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Renaissance Sacred Music

Renaissance Sacred Music. Renaissance Style. Golden age of a cappella style imitative polyphony harmony: fuller chords, 3rds and 6ths carefully controlled dissonance duple meter Early Renaissance (1450–1520) Belgium , northern France: Josquin des Prez

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Renaissance Sacred Music

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  1. Renaissance Sacred Music

  2. Renaissance Style • Golden age of a cappella style • imitative polyphony • harmony: fuller chords, 3rds and 6ths • carefully controlled dissonance • duple meter • Early Renaissance (1450–1520) • Belgium, northern France: Josquin des Prez • Later Renaissance (1520–1600) • Italy: Giovanni Pierluigi da Palestrina

  3. Josquin and the Motet • Josquin des Prez and the Motet Josquin des Prez (c. 1450–1521) • northern French composer • Italian court positions; papal choir in Rome • humanism: expressive harmony, serene melodies • sacred and secular compositions • Listening Guide 6: Josquin, Ave Maria . . . virgoserena (Hail Mary . . . gentle virgin) (1480s) • sacred Latin motet • four-voice, a cappella choir • rhymed strophic prayer to the Virgin Mary • varied combinations of voices and textures

  4. The Renaissance Mass • Ordinary, fixed portion, set to music • Kyrie • Gloria • Credo • Sanctus • Agnus Dei • Cantus firmus (fixed melody) • entire mass based on one melody • Gregorian chant or popular song

  5. The Reformation and Counter-Reformation • Reformation: Protestant Revolt • Martin Luther (1483–1546): Ninety-Five Theses, 1517 • Augustinian monk • excommunicated by Catholic church • mass in vernacular • hymns sung communally

  6. The Reformation and Counter-Reformation • Counter-Reformation: Catholic church response • recapture loyalty of people: accessible music • Council of Trent (1545–1563) concerns • embellishments to Gregorian chant • objected to certain instruments in church • use of popular songs in Masses • secular spirit in sacred music • irreverent attitude of church musicians • complex polyphony obscured the text • Council favored pure vocal style • simplicity, clarity • respected integrity of sacred texts • encourage piety

  7. Palestrina and the Pope Marcellus Mass • Giovanni Pierluigi da Palestrina (c. 1525–1594) • Italian composer, organist, choirmaster • worked at St. Peter’s in Rome and Sistine Chapel Choir • mostly sacred compositions; over 100 Masses • pure, a cappella, vocal polyphony

  8. Palestrina and the Pope Marcellus Mass • Listening Guide 7: Palestrina, Pope Marcellus Mass, Gloria (1567) • six-part, a cappella male choir • monophonic opening • homorhythmic and polyphonic textures follow clear declamation of the text • full, consonant harmony • Syllabic nature makes text easier to understand

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