The Enjoyment of Music 10 th Shorter Edition

The Enjoyment of Music 10 th Shorter Edition The Enjoyment of Music 10 th, Shorter Edition

Unit IV The Renaissance The Enjoyment of Music 10 th, Shorter Edition

14. The Renaissance Spirit The Renaissance (c. 1450– 1600) “I am not pleased with the Courtier if he be not also a musician, and besides his understanding and cunning [in singing] upon the book, have skill in like manner on sundry instruments. ” —Baldassare Castiglione The Enjoyment of Music 10 th, Shorter Edition

The Arts in the Renaissance • Shift from religious to secular • Italy The Enjoyment of Music 10 th, Shorter Edition

Musicians in Renaissance Society • Churches, cities, and courts • Trades of instrument building, printing, and music publishing • Merchant-class music patrons • Amateur musicians The Enjoyment of Music 10 th, Shorter Edition

Renaissance Musical Style • A cappella singing • Polyphony based on Continuous imitation Marenzio: “La bella ninfa mia” • a cappella • continuous imitation The Enjoyment of Music 10 th, Shorter Edition

Renaissance Musical Style Weelkes: “Welcome Sweet Pleasure” Couperin: “Les barricades misterieuses” (Baroque) • Word painting • Cantus firmus The Enjoyment of Music 10 th, Shorter Edition

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15. Renaissance Sacred Music “We know by experience that song has great force and vigor to move and inflame the hearts of men to invoke and praise God with a more vehement and ardent zeal. ” —John Calvin The Enjoyment of Music 10 th, Shorter Edition

The Early Renaissance Mass • Mass Ordinary – Kyrie, Gloria, Credo, Sanctus, Agnus Dei • Latin vs. vernacular • Early Masses based on Gregorian chant cantus firmus • Requiem: – “Requiem aeternam dona eis, Domine” – “Dies irae” Palestrina: Missa in Festis Apostolorum I, Agnus Dei The Enjoyment of Music 10 th, Shorter Edition

The Motet in the Renaissance • • Single Latin text Marian motets (Virgin Mary) Written for 3, 4, or more voices Cantus firmus Josquin: Ave Maria…virgo serena The Enjoyment of Music 10 th, Shorter Edition

(c. 1450– 1521) Josquin des Prez and the Motet “He is the master of the notes. They have to do as he bids them; other composers have to do as the notes will. ” —Martin Luther • Called Josquin • Franco-Flemish origin • Italian career The Enjoyment of Music 10 th, Shorter Edition

(c. 1450– 1521) Josquin des Prez and the Motet • Patrons – Milan, Cardinal Ascanio Sforza – Ferrara, Ercole d’Este – Rome, papal choir • Humanistic writing • Sacred and secular music The Enjoyment of Music 10 th, Shorter Edition

Josquin: Ave Maria. . . virgo serena (Listening Guide) • • • Renaissance motet Combinations of voices and textures Quotation of chant Rest of work is newly composed Imitative vs. homorhythmic sections Final couplet: simple texture, example of humanistic spirit Listening Guide PDF The Enjoyment of Music 10 th, Shorter Edition

Josquin: Ave Maria. . . virgo serena (Listening Guide) Opening • Renaissance motet • 4 voices (SATB) • Continuous imitation • Chant quotation • Duple meter The Enjoyment of Music 10 th, Shorter Edition

Josquin: Ave Maria. . . virgo serena (Listening Guide) • Combinations of voices and textures • After opening quotation of chant rest of work is newly composed • Imitative vs. homorhythmic sections • Final couplet: simple texture, example of humanistic spirit The Enjoyment of Music 10 th, Shorter Edition

The Late Renaissance Mass • Martin Luther (1483– 1546): Reformation • Counter-Reformation (1530 s– 1590 s) • 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 • Pure vocal style that respected the integrity of the sacred texts The Enjoyment of Music 10 th, Shorter Edition

Palestrina and the Pope Marcellus Mass • Giovanni Pierluigi da Palestrina – (c. 1525– 1594) – Called Palestrina • Italian composer, organist, and choirmaster • Sistine Chapel Choir – Pope Julius III • Wrote mostly sacred music “Our wisest mortals have decided that music should give zest to divine worship. If people take great pains to compose beautiful music for profane [secular] songs, they should devote at least as much thought to sacred song, nay, even more than to mere worldly matters. ” - Palestrina The Enjoyment of Music 10 th, Shorter Edition

Palestrina: Pope Marcellus Mass, Gloria (Listening Guide) • Satisfies the new strict demands of the Council of Trent • Probably performed a capella • Written for six voice parts – Soprano (sung by boys or male falsettists) – Alto (sung by male altos or countertenors –tenors with high voices) – Tenor II – Bass II • Opens with a monophonic intonation • Choral sections are polyphonic • Text is clear and audible Listening Guide PDF The Enjoyment of Music 10 th, Shorter Edition

Palestrina: Pope Marcellus Mass, Gloria (Listening Guide) The Enjoyment of Music 10 th, Shorter Edition

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16. Renaissance Secular Music in Court and City Life • Professional musicians: courts and civic functions • Merchant-class amateurs: played and sang at home • Lute, keyboard instrument • Women and music • Chanson and madrigal The Enjoyment of Music 10 th, Shorter Edition “Come sing to me a bawdy song, make me merry. ” —Falstaff, in William Shakespeare’s Henry IV

The Chanson • • • Burgundy and France in the 15 th century 3 or 4 voices Courtly love verses Freer poetic structures Roland de Lassus: “O vin en vigne” The Enjoyment of Music 10 th, Shorter Edition

Instrumental Dance Music • Period of growth • Published music • Played vocal music The Enjoyment of Music 10 th, Shorter Edition

Popular dance types • Pavane • Saltarello • Galliard • Allemande Praetorius: Terpsichore, “Courante” • Ronde Praetorius: Terpsichore, “Volte” The Enjoyment of Music 10 th, Shorter Edition

Susato: Three Dances (Listening Guide) Listening Guide PDF • Set of three rondes from the 1551 Danserye collection – Instrumental dances published by Tielman Susato (c. 1515–c. 1571) • Performed by a loud wind band – Loud instruments included: shawm, sackbut, cornetto, tabor, tambourine • Binary form (A-A-B-B) – Repeated sections with added improvised embellishments The Enjoyment of Music 10 th, Shorter Edition

The Italian Madrigal “By shallow rivers to whose falls melodious birds sing madrigals” - Christopher Marlow • Chief form of Renaissance secular music • Italian courts • Text: short poem of lyric or reflective nature – Includes “loaded” words The Enjoyment of Music 10 th, Shorter Edition

The Italian Madrigal • Music: sets text expressively • Instruments double or substitute for the voices • Three phases of the madrigal – First phase (c. 1525– 1550) – Second phase (c. 1550– 1580) – Third phase (c. 1580– 1620) Marenzio: “La bella ninfa mia” The Enjoyment of Music 10 th, Shorter Edition

Monteverdi: Ecco mormorar l'onde (Listening Guide) Listening Guide PDF • • Courtly poem by Torquato Tasso Exaggerated contrasts of delight and despair – Expressed musically with word painting • • • Images include waves, rustling leaves, birds' song, etc. Five-voice texture Style inspired by the famous ensemble of professional women singers – Concerto delle donne (Ensemble of the Ladies) – Contrast between high and low voices foreshadows Baroque techniques The Enjoyment of Music 10 th, Shorter Edition

The English Madrigal • English further developed the Italian madrigal – Musica transalpina, 1588 • Simpler and lighter in style • Refrain syllables (“fa-la-la”) Weelkes: “Welcome Sweet Pleasure” “Since singing is so good a thing, I wish that all men would learne to sing” - William Byrd Morley: “Those Dainty Daffadillies’ The Enjoyment of Music 10 th, Shorter Edition

John Farmer (c. 1570– 1601) • Active in 1590 s in Dublin • Organist and master of choirboys at Christ Church The Enjoyment of Music 10 th, Shorter Edition

Farmer: Fair Phyllis (Listening Guide) Listening Guide PDF The Enjoyment of Music 10 th, Shorter Edition

Transition I: From Renaissance to Baroque • Polychoral Music in Venice – – – Relationship to the East St. Mark’s Basilica Choirmasters and organists • Byzantine architecture – – Polychoral music Antiphonal performance Gabrieli: “Hodie Christus natus est” The Enjoyment of Music 10 th, Shorter Edition

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