WK 5 - renaissance secular song, Rise of instrumental music, reformation

Secular Song and
National Styles in the
Sixteenth Century
Chapter
7

Prelude
 New flowering of national styles in secular vocal music
• development of music printing, 1501
 wider dissemination
 vocal music: amateurs sing in vernacular
 trend toward diverse national genres and styles
• printing changed economics of music
 music sold as a commodity
 sixteenth century: first among upper classes
 ability to read notation, perform from printed music: expected social grace
 Baldassarre Castiglione’s influential Book of Courtier (1528)
 paintings show singers, instrumentalists, reading from published music
• Italian madrigal: poets and composers, interest in humanism
 influence later French chansons, English madrigals, lute songs
• through madrigal, Italy became leader in European music

The Rise of National Styles: Italy
and Spain
 Frottola and lauda
• strophic, 4-part homophonic songs with refrains
• melody in upper voice
• simple diatonic harmonies
• syllabic setting to catchy rhythms
• frottole: entertainment in sophisticated Italian courts
• laude: semipublic religious gatherings
• Petrucci published eleven frottole and two laude collections

The Rise of National Styles: Italy
and Spain (cont’d)
 Villanella, canzonetta, and balletto
• villanella
 three voices, lively homophonic strophic piece
 sometimes mocked more sophisticated madrigal
• canzonetta (little song) and balletto (little dance)
 balletti: intended for dancing as well as singing or playing
 both genres imitated by German and English composers
 Villancico
• Ferdinand and other Spanish courts encouraged development of Spanish music
• especially cultivated the villancico
 most important form of secular polyphonic song in Renaissance Spain
 composed for aristocracy
 texts usually rustic or popular subjects
 preference for simplicity: short, strophic, syllabic, mostly homophonic

The Italian Madrigal
 Italian song linked with currents in Italian poetry
• renewed appreciation for Petrarch
• Pietro Bembo praises Petrarch
 piacevolezza (“pleasingness”) and gravità (“seriousness”)
 remarkable ability to match sound qualities of verses with meanings
• Petrarchan movement attracted composers
 early madrigalists use Petrarch texts
 elevated and serious tone

The Italian Madrigal (cont’d)
 Italian madrigal dominated secular music in the 16th century
• Italy assumed leading role in European music for the first time
• madrigal texts:
 artful and elevated poetry
 scenes and allusions borrowed from pastoral poetry
 texts by major poets
 heroic or sentimental, sensual as century progressed
• composers dealt freely with poetry
 through-composed settings
 variety of homophonic and contrapuntal textures
 voices play equal roles
 aimed to match artfulness of poetry; convey images and emotions

• social settings
 written for enjoyment of singers
 mixed groups of women and men
 social gatherings, after meals, meetings of academies
 great demand for madrigals
 2,000 collections published between 1530 and 1600
• Concerto delle donne, established by Alfonso d’Este duke of Ferrara,
1580
 trio of trained singers, appointed as ladies in waiting
 increasing separation between performer and audience
 development of highly trained performers
 composers address listening audience
 increased dramatic and extrovert genre

• Jacques Arcadelt (ca. 1507–1568)
 Franco-Flemish composer, sang in pope’s chapel
• Cipriano de Rore (1516–1565)
 leading midcentury madrigalist
 Flemish by birth, worked in Italy
 succeeded Willaert as music director at St. Mark’s in Venice
• chromaticism
 as part of humanist revival, mid-sixteenth century composers embraced
chromaticism
 Le istitutioni harmoniche (Harmonic Foundations, 1558), Zarlino
 instructed composers to set words with music
 semitones effective for expressing sorrow
 Rore introduces notes outside the mode

• Luca Marenzio (1553–1599)
 leading late madrigalists were native Italians
 Marenzio spent most of his career in Rome
 most prolific: over 400 madrigals
 favored pastoral poetry
• Nicola Vicentino (1511–ca. 1576)
 proposed reviving chromatic and enharmonic genera of ancient Greeks
 L’antica musica ridotta alla moderna prattica (Ancient Music Adapted to
Modern Practice, 1555)
 designed harpsichord and organ divided into quarter tones

Carlo Gesualdo, prince of Venosa (ca. 1561–
1613)
• aristocrat amateur, sought publication
• murdered his wife and her lover
• imaginative madrigals; themes of torment and death
• sharp contrasts: diatonic and chromatic passages,
dissonance and consonance, chordal and imitative
textures, slow- and fast-moving rhythmic motives
• “Io parto” e non più dissi (“I am leaving,” and I
said no more, 1611)
• woman’s tearful pleas: slow, chromatic, mostly
chordal
• man’s return to life after symbolic, sexual death:
faster, diatonic, imitative
• continuity by avoiding conventional cadences,
tonal coherence at important moments
Detail from Giovanni Balducci, The
Penitence of Gesualdo, 1604. The
composer commissioned this painting
of the Last Judgement showing himself
(in black) kneeling at the mouth of Hell
while his uncle, St. Carlo Borromeo,
intercedes with Heaven on his behalf.

• Claudio Monteverdi (1567–1643)
 made crucial stylistic transition: polyphonic vocal ensemble to instrumentally
accompanied song for duet or larger ensembles
 published eight books of madrigals
 expressive power
 combination of homophonic and contrapuntal writing
 sensitivity to sound and meaning of text
 free use of chromaticism and dissonance
 certain features move toward new idiom: declamatory motives
 Cruda Amarilli (Cruel Amaryllis)

The Rise of National Styles:
France

France
 New type of chansons developed during reign of Francis I (r.
1515–47)
• four voices, light, fast, strongly rhythmic
• playful, amorous situations allowed for double meanings
• syllabic text setting, repeated notes, duple meter
• principal melody in highest voice, homophonic, occasional points of
imitation
• short sections in simple patterns, e.g. aabc or abca
• strophic repetitive forms, no word-painting
• focus on tuneful melodies, pleasing rhythms
• ideally suited for amateur performance
• Pierre Attaingnant (ca. 1494–ca. 1551/2), first French music printer
 more than fifty collections, 1,500 pieces

France
 New type of chansons developed during
reign of Francis I (r. 1515–47)
• Claudin de Sermisy (ca. 1490–1562) and
Clément Janequin (ca. 1485–ca. 1560)
 principal composers in Attaingnant’s early
chanson collections
 Sermisy’s Tant que vivray
 typical lighthearted text, optimistic love poem
 melody in top voice, harmony of 3rds, 5ths,
occasional 6th above the bass
 accented dissonances rather than syncopated
suspension before a cadence
 opening long-short-short rhythm common

France
 New type of chansons developed during reign of Francis I (r.
1515–47) (cont’d)
• Orlande de Lassus mixed traditions
 some in new homophonic style
 others show influence of Italian madrigal or Franco-Flemish tradition
 wide range of subject matters
 acutely attuned to text, music fit its rhythm
 La nuict froide et sombre (NAWM 61)

England
A copy (1600) of the lost Coronation Portrait of Elizabeth I (r. 1558–1603).

England
 Late 16th century: Italian culture brought to England
• 1560s, Italian madrigals circulated to England
• Musica transalpina (Music from across the Alps), 1588
 Italian madrigals translated into English
 spurred native composers to write their own
 leading English madrigalists: Thomas Morley (1557/8–1602) and Thomas
Weelkes (ca. 1575–1623)
• Thomas Morley
 earliest and most prolific
 also wrote canzonets and balletts
• Weelke’s As Vesta was
 most famous from Morley’s collection
 poem by Weelkes, opportunities for musical depiction
 “Long live fair Oriana” set to motive that enters almost fifty times

France and England (cont’d)
 Late 16th century: Italian culture brought to England (cont’d)
• early 1600s, lute song (or air) became prominent
 solo song with accompaniment
 John Dowland (1563–1626) and Thomas Campion (1567–1620), leading composers
 personal genre, no aura of social play, less word-painting
 lute accompaniments: rhythmic and melodic independence
 issued in partbooks
 voice and lute parts vertically aligned; singers accompany themselves
 lute part written in tablature
 Dowland’s Flow, my tears, from Second Book of Ayres (1600)
 best known to his contemporaries
 spawned over 200 variations and arrangements
 minimal depiction of individual words; music matches dark mood of the poetry
• performance
 written primarily for unaccompanied solo voices
 instruments sometimes doubled or replaced voices

John Dowland’s song
What if I never
speede as printed in
his Third and Last
Book of Songs or
Ayres (London, 1603).
The song may be
performed as a solo
with lute
accompaniment,
reading from the left-
hand page, or as a
four-part vocal
arrangement, with or
without lute
accompaniment, or by
viols, with or without a
singer. The altus,
tenor, and bassus
parts are arranged on
the page to
accommodate the
performers’ varying
perspectives.

The Lute Player (1590s),
one of several paintings on
musical subjects by
Michelangelo Merisi da
Caravaggio (1571–1610).
The youth is simultaneously
playing and singing an
Italian madrigal from the
early sixteenth century,
rendering it as a solo song
with lute accompaniment.
Solo singing became newly
fashionable toward the end
of the Renaissance, when
Caravaggio was working in
Rome.

The Rise of
Instrumental Music
Chapter
8

The Rise of Instrumental Music in
the Renaissance

Prelude
 1450 to 1550, instrumental music emerged
• publications of music proliferate after 1550
• composers trained as singers
 contributions to vocal repertoire
 chapelmaster: most prestigious positions
 Middle Ages: class and educational
differences separate singers and
instrumentalists
• instrumentalists less apt to be literate
• improvisation was the norm
 Renaissance: two types of instrumental music
• composed independently of vocal music
• reliance on vocal genres

Dance Music
 Social dancing: well-bred people expected to be accomplished
dancers
• musicians improvised or played from memory
• advent of music printing, pieces published in collections
 ensemble, lute, or keyboard
 Functionalized and stylized dance music
• functional music: accompanied dancers
 principal melody in uppermost part
 often left plain for performer to add embellishments
 other parts mostly homophonic
• dance pieces for solo lute or keyboard
 stylized or abstracted
 intended for enjoyment of players or listeners
 more elaborate counterpoint; written-out decoration

Dance Music (cont’d)
 Rhythm and form
• each dance follows particular meter, tempo,
rhythmic pattern, and form
• distinct sections, usually repeated
• clear and predictable phrase structure; four
measure groups
• basse danse (“low dance”)
 La morisque (The Moor, NAWM 66a), by
Tielman Susato from Danserye
 couple dance, gracefully raising and lowering the
body
 two sections repeated (binary); standard in
seventeenth and eighteenth centuries

 Instrumentation not specified
• wind and string instruments built in families
 entire range from soprano to bass
 any of Danserye could be played on various instruments
• consort: ensemble comprised of one instrument family
• “broken” consorts: mixed ensembles
Title page of Silvestro Ganassi’s instruction
book on recorder playing, Opera intítulata
Fontegara (1535). A recorder consort and two
singers perform from printed partbooks. In the
foreground are two cornetti, and on the wall
hang three viols and a lute.

 Dance pairs
• dances often grouped in pairs or threes
• favorite combination: slow duple meter; fast triple meter on same tune
 Susato’s Danserye, pavane and galliard
 pavane: stately dance; galliard: lively
 popular in France and England
 passamezzo and saltarello; popular in Italy

Arrangements of Vocal Music
 Instruments frequently doubled or replaced voices in polyphonic
compositions
• read from vocal parts, adding embellishments
• printed vocal music labeled “for singing and playing”
 Intabulations
• arrangements of vocal pieces by lutenists and keyboard players
• written in tablature; pieces known as intabulations

Settings of Existing Melodies
 Instrumental music sometimes incorporated existing melodies
• instrumental settings of chansons melodies
 background music, or played by amateurs for their own pleasure
• improvisations on chant melodies by church organists
 Chant settings and organ masses
• organ verses or versets: short segments of chant for organists to alternate
with choir
• organ mass: compilation for organ of all the sections of the Mass
 Lutheran churches
• improvised verse settings by organists
• 1570s on, collections appeared

Variations
 Variation form: sixteenth century invention, independent
instrumental pieces
• variations combine change with repetition
 theme, uninterrupted series of variants on that theme
 variety, embellishing of basic idea
 technical challenges, increasingly complex

Variations (cont’d)
 Lute music
• earliest printed music: variations for lute on dance tunes
• lute, most popular household instrument in sixteenth century
 lutenists performed solos, accompanied singing, played in ensembles
 introduced by Arabs into Spain 500 years earlier
 Spanish vihuela, closely related to lute
• Spanish Guárdame las vacas Italian romanesca and ruggiero
 spare melodic outline over standard bass progression
 Los seys libros del Delphin (The Six Books of the Dauphin)
 contain first published sets of variations
 Guárdame las vacas by Narváez
 first example of the genre
 phrase structure, harmonic plan, cadences of theme preserved
 melody with new figuration

 English virginalists
• English keyboard composers named
after their instrument
 virginal: member of harpsichord
family
 more robust sound, quill plucks
strings
• dances or familiar tunes used as
themes; interest in melodic variation
• Parthenia (1613): first published
collection of music for virginal

 English virginalists (cont’d)
• William Byrd (ca. 1540–1623)
 most important keyboard composer in late sixteenth,
early seventeenth centuries
 choirboy in royal chapel in London
 organist and choirmaster, Lincoln Cathedral 1563
 remained Catholic during Protestant reign of Elizabeth I
 wrote Anglican and Catholic service music
 granted monopoly with Tallis for printing of music in
England
 major works: pavanes, galliards, variations for keyboard,
fantasias, and other works for instrumental consort,
Anglican church music, three Latin masses, 109 settings
of items from mass Proper, madrigals, and other secular
and sacred works

 English virginalists (cont’d)
• Byrd’s variations on John come kiss me now
 melody intact in every variation
 tune occasionally embellished
 new motivic idea or rhythmic figure in each variation
 gradual quickening of the pace; slower final
variation

Abstract Instrumental Works
 Instrumental music independent of dance
• most developed from improvisation
 polyphonic instruments: keyboard, lute
• played or listened to for their own sake
• highly expressive effects
 Introductory and improvisatory pieces
• introduce a song, fill time during church service, establish mode for
chant, tune lute
• earliest examples of solo instrumental music
• variety of names: toccata, prelude, fantasia, ricercare
• not based on existing melody
• unfold freely, variety of textures and musical ideas
• function as introduction, establish tonality

(cont’d)
 Canzona
• Italian genre
• earliest were transcriptions of French chansons
• midcentury, thoroughly reworked chansons
• 1580, newly composed canzonas, ensemble then organ
• light, fast-moving, strongly rhythmic; long-short-short
• series of contrasting sections

(cont’d)
 Ensemble canzonas
• idea of divided choirs applied to instrumental works
• Canzon septimi toni a 8 (Canzona in Mode 7 in Eight Parts, NAWM
70) from Sacrae symphoniae (Sacred Symphonies, 1597), by Giovanni
Gabrieli (ca. 1555–1612)
 resembles double-chorus motet
 two groups of four instruments, organ accompaniment
 series of contrasting sections, imitative, homophonic
 groups alternate long passages, engage in rapid dialogue

Sacred Music in the Era
of the Reformation
Chapter
9

Prelude
 Reformation began as
theological dispute
• Martin Luther, 1517
• Protestant leaders:
 Luther: Germany
 Jean Calvin: France, the Low
Countries, and Switzerland
 Henry VIII: England
• theology and circumstance
determined musical choices

Prelude (cont’d)
 Music of the Reformation in Germany
• at first remained close to Catholic traditions
• musical sources:
 music retained original Latin texts
 works used German translations
 new German texts fitted to old melodies: contrafactum
• strophic hymn: Choral or Kirchenlied, chorale
 intended for congregational singing in unison
 repertory of chorales became foundational treasury for Lutheran church music

Prelude (cont’d)
 Reformation church music outside Germany
• Calvin opposed certain elements of Catholic ceremony more strongly
 only biblical texts, especially psalms, sung in church
 psalters: rhymed metrical translations of Book of Psalms
• England: Anglican church’s separation from Rome in 1534
 political reasons
 music less affected; remained closer to Catholic traditions
 English replaced Latin in the liturgy
 Catholic Church internal reform
• Catholic Reformation
 liturgical reforms; reaffirmed power of music
• Counter-Reformation
 recapture loyalty of people
 appeal to their senses, ceremonial music

The Music of the Reformation in
Germany
 Martin Luther
• professor of biblical theology, University
of Wittenberg
 influenced by humanist education
 salvation through faith alone
• views contradicted Catholic doctrine
 religious authority derived from Scripture
alone
 challenged authority of the church

Germany (cont’d)
 Lutheran Church music
• Luther admired Franco-Flemish polyphony, especially Josquin
• believed in educational and ethical power of music
 experience faith through direct contact with Scripture
 believed in congregational singing
• retained much of Catholic liturgy
 some in translation, some in Latin
 German Mass
• various compromises between Roman usage and new practices
• smaller churches adopted German Mass
(Deudsche Messe)
 published by Luther, 1526
 followed main outline of Roman Mass
 replaced most elements of Proper and Ordinary with German hymns

Germany (cont’d)
 Chorale
• Lutheran church music grew out of the chorale
 chorale: text and tune
 simple, metrical tunes and rhyming verses
• new compositions
 Luther wrote poems and melodies himself
 Ein feste Burg ist unser Gott (A mighty fortress is our God, 1529)
 Luther’s best-known chorale
 anthem of the Reformation
• adaptations of secular and devotional songs or Latin chants
• contrafactum: well-known secular tunes given new words

Germany (cont’d)
 Polyphonic chorale settings
• Lied technique
 unaltered chorale tune in long notes in tenor
 three or more free-flowing parts surround tenor
 example: setting by Luther’s collaborator Johann Walter (1496–1570)
• chorale motets
 techniques from Franco-Flemish motet
• chordal homophony
 tune in soprano, accompanied by block chords

Germany (cont’d)
 Chorale performance
• choir alternated chorale stanzas with congregation
 sometimes doubled by instruments
 choir sang in four parts
 congregation sang in unison
• after 1600 accompaniment played by organ, congregation sang melody
• more elaborate treatments (e.g., organ solo or trained choir)
• end of sixteenth century, chorale motets or free polyphonic compositions
• chorales elaborated in organ improvisations

Reformation Church Music outside
Germany
 Jean Calvin
• led largest branch of Protestantism outside of
Germany
• rejected papal authority; justification through
faith alone
• believed people predestined for salvation or
damnation
• lives of constant piety, uprightness, and work
• centered in Geneva, missionaries spread
Calvinism across Switzerland
 established Dutch Reformed Church in the
Netherlands
 Presbyterian Church in Scotland
 Puritans in England
 Huguenots in France

Germany (cont’d)
 Calvin and music
• stripped churches of distractions; musical instruments, elaborate
polyphony
• singing of psalms to monophonic tunes, only music in service
 published in collections, psalters
• principal French psalter published 1562
 150 psalms translated into strophic, rhyming, and metrical verse
 simple stepwise melodies, “Old Hundredth”
Original melody from the French Psalter of 1562, with a later adaptation

Germany (cont’d)
 Calvin and music (cont’d)
• sung in unaccompanied unison
• devotional use at home: four or more parts
 simple chordal style, tune in tenor or soprano
• Dutch, English, and Scottish psalters
 translations of French psalter: Germany, Holland, England, Scotland
 Germany: psalter melodies adapted as chorales
 English psalter of the sixteenth century
 psalter brought by Pilgrims to New England, 1620

Germany (cont’d)
Church of England: 3rd major branch of Protestantism
 Henry VIII (r. 1509–47) married to Catherine of Aragon
• pope refused annulment
• 1543 Parliament separated from Rome; Henry named head of
Church of England
 Church of England
• Catholic in doctrine under Henry
• Edward VI (r. 1547–1553) adopted Protestant doctrines
 1549 Book of Common Prayer, English replaced Latin in the
service
• Mary (r. 1553–1558) restored Catholicism
• Elizabeth I (r. 1558–1603) brought back reforms made by
Edward
 sought to steer a middle course
 Anglican Church: blend of Catholic and Protestant elements
 Catholics conducted services in private

Germany (cont’d)
 New forms created for services in English
• Latin motets and masses composed under Henry, Mary, and Elizabeth
 Latin used in Elizabeth’s royal chapel, served political needs
• composers worked in relative isolation
 gradually adopted international style of imitative counterpoint
 many works illustrate English style: full textures, long melismas
• Thomas Tallis (ca. 1505–1585)
 career reflects religious upheavals, influences English church music
 Henry VIII: Latin masses and motets
 Edward VI: Anglican service music and motets to English texts
 (If ye love me, ca. 1546–1549, NAWM 48)
 Catholic Queen Mary: Latin hymns, 7-voice mass Puer nobis
 Queen Elizabeth: music to both Latin and English words
 natural inflection of speech and vocal quality of melodies

Germany (cont’d)
 Anglican Church music
• anthem (from Latin “antiphon”)
• Service
 music for Morning and Evening Prayer, and Holy Communion
 Great Service: contrapuntal and melismatic setting
 Short Service: same texts, syllabic, chordal style

The Counter-Reformation
 Reform in the Catholic Church
• Council of Trent (1545 to 1563)
 church Council met at Trent, northern Italy
 passed measures to purge abuses and laxities
 music subject of serious complaints:
 music profaned by use of secular cantus firmi or chansons
 complicated polyphony made words incomprehensible
 musicians used instruments inappropriately, careless in their duties, irreverent
attitudes
 pronouncements extremely general
 banished “lascivious or impure”
 local bishops regulate music in the services

The Counter-Reformation (cont’d)
 Reform in the Catholic Church (cont’d)
• music changed relatively little in countries that
remained Catholic
• Adrian Willaert (ca. 1490–1562)
 one of the best-known Flemish composers
 long career in Italy; thirty-five years at Saint
Mark’s in Venice
 most affected by humanist movement
 molded music to pronunciation of words
 long notes to accented syllables
 never allowed a rest to interrupt a word or thought
within a vocal line
 strong cadences only at significant breaks in text
 insisted syllables be printed precisely under their
notes

Giovanni Pierluigi da Palestrina (1525/6–1594)
 Premier Italian composer of church music in the 16th century,
• “the Prince of Music”
• born in Palestrina, small town near Rome
• choirboy and musical education in Rome
• briefly sang in Sistine Chapel choir (1555)
• forty years in Rome
 Julian Chapel at St. Peter’s (1551–55 and 1571–94)
 Saint John Lateran (1555–60), Santa Maria Maggiore (1561–66)
• after Council of Trent, commissioned to revise official chant books
 published in 1614, remained in use until early twentieth century
• published his own music
• major works: 104 masses, over 300 motets, thirty-five Magnificats, many other
liturgical compositions, ninety-four secular madrigals
• “Palestrina style” standard for later centuries of polyphonic church music

Palestrina’s style
• legend: Missa Pape Marcelli (Pope Marcellus Mass) saved polyphony
• first style in history of Western music to be consciously preserved and imitated
• studied works of Franco-Flemish composers, mastered craft
• masses: variety of techniques, including cantus firmus, parody, paraphrase, and free
composition
 melodies
• share qualities with plainchant
• Pope Marcellus Mass (NAWM 51b), Agnus Dei
 long, gracefully shaped phrases
 easily singable lines, within range of a 9th
 voices move by step, few repeated notes
 rhythmically varied, contrasts of motion

Palestrina’s Style (cont.)
 form
• compositions unified by musical means
• connection between motives
• systematic repetition of phrases, carefully placed
cadences
 text declamation
• Pope Marcellus Mass (NAWM 51a), Credo
• voices pronounce phrase simultaneously
• 6-voice choir divided into various smaller groups
• full six voices: climaxes, major cadences, significant
words
Title page of the first published
collection of works by Palestrina
(Rome: Valerio and Luigi Dorico, 1554).
The composer is shown presenting his
music to Pope Julius III.

 Palestrina’s contemporaries
• most illustrious composers of sacred music at end of sixteenth
century:
 Tomás Luis de Victoria (1548–1611), Orlando di Lassus (1532–
1594), Englishman William Byrd (ca. 1540–1623)
• Orlando di Lassus
 most international: career and compositions
 served Italian patrons in Mantua, Sicily, Rome
 1556 service of Duke Albrecht V of Bavaria
 maestro di cappella ducal chapel in Munich
 four decades in one post, traveled frequently
 age twenty-four, published books of madrigals, chansons, and
motets
 one of the greatest composers of sacred music in the late sixteenth
century
 influential as advocate of text expression

 Lassus motet
• rhetorical, pictorial, and dramatic interpretation of
text determines form and details
• example: Cum essem parvulus (1579), 6-voice
motet
 “When I was a child,” duet between two highest voices
 “mirror in riddles,” nonimitative counterpoint,
suspensions, brief mirror figure
 “face to face,” moment of revelation, only full
homophonic passage
 versatile composer, no “Lassus style”
• synthesized achievements of an epoch
• master of Flemish, French, Italian, and German styles
in every genre
• motets influenced later German Protestant composers
Orlande de Lassus at the
keyboard (a virginal)
leading his chamber
ensemble in Saint
George’s Hall at the
Munich court. Shown are
three choirboys, about
twenty singers, and fifteen
instrumentalists.

 Palestrina’s contemporaries (cont’d)
• William Byrd
 most important English composer since
Dunstable
 absorbed Continental imitative techniques
 Sing joyfully unto God (NAWM 49),
full anthem
 six voices, points of imitation succeed one
another
 occasionally homophonic declamation
 imitation handled freely
 1590s wrote for Catholics celebrating Mass
in secret

WK 5 - renaissance secular song, Rise of instrumental music, reformation

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