is repeated in succession at the end. • a a’ b b’ c c’ a’ b’ c’

  11. Passamezzo and Galliard from Terpsichore • Michael Praetorius (1571-1621) • From collection of over 300 dances

  12. Renaissance Pavane • <iframe width="420" height="345" src="http://www.youtube.com/embed/hVBlFUb0g60" frameborder="0" allowfullscreen></iframe>

  13. Chapter 4: The Venetian School • From Renaissance to Baroque Venice, Italy: center of Western music in 16th c.

  14. Venice: seaport built on tiny islands separated by canals • Thriving commercial center for trade between Europe and near east.

  15. Focal point for music in Venice: • St. Mark’s Cathedral • wealthy, colorful, employed up to 50 musicians

  16. Famous music directors of St. Mark’s • Adrian Willaert (about 1490-1562) • Andrea Gabrieli (about 1520-1586) • his nephew, Giovanni Gabrieli • Among the finest comp. of the Ren. • Along with their colleagues, called the Venetian School

  17. Venetian School • Composers inspired by unique architectural feature of St. Mark’s Cathedral: 2 widely separated choir lofts, each with an organ • Wrote music for several choruses and groups of instruments (cori spezzati) • Becomes mostly homophonic • 1st time we see choral music with specifically instrumental parts – the biggest factor in turning us toward the Baroque era!

  18. Giovanni Gabrieli (about 1555-1612) • Native of Venice • Most important Venetian composer of late Ren. • Organist at St. Mark’s 1585-death • Composed organ, instrumental and polychoral motets • His polychoral motets call for two to five choirs • the Polychoral Motet • Plaudite (Clap Your Hands, 1597)

  19. the Polychoral Motet • Plaudite (Clap Your Hands, 1597) • Joyful • Large vocal ensemble of 12 voice parts in 3 choirs • Instrumental ensemble (choice of inst. left to performers) • Exploits “stereophonic” possibilities of St. Mark’s by rapidly tossing short phrases among 3 separate choirs. • Choirs also combine for massive sonority (sound) • Dynamic contrast within this piece is a sign of what comes next in the Baroque.

  20. Renaissance Individualism “Universal man” Humanism Realism Linear Perspective Text Painting/Word Painting Imitation Consonance/Dissonance A cappella Motet Mass Kyrie, Gloria, Credo, Sanctus, Agnus Dei Josquin Desprez Imitation Giovanni Pierluigi da Palestrina Protestant Reformation Counter-Reformation VOCABULARY REVIEW

  21. Council of Trent Madrigal Thomas Weelkes Ballett Thomas Morley Pavane/Passamezzo Galliard Lute Cornett Sackbut Shawm Recorder Regal Michael Praetorius Venice, Italy St. Mark’s Cathedral Venetian School Giovanni Gabrieli Cori spezzati Polychoral motet

  22. Technology: Movable Type Printing Press, Gutenberg Bible Kalyn Julian Blake Jacob Religion: Martin Luther and the Protestant Reformation Dominique Phil Alec Bilal Exploration: Columbus, da Gama, Magellan Kieryn Claire Chris Taimoor Art: da Vinci, Michelangelo, Raphael Emma Aaron Sami Ryan Literature: William Shakespeare Anna Andrew Nathan Nick UNIT III PRESENTATIONS

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