1 / 10

The Renaissance Revival of Greek Music: A Journey through Innovation and Influence

Explore the fascinating revival of Ancient Greek music during the 16th century Renaissance, from word painting to monody, and the influence of key figures like Vicentino, Galilei, and Monteverdi. Discover the shift from polyphony to simplicity, the birth of monody and basso continuo, and the emergence of Baroque traits like virtuosity and program music.

waynerose
Download Presentation

The Renaissance Revival of Greek Music: A Journey through Innovation and Influence

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Chapter Seven The New Practice

  2. Greek Music in the 16th C • Renaissance = “revival” (of Antiquity) • Ancient Greek Music (what is it? ) • Words should determine the music- N. Vicentino (1555) • Affect = Emotion (leads to) “word painting” • Problem of Polyphony (textbook, p. 194-5)- Zarlino & Palestrina – text intelligibility • Vincenzo Galilei (1581) – argues for simplicity- solo voice w/ lyre accompaniment

  3. Florentine Camerata • Home of Giovanni de Bardi (Florence) – 1573-1587 • Camerata = “society”- poets, literary figures • How to revive Greek music? • Letters of Girolamo Mei- study & translate Greeks • Giulio Caccini, et al.- songs in Greek manner • “Monody” – according to Caccini (Le Nuove Musiche)

  4. Florentine Wedding (1589) • Medici / French princess- major event • Play w/ six Intermedi- short musical interludes- Classical Antiquity- Power of music • Intermedio V (Anth. I/ 69) • Una Stravaganza Dei Medici (All 6 intermedi in 8 parts [Anth I/69 in part 6]) Jacopo Peri as poet Arion (Intermedio V: “Song of Arion”)

  5. Caccini, Le Nuove Musiche • “The new music” (1602) • Caccini describe Camerata(textbook, p. 199) • Solo voice & accompaniment • Monody (“one song”) • Basso continuo • “Sfogava con le stelle”Anth I/70 (& textbook, p. 201)

  6. Basso continuo / Figured Bass Exs. Caccini - “Amor...” [lute] & Caccini - “Amor...” [organ]

  7. Baroque Traits (text, p. 202-6) • Basso Continuo • Continuation of old styles (against new ones) • Modal system gives way to modern tonality- harmony conceived as chords • Rhythmic complexity and freedom • Virtuosity (rise of the soloist) • Rise of Instrumental music (and its own idioms) • Program music • Timbre as element of contrast • National styles

  8. Chapter Eight Vocal Music, 1600-1650

  9. Claudio Monteverdi (1567-1643) • Leading figure of the era • Master of two styles(prima & seconda prattica) • Mantua : Secular works- madrigals & opera (!)- genre concitato • Venice : Sacred music- m.d.c. of St. Mark’s- also operas (public)- numerous commissions • Text, p. 208-9 (bio)

  10. “Cruda Amarilli” (Anth I/71) • Composed by Monteverdi, c. 1600 • Criticized by G. M. Artusi (1600)- L’Artusi, or the Imperfection of Modern Music • Problems w/ dissonances (unprepared/harsh) • Published in Fifth Book of Madrigals (1605)- prefatory letter from C. M.- “…the second practice…” (seconda prattica)- defense by Giulio Cesare Monteverdi (brother) • “Cruda Amarilli” : Score & Recording

More Related