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Music in the Renaissance
Music began to be seen as a fine art during the Renaissance as classical ideas were rediscovered. Composers were no longer anonymous and greater importance was placed on the aesthetic qualities of art. Sacred music was dominated by the motet, with Josquin des Prez emerging as a leading figure known for his expressive use of texture and style. Secular music saw the rise of the madrigal and English madrigals became popular. Palestrina's style came to exemplify Renaissance polyphony with its smooth textures and balance. Dance music such as the pavane and galliard were also popular during this period.
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Music in the Renaissance
- 1. Music in theRenaissance Fiorentino, Angel with Lute (ca. 1522)
- 2. Rebirth Classical (Greco-Roman) ideasrediscovered Music begins to be seen as a fine art Music (and all art) becomes more expressive Rise of humanism Recognizing unique contributions of individuals Composers no longer anonymous Greater appreciation of aesthetic qualities of art
- 3. Renaissance Sacred Music Botticelli,Adoration of the Magi
- 4. The Renaissance Motet Choralmusic Generally three or four voices Latin text, sacred subject Texts usually from Old Testament Often from Psalms or Lamentations Expressive texts call for expressive music Usually performed a cappella (no accomp.)
- 5. Josquin des Prez(c1455-1521) http://en.wikipedia.org/wiki/Josquin_Desprez http://w3.rz-berlin.mpg.de/cmp/josquin.html http://www.hoasm.org/IVA/DesPrez.html
- 6. Josquin des Prez Bornnorthern France/Belgium border area Probably began career as choirboy (1460) Held posts in France and Italy Sang in choir of Sistine Chapel Singers carved their names on the wall “JOSQUINJ” was probably his own “graffito” Honored by contemporaries as a genius Martin Luther, Rabelais, Bartoli
- 7. Josquin des Prez Composedall the genres of his era Known especially for his motets Use of contrasting textures – sectional Combined different styles into a new sound Franco-flemish complexity Italian lyricism Leading figure in new international sound This new style later perfected by Palestrina
- 8. Listening Example: Title: AveMaria Composer Josquin des Prez Genre Motet
- 9. Notes on Avemaria… 4-voices (SATB) A cappella performance (no instruments) Contrasting textures and settings Imitation Paired imitation (TB imitating SA) Homophony Expressively personal final text Changing meters
- 10. Council of Trent(1545-1563) Part of the Counter-Reformation Regulated of all aspects of church discipline Objected to trends in church music Elaborate counterpoint obscures text Too much embellishment of chant melodies Use of instruments in services Incorporation of popular songs into music Secular spirit invading sacred music Irreverent attitude of church musicians
- 11. Giovanni Pierluigi daPalestrina (c.1525-1594) http://en.wikipedia.org/wiki/Giovanni_Palestrina http://w3.rz-berlin.mpg.de/cmp/palestrina.html
- 12. Giovanni Pierluigi daPalestrina Born near and spent most of career in Rome Held positions in many Vatican chapels Singer in the Sistine Chapel Maestro compositore St. Peter’s Basilica Lost many family members to the plague Very conscious of counter-reformation Known as “savior of church music”
- 13. Giovanni Pierluigi daPalestrina Palestrina’s style seen as the culmination of Renaissance composition Avoidance of dissonance Balance of the voices Seamless sound – rhythmically smooth Codified by Johannes Fux Still studied today as model of counterpoint
- 14. Listening Example Title Gloriafrom Missa Papae Marcelli Composer Palestrina Genre Mass
- 15. Notes on Gloriafrom Missa Papae Marcelli A cappella performance (no instruments) Brief opening chant Homophonic texture Smooth (conjunct) melody Regular rhythms Note the serene, celestial quality
- 16. Listening Example Title AgnusDei from Missa Papae Marcelli Composer Palestrina Genre Mass
- 17. Notes on AgnusDei from Missa Papae Marcelli A cappella performance (no instruments) Polyphonic texture - Imitation Palestrina writes the imitation in a way that listeners can still understand the text Palestrina’s style still evident Smooth (conjunct) melody and regular rhythms Serene, celestial quality
- 18. Renaissance Secular Music Raphael TheNymph Galatea c.1512-1514
- 19. Popular Music Advances Adventof the printing press Rise of middle class New market for music, esp. printed music Many were amateur musicians themselves Music in the vernacular (language of the people – not Latin)
- 20. Madrigal New genre becomesinternationally popular Begins in Italy and spreads through Europe Remains popular in England even after the genre falls out of favor in Italy Typically 4-5 solo singers, mixed voices Secular poem, often on subject of love Music expresses the emotion of the text Word painting
- 21. Word Painting A musicalgesture that directly expresses the meaning of words in the text
- 22. Claudio Monteverdi (1567-1643) Transitionalfigure: Renaissance to Baroque Worked in Mantua then Venice Last 30 years spent at St. Mark’s Cathedral Published 8 books of madrigals We’ll study Monteverdi’s Baroque opera
- 23. Listening Example Title Eccomormorar l’onde Composer Monteverdi Genre Italian madrigal
- 24. Notes on Eccomormorar l’onde A cappella performance (no instruments) Homophonic texture overall Word painting The melody moves up and down quickly on “tremolar le fronde” (trembling branches) Nimble counterpoint when text describes birds singing is meant to suggest actual birdsong
- 25. English Madrigals English poetsadopted the Italian sonnet English composers adopted the madrigal Nicolas Yonge’s Musica Transalpina (1588) Texts were “Englished” (translated) Later composers wrote their own madrigals A distinctly English style evolved This is the era of Shakespeare
- 26. Thomas Weelkes (1576-1623) Bornnear Elsted, Sussex (England) Begins as organist - Winchester College Career as choirmaster at Chichester Cathedral Composes four volumes of madrigals Trouble with alcohol Spends time in London near end of life
- 27. Listening Example Title: AsVesta Was from Latmos Hill Descending Composer: Thomas Weelkes Genre: English Madrigal
- 28. Notes on AsVesta Was… Composed as part of tribute to Queen Elizabeth I (The Triumphs of Oriana) Odd text serves as fodder for word painting Descending lines as Vesta descends Latmos Ascending lines as Oriana climbs the hill Solo lines for Diana (virgin goddess) Note the lighthearted quality 6-voices
- 29. Dance Music Publishers issuedcollections of dance music aimed at the middle class Shawms, sackbuts, and drums were most commonly used for dance music Pavane was most popular dance of mid-16th century Usually followed by Galliard for contrast
- 30. Listening Example Title: Pavane Composer:Anonymous Genre: Renaissance Dance
- 31. Notes on Pavane Slowtempo Serious or stately character Duple meter
- 32. Listening Example Title: Galliard Composer:Anonymous Genre: Renaissance Dance
- 33. Notes on Galliard Fasttempo Fun, lively character Triple meter