The Renaissance Era - Kettering City School District

January 9, 2018 | Author: Anonymous | Category: History, European History, Protestant Reformation (1517-1648)
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1450-1600

 Leonardo

da Vinci (1452-1519), painter/scientist.  Fall of Constantinople (1453)  Gutenberg Bible printed (1456) printing press.  Nicolas Copernicus (1473-1543), Polish astronomer.  Michelangelo (1475-1564) painter, sculptor  Martin Luther (1483-1546) religious reformer.

 Columbus

discovers the New World

(1492)  First music book printed in Italy (1501)  Council of Trent begins (1545)  Elizabeth I is crowned Queen of England (1558)  William Shakespeare (1564-1616)  Musica Transalpina published (1588)

 The

Renaissance was an era of exploration, scientific inquiry, artistic awakening, and secularization.  Artists and writers found inspiration in the cultures of ancient Greece and Rome.  Renaissance musicians were employed in churches, cities, and courts; or in the trades of instrument building and music printing.

 The

name is misleading because it suggests a sudden rebirth of learning and art after a “stagnate” Middle Ages. However it is a continuation.  It marks the passing of European society from a predominately religious orientation to a more secular one, and from an age of unquestioning faith and mysticism to one of reason and scientific inquiry.

 The

focus on human fulfillment rather than the hereafter; a new way of thinking centered on human issues and the individual.  People gained confidence in their ability to solve their own problems rather than rely exclusively on tradition or religion.





This “awakening” was called Humanism and was inspired by ancient cultures of Greece and Rome. Renaissance society embraced the ideas of ancient writers and philosophers, such as Plato and Virgil.

 The

revival of ancient writings mentioned earlier along with the introduction of printing (1455- Gutenberg), had its counterpart in architecture, painting and sculpture.  Lavish palaces and spacious villas were built according to harmonious proportions of the classical style.

 The

development of the compass made possible the voyages of discovery that opened up new worlds and demolished old superstitions.  Explorers were in search of a new trade route to the riches of China and the Indies, instead they stumbled upon North and South America.

 Nature

entered painting as did a preoccupation with the laws of perspective and composition.  Medieval painting had presented life through symbolism; the Renaissance preferred realism.

 Were

supported by the chief institutions of their society-church, city, and state, as well as royal and aristocratic courts.  They found employment as choirmasters, singers, organists, instrumentalists, copyists, composers, teachers, instrument builders, and music printers.

 Vocal

forms of Renaissance music were marked by smoothly gliding melodies conceived especially for the voice.  The 16th century has become known as the golden age of a cappella style.  Polyphony in this genre was based on the principle of imitation.  Most church music was written for a cappella performance. Why?

 Secular

music, however, was divided between purely vocal works and those in which the singers were supported by instruments.  The Renaissance also saw a growth of solo instrumental music, especially for the lute and keyboard.  Harmony came into play during the Renaissance as composers leaned toward fuller chords.

 They

turned away from the open fifths and octaves to more “pleasing” thirds and sixths.  Word Painting- (making music reflect the meaning of the words)- was definitely favored in secular music.  Dissonance was used to describe or highlight the word “death”, while an ascending line was used to portray “heaven” or the stars.

 Polyphonic

writing offered the composer many possibilities such as the use of a cantus firmus.  The preeminent composers of the early Renaissance were from northern Europe, present day Belgium and northern France.  In later Renaissance we will see the emergence of Italian composers in both the sacred and secular realms of music.

 Mass

sung in Latin, not vernacular (language of the country)  Composers focused their polyphonic mass settings on the Mass Ordinary:  Kyrie, Gloria, Credo, Sanctus, Agnus Dei  Kyrie- is a prayer for mercy. Follows an AB-A form that consists on 9 invocations

 Gloria-

(Glory be to God on high), a joyful hymn of praise.  Credo- (I believe in one God, the Father Almighty), this is the confession of faith and the longest of the Mass texts.  Sanctus (Holy, Holy, Holy), a song of praise which concludes with the “Hosanna in the highest”

 Agnus

Dei (Lamb of God, Who takes away the sins of the world), sung 3 times.  Twice it concludes with “miserere nobis” (have mercy on us) and on the 3rd time with the prayer “dona nobis pacem” (grant us peace).  All 5 movements are part of the Ordinary or fixed portion.  Movements for special occasions (Proper) were added in between the Ordinary-see p.102

Early polyphonic settings of the Mass were based on fragments of Gregorian chant (cantus firmus)  It provided composers with a fixed element that they could embellish, using all the resources of their artistry, and when set in all the movements, it helped unify the Mass. • Requiem: Mass for the Dead 

 Sung at funerals and memorial services  Opening verse: "Requiem aeternam dona eis, Domine" (Grant them eternal rest, O Lord)

 Part

of the Burgundian School (FrancoFlemish).  Music less complex than that of Ars nova  Many of his works are built on a cantus firmus

 L'homme

armé Mass, Kyrie

Popular secular tune is the cantus firmus (found in the tenor voice)  First part of the Mass Ordinary 

 Non-imitative  Ternary

form

polyphonic texture (four voices)

• Renaissance motet had a single Latin text • Majority of motets had a Marian (Virgin Mary)

theme • Typically motets were written for 3, 4, or more voices • Sometimes motets were based on a cantus firmus  Josquin des Prez of Northern France was considered one of the greatest Renaissance motet composers.

• Franco-Flemish composer, made career in Italy  Milan: Court of Cardinal Ascanio Sforza  Ferrara: Court of Ercole d'Este  Rome: papal choir

Humanism evident in his music (emotion over intellect).  Composed sacred and secular music. 



Protestant revolt led by Martin Luther (1483–1546): Reformation • Catholic response: Counter-Reformation (1530s– 1590s)  Council of Trent attendees sought to reform Catholic Church

 Concerns of Council of Trent     

Corruption of chant by embellishment Use of certain instruments in religious services Incorporation of popular music in Masses Secularism of music Irreverent attitude of church musicians

 Committee recommended a pure vocal style that respected the integrity of the sacred texts

 Italian

composer, organist, choirmaster.

 Director

of the Sistine Chapel Choir (Pope Julius III).  Wrote mostly sacred music.  

Pope Marcellus Mass met the new strict demands of the Council of Trent. Probably performed a cappella

 Written 

    

for 6 voice parts:

Soprano (sung by boys or male falsettos) Alto (sung by male altos or countertenors) Tenor I Tenor II Bass I Bass II

In the Renaissance Era







The Renaissance saw a rise in amateur music-making and in secular music (French chansons and the Italian and English madrigals). Instrumental dance music was played by professional and amateur musicians, who often added embellishments.

 The

madrigal originated in Italy as a form of aristocratic entertainment.





Monteverdi was a master of the Italian madrigal and of expressive devices such as word painting.

The English madrigal was often simpler and lighter in style than its Italian counterpart.

 Professional

musicians entertained in courts and at civic functions.

 Merchant

home.

class amateurs played and sang at

 Most

popular instruments: lute, keyboard instruments.

A well-bred young woman was expected to have studied music.  Some women achieved great fame as professional singers. 



Main Music genres: chanson and madrigal

 Major

literary influences:  Francesco Petrarch (1304–1373) “Father of Humanism”  Pierre de Ronsard (1524–1585) “Prince of Poets”

 Favored

vocal genre in Burgundy and France in the 15th century.

 Usually

for 3 or 4 voices.  Set to courtly love verses.  Freer poetic structures (without set repetition patterns).  Premier composers: Guillaume Du Fay, and Josquin des Prez.

Written during the last year of the composer's life.  Four-voice texture.  Language of courtly love.  Pain and suffering of leaving one's beloved.  Uses an archaic sounding church mode (E)  Varied texture: homorhythm, imitation.  Expressive text setting, using word painting. 

 16th

century was a period of growth for instrumental music.  Published music was readily available.  Publishing centers: Venice, Paris, Antwerp.  Instrumentation was unspecified.  The occasion dictated the ensemble: (indoor or outdoor).

 Pavane: stately

court dance.

 Saltarello: quicker  Galliard: more

saltarello.

Italian jumping dance.

vigorous French version of

 Allemande: German

time.

 Ronde: less

dance in moderate duple

courtly round dance, danced in a circle outdoors.

 Chief

form of Renaissance secular music.

 Song

form flourished at the Italian courts.

 Text: short

poem of lyric or reflective

nature.  Includes "loaded" words: weeping, sighing, trembling, dying, etc.

 Music: sets

text expressively.  Instruments double or substitute for the voices.  Three phases of the madrigal: First phase (c. 1525–1550)  Entertaining for the performers (often amateurs). 

 Second

phase (c. 1550–1580):  Art form in which music and words were clearly linked.  Third

phase (c. 1580–1620):  Exhibited chromatic harmony.  Dramatic declamation and vocal virtuosity.  Vividly described emotion.  Extended beyond the Renaissance into the Baroque Era.

 Composers

in England further developed the Italian madrigal.

 English

madrigalists included:  Thomas Morley, Thomas Weelkes, John Farmer.

 First

collection of Italian madrigals published in England entitled.

 Musica

transalpina (Music from beyond the Alps) 1588.

 English

madrigals were often simpler and lighter in style than Italian.

 New

English madrigals were soon cultivated, some with refrain syllables ("fa la la").

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