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Chapter 5: Renaissance Music

Chapter 5: Renaissance Music. “The better the voice is, the meeter it is to honor and serve God therewith: and the voice of Man is chiefly to be employed to that end. Since singing is so good a thing, I wish all men would learn to sing.” William Byrd. Three Phenomena Occur. Rise of humanism

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Chapter 5: Renaissance Music

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  1. Chapter 5: Renaissance Music “The better the voice is, the meeter it is to honor and serve God therewith: and the voice of Man is chiefly to be employed to that end. Since singing is so good a thing, I wish all men would learn to sing.” William Byrd

  2. Three Phenomena Occur • Rise of humanism • Rise of bourgeoisie (merchant class) • Religious crises (Reformation, Counter- Reformation)

  3. 1450 -1600 • Renaissance in literature and visual arts began c. 1300 • Music – c. 1450 in N. Europe • Rise of imitative choral polyphony • A cappella singing is ideal • Four-part textures typical

  4. Sacred Music in Northern Europe • Mass • Four independent voice parts • Chant melody no longer in bass voice • Frequently abandoned chant altogether • Occasionally used secular melody as one of the voices • Motet • Similar treatment

  5. Josquin des Prez(c. 1450 – 1521) • One of most influential composers • Born in N. France or Belgium • Active in Italy – Milan and Rome • Moves to France in 1501 • After two years moves to Ferrara • Leaves after one year to avoid plague • Last years in Condé, France

  6. Listening Guide “Ave Maria,” MotetJosquin des Prez • Composed in 1470s • Uses polyphonic and homophonic textures • Four voices • Imitative at times • Duple meter, with one section in triple meter • Latin text

  7. Ave Maria, gratia plena, Dominus tecum, Virgo serena. Ave cujus conception, Solemni plena gaudio, Coelestia, terrestrial, Nova replete laetitia. Ave cujus nativitas Nostra fuit solemnitas, Ut Lucifer lex oriens Verum solem praeveniens. Ave la humilitas Sine viro foecunditas Cujus annunciatio Nostra fuit salvatio. Ave praeclara omnibus Angelicis virtutibus, Vujus fuit assumption Nostra glorification. O mater Dei, Memento mei, Amen. Latin Text

  8. Giovanni Pierluigi da Palestrina(1524-1594) • Choirmaster, St. Peter’s, Rome • Lived and worked during Counter-Reformation • Involved in music reforms for Catholic church – Council of Trent • Composed numerous polyphonic mass settings

  9. Composed in1567 Polyphonic, a cappella Duple meter, but flows much like medieval chant Six voices Soprano Alto Two tenors Two basses Greek Text Kyrie, eleison (Lord, have mercy on us) Christe, eleison (Christ, have mercy on us) Kyrie eleison (Lord, have mercy on us) Listening Guide: “Kyrie” from Missa Papae Marcelli (Pope Marcellus Mass), Palestrina

  10. Renaissance Secular Music • Italian madrigal • French chanson • German lied

  11. Italian Madrigal • Early type: 14th century • Poem set to music • Often 12-line poems – erotic or sentimental texts • 3 voices, homophonic texture • Later type: 16th century • Elaborate setting • Mixture of polyphony and homophony • Word painting

  12. Claudio Monteverdi(1567-1643) • Published eight books of madrigals • Early books contain fine examples of Renaissance madrigal • Eventually his madrigals lead away from Renaissance practice into new style (baroque)

  13. English Madrigal • Lighter in style • Style first cultivated by William Byrd (1543-1623) and Thomas Morley (student of Byrd) • Morley composed simplified versions • Adapted from Italian balletti • Characterized by “fa-la-la” refrain

  14. Composed in1599 Mostly polyphonic, homophonic ending Four voices (SATB) Duple meter Listen for word painting on “up and down” Homophonic texture when two lovers kiss Fair Phyllis I saw sitting all alone, Feeding her flock near to the mountainside. The shepherds knew not whither she was gone, But after her lover Amyntas hied. Up and down he wandered whilst she was amissing. When he found her, O then they fell a-kissing. Listening Guide: “Fair Phyllis” John Farmer

  15. Chanson – France Strong accented rhythms Frequent repetitions Short phrases ending simultaneously in all parts 3-5 voices Imitation alternating with homophonic sections Word painting Lied – Germany Dates from mid-15th century Monophonic melodies, also 3-part settings Provided Lutheran church with melodies for chorale tunes (hymns) Later style more typical of madrigal and chanson Other Renaissance Secular Vocal Music

  16. Instruments used in church, for social occasions, theatrical productions, in private homes Predominantly dance music Improvised on known harmonic bass patterns Lute most popular (1400-1500) Transcriptions Ricercari/fantasias Various keyboards Clavichord Harpsichord Organ Consorts Whole (family) Viols Recorders Broken (different families) Brass and reeds were popular for outdoors performances Renaissance Instrumental Music

  17. Listening Guide: “Ballet des Baccanales” from TerspsichoreMichael Praetorius • Composed 1612 • Polyphonic • Duple meter • Four voices (melodic lines) plus percussion • Ternary (ABA) form A SATB, recorders, lute, tambourine B SATB, brass instruments and drum A Tutti (all instruments)

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