THE RENAISSAN=
CE ERA
BASIC BACKGRO=
UND
INFORMATION:
- The development of the musical s=
tyle
during the first 100 years of the Renaissance—roughly 1420 to
1520—can best be traced in greater detail by considering those
genres of central importance to the composers of the period.
- In the realm of sacred vocal mus=
ic,
these genres were the Mass =
and
Motet
- In secular vocal music, the Chanson and Frottola
were principal
- Finally, in instrumental music, =
both Keyboard and Dance
repertories was principal forms. It is impo=
rtant
to note that this was still highly improvisational. (this genre was
infrequently notated at best)
Ø This is the era which is known as the rebirt= h of the Classic virtues of Antiquity
Ø Composers could now freely create without the restraints imposed on them by the liturgy and secular functions of the Medi= eval era
Ø The group of composers known as the “Anglo-Burgundian Alliance” of the = 15th century helped to establish dominance by Northern European composers such as: The Burgundians, Dutch, French, Flemish and the Northern French (a.k.a “The Netherlanders”)
THE PROTESTANT
REFORMATION:
Ø In 1517, the most significant event to domin= ate the 16th. Century was the Protestant Reformation.
Ø It was due to the Reformation, that the emergence of the polyphonic Pro= testant Chorale form developed
WHAT IS A CHORALE?
A chorale in its generic definition is a hymn of the Lutheran church sung by the entire congregation
MUSICAL EXAMP=
LE#1:
“Herr Ich Glaube by
J.S. Bach
Ø Many of the melodies for chorales are derived from Gregorian Chant, sometimes with minor varia= tion, and fitted with new words.
Ø The Catholic Church’s answer to the Protestant Reformation was the “Counter-Reformation” which brou= ght about a polyphonic setting of the Mass and Motet forms
Ø These events brought about the cultivation of music in every level of society.
Ø Composers began to flourish as did the development and function of instruments and instrumental musical compositio= n.
FOUNDATIONS:<= /b>
I= . = &nb= sp; HUMANISM (Contributions)
WHAT IS HUMAN=
ISM AS
IT RELATES TO MUSICAL THOUGHT?
ANSWER:
The concept involves a dedication to things human oppo= sed to things based purely on a spiritual ideal. The idea of “rebirth”= or Renaissance in the French language is tightly connected to this philosophy.=
![3D"*"](3D"Renaissancestudyguide_files/image001.gif")
There was a restored interest in life and li=
ving
(pleasure of the senses)
It was these changes (movement from purely
spiritual based models to things which pleases the senses in a human way) w=
hich
would ultimately affect and be reflected in the musical output of composers=
of
the new style.
THE HUMANIST
MOVEMENT:
Ø There was a renewed interest in ancient Greek and Roman culture and music
Ø Humanist encouraged composers to express emotion within their music= al compositions
Ø Humanist bridged the gap between text and mu= sic. They brought music and the literary arts much closer. This is most reflecte= d in poetry.
Ø Scholars translated Greek treatise on music = from Greek to Latin
Ø All of these changes would deeply affect the musical outlook of the society
II.
Ø Gaffurio wrote an influential treatise on music. He often incorporated the concepts found in Greek learning into his own treatises on music.
Ø His most famous treatise was entitled: The Theory of Music, (1492)
Ø Many composers and music theorists of the ti= me still believed that the ancient Greek modes were the same as the church mod= es of the Middle Ages (This is a thought which continued to dominate well into= the 17th century)
Ø They believed the effects of a particular mo= de could effect the listener’s emotion.
Ø Theorists would eventually devise rules for counterpoint which were based on the use and effects of dissonances and consonances
Ø The relationship between text and music beca= me more important
THE RENAISSAN=
CE IN
ITALIAN CULTURE:
Ø
It is believed that the Renaissance truly had
its beginnings in
Ø
Ø
The most wealthy families in
Ø
They would typically engage musicians from o=
ut
of
Ø
By 1501, the first collection of polyphony w=
as
published in
Ø The printer Ottaviano Petrucci published fifty nine volumes of vocal and instrumental music. This was an enormous progression towards modern technological developments.
Ø This process of movable print brought about = the development of part books which allowed for composers to receive greater recognition for their work.
THE INTERNATI=
ONAL
STYLE:
Ø During the 16th century, liturgic= al music began to grow in size and technique.
Ø Religious music was still dominated by the M= ass and Motet genres, however other religious forms and musical ideas began to emerge:
= I. = &nb= sp; Laudes
= II. = The various Schools of composition
= III. = The effects of the Protestant Reformation (the chor= ale forms etc.)
All of these elements had an effect on music and its
re-formation and gradual redevelopment throughout all of
I.&n=
bsp; =
;
THE CU=
LTURE:
Music and culture
= I. = &nb= sp; In high European Renaissance society, it was an expectation that one could read music.
= II. = Even more important, it was expected that one could read music at sight.
= III. = During this period, individuals and small social gr= oups would gather and often sing through numerous tunes using “Part-books”
= IV. = The church would still be among the main sources of income for composers and musicians
= V. = Many of the great chapels of the early Renaissance = were funded by notable patrons and their financial resources
= VI. = Chapels would serve as a means for providing music = for evening entertainment, dancing and private church serves
= VII. = Aristocratic patrons would support musicians through commissions
= VIII. = Both professional and amateur musicians found opportunity through this new system
II.&=
nbsp; &nbs=
p;
CHANGE=
S IN
MUSICAL COMPOSITION:
=
&nb=
sp;
i. &nb=
sp;
Compos=
ers
began to shift their thinking from the “perfect consonances” of=
the
old system to the ever emerging popularity of the “Triad” I-III=
-V
&nbs= p; &= nbsp; ii. &n= bsp; The treatment of dissonance began to be regulated by many composers
&nbs= p; &= nbsp; iii. &= nbsp; The emergence of a greater variety of compositional textures such as the use of polyphony and homophony
&nbs= p; &= nbsp; iv. &n= bsp; Use of full chordal pol= yphony is being incorporated into a large majority of musical compositions
&nbs= p; &= nbsp; v. &nb= sp; Composers are now using homogenous collections of voices and or instruments in their works
&nbs= p; &= nbsp; vi. &n= bsp; Not all elements of the Medieval forms were complet= ely abandoned right away, but eventually the use of a cantus firmus and the struct= ural control of the music through text (domination) would eventually disappear
&nbs= p; &= nbsp; vii. &= nbsp; In lieu of such controls, a newer technique known a= s tone painting began to gai= n in popularity
&nbs= p; &= nbsp; viii. = One of the first significant musical achievements of the Renaissance was Dufay’s “Burgundian Chanson.”
THE VOCAL MUS=
IC FORMS
OF THE RENAISSANCE
I.&n=
bsp; =
;
Featur=
es of
English Music
<= span style=3D'mso-list:Ignore'>&nbs= p; &= nbsp; &nbs= p; i. &nb= sp; English Music was closely related to the folk style=
<= span style=3D'mso-list:Ignore'>&nbs= p; &= nbsp; ii. &n= bsp; The music tended to use major tonalities rather than the modal systems
<= span style=3D'mso-list:Ignore'>&nbs= p; &= nbsp; iii. &= nbsp; The musical texture tended to be homophonic (note-a= gainst-note)
II.&=
nbsp; &nbs=
p;
Princi=
pal
Renaissance Vocal Genres
= I. = &nb= sp; Mass
= II. = Motets
= III. = Chanson
= IV. = Madrigal
THE RENAISSAN=
CE MASS:
Definition: <=
/b>The Mass, a form of sacred =
musical
composition, is a choral composition that sets the fixed portions of the
Eucharistic liturgy (principally that of the Roman Catholic Church, and also
the Anglican Church) to music.
Most Ma=
sses are
settings of the liturgy in Latin, the traditional language of the Roman
Catholic Church.
The Renaissance Mass style calls for the same melodic material to be used in each of the five Ordinary sections.
It wasn’t until the 15th.
Century that the cyclic mass found itself as a major vehicle for compositio=
nal
expression.
There were three mass types: Sung Ordinary Mass, Requiem Mass and the Organ Mass
The Requiem Mass was a mass written for the =
Dead
The Sung Ordinary of the Mass is what we are
most familiar. It is cyclic in nature.
The Organ mass is unique as it is a polyphon=
ic
setting of the mass. However it is designed for the organ to play in altera=
tion
with the plainchant.
The Renaissance era was known as the
“Golden Age” for mass composition.
FIVE MASS FOR=
MS:
“Sung Ordinary”
I. = &nb= sp; Plainsong = Mass: This is a mass form which contains a cantus firmus a= nd chant.
II. =
Cantus
III. = Motto Mass= : This mass uses the same motive at the start of each of its movements.
IV. = Paraphrase= Mass: This mass contains a paraphrased or embellished cantus firmus from a chant melody, chanson or motet.
V. = Parody or Imitation Mass: This particular mass uses borrowed materials from the motet, chanson and madrigal genres.
IMPORTANT COM=
POSERS
OF THE EARLY RENAISSANCE ERA:
= I. = &nb= sp; Johannes Ockeghem (ca. 1420-1497)
&nbs= p; &= nbsp; &nbs= p; &= nbsp; i. &nb= sp; He composed a total of 13 Masses
&nbs= p; &= nbsp; &nbs= p; &= nbsp; ii. &n= bsp; He was accredited for using a true bass-line in his repertoire
&nbs= p; &= nbsp; &nbs= p; &= nbsp; iii. &= nbsp; His compositions used full homogenous sonorities throughout
&nbs= p; &= nbsp; &nbs= p; &= nbsp; iv. &n= bsp; His tenor Mass “De Plus en plue” was based on a Chanson by the famous French composer B= inchois
MUSICAL EXAMP= LE: “De Plus en plue” (Chanson) by Gilles Binchois
&nbs= p; &= nbsp; &nbs= p; &= nbsp; “Missa De Plus en plueR= 21; by Johannes Ockeghem
JOSQUIN DES P=
REZ
(1440-1521)
Ø
Born in Nothern =
Ø
He was a member of the Ducal Chapel Sforza
family in
Ø
Josquin spent so=
me
time at the Papal Chapel in
Ø In 1503, he was appointed to the position of Maestro di Cappella at the Court of Ferrora.
Ø
In 1521, Josquin=
died
in his native
ABOUT JOSQUIN=
’S
COMPOSITIONS:
Ø He composed in virtually every vocal genre of his time
Ø His music was printed in large volumes and in manuscripts
Ø He is accredited for composing 18 masses, 100 motets, 70 chanson plus a whole host of other vo= cal compositions including Frottola.
MUSICAL EXAMPLE: Hor Venduto<= /b> by Marchetto
&= nbsp; &nbs= p; &= nbsp; “El grillo” by Josquin
Ø It was a true sign of mastery to compose in = the mass idiom during Josquin’s time.
Ø Josquin’s = masses have been criticized as being safe and providing little opportunity for experimentation.
Ø It is believed that due to the many constrai= nts put upon mass composition, he opted for the more free motet genre instead.
Ø During the 16th. century, the motet was steadily gaining prominence as the more progressive genre of sacred composition.
Ø Very few of his compositions can be dated.
WHAT ABOUT HIS
MOTETS?
Josquin and his
contemporaries devoted a great deal of their compositional energies to the
development of the motet genre
Motets in general are basically prayer text =
set
to music (sacred form)
The Liturgical Motets still served as a func=
tion
within the musical liturgy of the Mass Proper
However they were limited to the role of the
“Offertory” texts of the liturgy
Motets were rarely connected with the
“Offices”
Josquin’s =
Ave
Maria demonstrates a new approach to motet composition
MUSICAL EXAMP=
LE: Ave
Maria by Josquin
= 1. Uses imitation however it is predominantly constructed using triadic sonorities = and carefully controlled dissonances
= 2. All of the voices basically sing the same musical ideas
= 3. Each voice on its most basic level is equal both melodically and rhythmically
WHAT ABOUT HIS MASSES?
Ø He composed 18 masses and 6 individual Mass movements
Ø His mass works used technical ingenuity
Ø Many of his mass works would incorporate a secular tune as its cantus firmus
Ø One of his most significant mass works is the “L’ home arme” which also incorporates a secular tune for the cantus firmus.
Ø This composition is technically complex.
Ø Other masses used tunes or were based on pre-existing tunes by other composers. These were known as “parody masses”
MUSICAL EXAMP= LE: “Missa Pange Lingua”
General Characteristics:
-syllabic, sectional, no major points of imitation
-no dissonance or controlled
-use of melissma
-The final cadence ends on the 5th. between voices
JOSQUIN AND H=
IS
TRAVELS:
Ø
Josquin was a we=
ll
traveled man and moved throughout a great deal of
Ø His travels provided him opportunity to exch= ange musical ideas and influence many other composers of his generation.
Ø It was through these musical exchanges that = the new “International Style” began to emerge.
Ø All of these styles would then be reflected = in his compositions.
OTHER MAJOR M= ASS COMPOSERS OF THE RENAISSANCE:
|
PERIOD |
NAME |
NO. OF MASSES |
TECHNIQUE |
|
EARLY |
John Dunstable ( Johannes Ockeghem (French/Flemish) |
20 masses 10 complete/ 3 incomplete masses |
Isoryhthm: tenor cantus = firmus Tenor cantus firmus; can= on |
|
MIDDLE |
John Tavener ( Cristobal de Morales ( |
8 masses and movements 23 Masses |
Cantus-firmus C.F., Paraphrase and Parody |
|
LATE |
Giovanni da Palestrina (=
Tomas Luis de Victoria ( |
104 Masses 20 Masses |
51 parody; 35 paraphrase; 7 tenor C.F.; 6 free; 5 ca= non 15 parody; 4 chant paraphrase; 1 mostly free |
THE MOTETS OF=
THE
RENAISSANCE:
Definition: In Western music, motet is = a word that is applied to a number of highly varied choral musical compositions. I= t is also defined as a choral piece in imitative style on a Latin text.
The name
“motet” was preserved in the transition from medieval to
Renaissance music, but the character of the composition was entirely change=
d.
While i=
t grew out
of the medieval isorhythmic motet, the Renaissa=
nce
composers of the motet generally <=
u>abandoned
the use of a repeated figure as a cantus firmus.
During the 15th century, there was a declin=
e in
the Medieval technique of isoryhthm.
Gradually a decline in the use of a cantus <=
span
class=3DSpellE>firmus would follow
These processes would eventually be replaced
with a more freely composed met=
hod of
composition which would be based on a single text.
The treble dominated style remained popular =
with
the Burgundian composers for some time but even=
they
would eventually abandon the older model.
There was an adoption of a new way to treat
dissonance which was based on a triad/ or use of triad=
iac
harmony.
By 1500, The motet
began to increase in physical size and musical importance.
MAJOR COMPOSE=
RS OF
THE MOTET:
|
Early |
Middle |
Late |
|
Jacob Obrecht (1458 R= 11; 1505) |
Des Prez |