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The Enjoyment of Music 10 th Shorter Edition

The Enjoyment of Music 10 th Shorter Edition. Unit IV. The Renaissance. 14. The Renaissance Spirit The Renaissance (c. 1450–1600).

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The Enjoyment of Music 10 th Shorter Edition

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  1. The Enjoyment of Music 10th Shorter Edition The Enjoyment of Music 10th, Shorter Edition

  2. Unit IV The Renaissance The Enjoyment of Music 10th, Shorter Edition

  3. 14. The Renaissance SpiritThe Renaissance (c. 1450–1600) “I am not pleased with the Courtier if he be not also a musician, and besides his understanding and cunning [in singing] upon the book, have skill in like manner on sundry instruments.” —Baldassare Castiglione The Enjoyment of Music 10th, Shorter Edition

  4. The Arts in the Renaissance • Shift from religious to secular • Italy The Enjoyment of Music 10th, Shorter Edition

  5. Musicians in Renaissance Society • Churches, cities, and courts • Trades of instrument building, printing, and music publishing • Merchant-class music patrons • Amateur musicians The Enjoyment of Music 10th, Shorter Edition

  6. Renaissance Musical Style • A cappella singing • Polyphony based on Continuous imitation • Marenzio: “La bella ninfa mia” • a cappella • continuous imitation The Enjoyment of Music 10th, Shorter Edition

  7. Renaissance Musical Style • Word painting • Cantus firmus Weelkes: “Welcome Sweet Pleasure” Couperin: “Les barricades misterieuses” (Baroque) The Enjoyment of Music 10th, Shorter Edition

  8. www.wwnorton.com/enjoy The Enjoyment of Music 10th, Shorter Edition

  9. The Enjoyment of Music 10th Shorter Edition The Enjoyment of Music 10th, Shorter Edition

  10. 15. Renaissance Sacred Music “We know by experience that song has great force and vigor to move and inflame the hearts of men to invoke and praise God with a more vehement and ardent zeal.” —John Calvin The Enjoyment of Music 10th, Shorter Edition

  11. The Early Renaissance Mass • Mass Ordinary • Kyrie, Gloria, Credo, Sanctus, Agnus Dei • Latin vs. vernacular • Early Masses based on Gregorian chant cantus firmus • Requiem: • “Requiem aeternam dona eis, Domine” • “Dies irae” Palestrina: Missa in Festis Apostolorum I, Agnus Dei The Enjoyment of Music 10th, Shorter Edition

  12. The Motet in the Renaissance • Single Latin text • Marian motets (Virgin Mary) • Written for 3, 4, or more voices • Cantus firmus Josquin: Ave Maria…virgo serena The Enjoyment of Music 10th, Shorter Edition

  13. (c. 1450–1521) Josquin des Prez and the Motet “He is the master of the notes. They have to do as he bids them; other composers have to do as the notes will.” —Martin Luther • Called Josquin • Franco-Flemish origin • Italian career The Enjoyment of Music 10th, Shorter Edition

  14. (c. 1450–1521) Josquin des Prez and the Motet • Patrons • Milan, Cardinal Ascanio Sforza • Ferrara, Ercole d’Este • Rome, papal choir • Humanistic writing • Sacred and secular music The Enjoyment of Music 10th, Shorter Edition

  15. Josquin: Ave Maria . . . virgo serena (Listening Guide) • Renaissance motet • Combinations of voices and textures • Quotation of chant • Rest of work is newly composed • Imitative vs. homorhythmic sections • Final couplet: simple texture, example of humanistic spirit Listening Guide PDF The Enjoyment of Music 10th, Shorter Edition

  16. Josquin: Ave Maria . . . virgo serena (Listening Guide) • Renaissance motet • 4 voices (SATB) • Continuous imitation • Chant quotation • Duple meter Opening The Enjoyment of Music 10th, Shorter Edition

  17. Josquin: Ave Maria . . . virgo serena (Listening Guide) • Combinations of voices and textures • After opening quotation of chant rest of work is newly composed • Imitative vs. homorhythmic sections • Final couplet: simple texture, example of humanistic spirit The Enjoyment of Music 10th, Shorter Edition

  18. The Late Renaissance Mass • Martin Luther (1483–1546): Reformation • Counter-Reformation (1530s–1590s) • Council of Trent Corruption of chant by embellishment Use of certain instruments in religious services Incorporation of popular music in Masses Secularism of music Irreverent attitude of church musicians • Pure vocal style that respected the integrity of the sacred texts The Enjoyment of Music 10th, Shorter Edition

  19. Palestrina and the Pope Marcellus Mass • Giovanni Pierluigi da Palestrina • (c. 1525–1594) • Called Palestrina • Italian composer, organist, and choirmaster • Sistine Chapel Choir • Pope Julius III • Wrote mostly sacred music “Our wisest mortals have decided that music should give zest to divine worship. If people take great pains to compose beautiful music for profane [secular] songs, they should devote at least as much thought to sacred song, nay, even more than to mere worldly matters.” - Palestrina The Enjoyment of Music 10th, Shorter Edition

  20. Palestrina: Pope Marcellus Mass, Gloria (Listening Guide) • Satisfies the new strict demands of the Council of Trent • Probably performed a capella • Written for six voice parts • Soprano (sung by boys or male falsettists) • Alto (sung by male altos or countertenors –tenors with high voices) • Tenor I • Tenor II • Bass I • Bass II • Opens with a monophonic intonation • Choral sections are polyphonic • Text is clear and audible Listening Guide PDF The Enjoyment of Music 10th, Shorter Edition

  21. Palestrina: Pope Marcellus Mass, Gloria (Listening Guide) The Enjoyment of Music 10th, Shorter Edition

  22. www.wwnorton.com/enjoy The Enjoyment of Music 10th, Shorter Edition

  23. The Enjoyment of Music 10th Shorter Edition The Enjoyment of Music 10th, Shorter Edition

  24. 16. Renaissance Secular MusicMusic in Court and City Life • Professional musicians: courts and civic functions • Merchant-class amateurs: played and sang at home • Lute, keyboard instrument • Women and music • Chanson and madrigal “Come sing to me a bawdy song, make me merry.” —Falstaff, in William Shakespeare’s Henry IV The Enjoyment of Music 10th, Shorter Edition

  25. The Chanson • Burgundy and France in the 15th century • 3 or 4 voices • Courtly love verses • Freer poetic structures • Roland de Lassus Lassus: “O vin en vigne” The Enjoyment of Music 10th, Shorter Edition

  26. Instrumental Dance Music • Period of growth • Published music • Played vocal music The Enjoyment of Music 10th, Shorter Edition

  27. Popular dance types • Pavane • Saltarello • Galliard • Allemande • Ronde Praetorius: Terpsichore, “Courante” Praetorius: Terpsichore, “Volte” The Enjoyment of Music 10th, Shorter Edition

  28. Susato: Three Dances (Listening Guide) Listening Guide PDF • Set of three rondes from the 1551 Danserye collection • Instrumental dances published by Tielman Susato (c. 1515–c. 1571) • Performed by a loud wind band • Loud instruments included: shawm, sackbut, cornetto, tabor, tambourine • Binary form (A-A-B-B) • Repeated sections with added improvised embellishments The Enjoyment of Music 10th, Shorter Edition

  29. The Italian Madrigal “By shallow rivers to whose falls melodious birds sing madrigals” - Christopher Marlow • Chief form of Renaissance secular music • Italian courts • Text: short poem of lyric or reflective nature • Includes “loaded” words The Enjoyment of Music 10th, Shorter Edition

  30. The Italian Madrigal • Music: sets text expressively • Instruments double or substitute for the voices • Three phases of the madrigal • First phase (c. 1525–1550) • Second phase (c. 1550–1580) • Third phase (c. 1580–1620) Marenzio: “La bella ninfa mia” The Enjoyment of Music 10th, Shorter Edition

  31. Monteverdi: Ecco mormorar l'onde (Listening Guide) Listening Guide PDF • Courtly poem by Torquato Tasso • Exaggerated contrasts of delight and despair • Expressed musically with word painting • Images include waves, rustling leaves, birds' song, etc. • Five-voice texture • Style inspired by the famous ensemble of professional women singers • Concerto delle donne (Ensemble of the Ladies) • Contrast between high and low voices foreshadows Baroque techniques The Enjoyment of Music 10th, Shorter Edition

  32. The English Madrigal • English further developed the Italian madrigal • Musica transalpina, 1588 • Simpler and lighter in style • Refrain syllables (“fa-la-la”) “Since singing is so good a thing, I wish that all men would learne to sing” - William Byrd Weelkes: “Welcome Sweet Pleasure” Morley: “Those Dainty Daffadillies’ The Enjoyment of Music 10th, Shorter Edition

  33. John Farmer (c. 1570–1601) • Active in 1590s in Dublin • Organist and master of choirboys at Christ Church The Enjoyment of Music 10th, Shorter Edition

  34. Farmer: Fair Phyllis (Listening Guide) Listening Guide PDF The Enjoyment of Music 10th, Shorter Edition

  35. Transition I:From Renaissance to Baroque • Polychoral Music in Venice • Relationship to the East • St. Mark’s Basilica • Choirmasters and organists • Byzantine architecture • Polychoral music • Antiphonal performance Gabrieli: “Hodie Christus natus est” The Enjoyment of Music 10th, Shorter Edition

  36. www.wwnorton.com/enjoy The Enjoyment of Music 10th, Shorter Edition

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