6 b High Renaissance

7/31/2019 6 b High Renaissance

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Chapter 6

The Renaissance

The High

Renaissance Style


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Compare and Contrast

Miserere mei, Deus Gregorio Allegri(1630s)

-forbidden to be transcribed

-punishable by excommunication

-Mozart (14 yrd old) transcribed after

hearing, was summoned by Pope toRome, praised not condemned

Sicut Cervus Palestrina (1584)


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Key Terms

High Renaissance

Imitative counterpoint

Homophony

a cappella

Point of imitation

Mass


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The Mass

Longest, most important worship serviceof the Catholic church

In Middle Ages, Mass sung in plainchant

Invention of organum added somepolyphonic music to Mass

Renaissance composers added even morepolyphonic music

Favored sung portions of Ordinary(unchanging texts)

They also sought to unify Mass musically


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Liturgy of the Word

Introit Proper, sung

Kyrie Ordinary, sung

Gloria Ordinary, sung

Collect Proper, recited

Epistle Proper, recited

Gradual Proper, sung

Alleluia or Tract

Proper, sung

Sequence

Proper, sung

Gospel

Proper, recited

Homily

Spoken

Credo

Ordinary, sung


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Liturgy of the Eucharist

Offertory Proper, sung

Secret Proper, recited

Preface Proper, recited

Sanctus Ordinary, sung

Canon Ordinary, recited

Pater noster Ordinary, recited

Agnus Dei

Ordinary, sung

Communion

Proper, sung

PostcommunionPrayer

Proper, recited

Ite, missa est

Ordinary, recited

Response

Ordinary, recited


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High Renaissance Style

Imitation

Type of polyphonictexture

Voices enter oneafter another

Each voice genuinelymelodic

Same motive andwords for each voice(but on differentpitches)

Voices take turnsvying for attention

Creates beautifulbalance betweenparts


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Homophony

A simpler texture that reflects influence ofsecular music

Top voice dominates

Lower voices follow rhythm of top voice,supporting melody with rich chords

Creates block chord feelProvides effective contrast to imitation


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Tone colora cappellasound

Scale, key & modemedieval modes

Pitch & melodymedium register, smooth

motion, ups and downs carefully balancedHarmonyconsonant chords withoccasional, mild dissonance

Texturealternation between imitation and

homophonyRhythmfluid; metric, but without strongaccents


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Josquin, Pange linguaMass

Unified Masseach movementbased on same plainsong hymn,Pange lingua

Recurring use of familiar,beloved hymn tune turned Massinto profound artistic experience

Used the five standardmovements for Renaissance

Mass Kyrie, Gloria, Credo, Sanctus, Agnus

Dei


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Kyrie IThis section is a point of imitationa shortpassage of imitative polyphony based on a singlemotive

The Kyrie I motive is a paraphrase of the chanthymns first phrase


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Kyrie I

Voices enter one by one

Tenor, bass soprano, alto bass, tenor,

soprano

Final soprano entrance paraphrasessecond phrase of chant hymn

Crescendo of activity approachingcadence


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Christe

Two successive points of imitation

First one based on phrase 3 of the plainchant

hymn

Kyrie II

Begins with point of imitation

Ends with free materialsdescendingsequence, powerful oscillating passage,and extended final cadence


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From the Gloria

Alternates between imitation andhomophony

Eight points of imitation

Four homophonic sections

Josquin mostly uses imitation, reserves

homophony for emphasisMusic offers urgent, almost dramatic pleafor mercy (miserere nobis)


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Pange linguaMass, Gloria

Qui tollis peccata mundi,

MISERERE NOBIS.

Qui tollis peccata mundi,

SUSCIPEDEPRECATIONEMNOSTRAM.

Qui sedes ad dexteram

Patris,miserere nobis.

You who take away the sinsof the world,

Have mercy upon us

You who take away the sins

of the world,Hear our prayer.

You who sit at the right

hand of the Father,Have mercy upon us.


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Pange linguaMass, Gloria

Quoniam tu solus sanctus,tu solus Dominus,

TU SOLUS ALTISSIMUS,JESU CHRISTE,

Cum sancto spiritu, ingloria Dei Patris.

AMEN.

(Capital letters indicatephrases sung in

homophony.)

For you alone are holy, youalone are the Lord,

You alone are the mosthigh, Jesus Christ,

With the Holy Spirit, in theglory of God the Father.

Amen.


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More Sacred Vocal Music

Composers began writing challengingmotets in English

Thus, the Anthem is born

Two types: Full and Verse

Full: chorus throughout

Verse: alternating choral passages withsolos or instrumental accomp.


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The Anthem

Thomas Tallis (If Ye Love Me and

Verily, verily I Say Unto You)

William Byrd (Sing Joyfully and Ave

Verum Corpus)

Palestrina (Sicut Cervus and Missa

Papae Marcelli)

Some of the finest choral works of theRenaissance

Documents

6 b High Renaissance