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Music of the Renaissance
(1450-1600)
Renaissance means “Rebirth”
New scientific & geographical exploration
Copernicus Columbus Magellan
Power Shift
“The” Church (Catholic Church) loses some power to secular governments (Nobility of court system - Kings, Queens, etc.)
– Still important patron of the arts– Authority challenged
• Martin Luther (1483-1546)
HUMANISM
New intellectual movement Focused on human accomplishments Rediscovery of Greek and Roman
books and culture via the Middle East
Resulting Changes in Art
Artists make art that has to do everyday HUMAN feelings
Artists look back to Greek and Roman Art– Ancient Greek and Roman music had a
“RHETORICAL” quality• Meant to represent a feeling or idea
– Ancient Greek and Roman visual art was about mythological subjects or real people of nobility; these people were represented in a life-like manner with an emphasis on sensuality of HUMAN body
How did Renaissance composers write more rhetorical music? More “life-like” text rhythms Word Painting
1. Literal or mimetic correspondencesexample: “alone”
2. Figurative or symbolic depiction (punning & double meanings)example: “high on the mountaintop”
3. Emotional connotationsexample: (chromaticism) on “pain and sorrow”
Word Painting
Musical representation of specific images - for example, a falling melodic line ot accompany the word descending - often found in Renaissance and Baroque music
THOMAS WEELKES (c. 1575-1623) As Vesta Was from Latmos Hill Descending
madrigal genre a cappella vocal composition text is a sonnet (Renaissance poem) in
the vernacular (English) sung 1 on a part in intimate setting includes both imitative polyphony and
homophony lots of examples of text painting
Madrigal
Composition for several voices set to a short secular poem, usually about love, combining homophonic and polyphonic textures and often using word painting; common in Renaissance music
A cappella (literally means“of the church” in Latin, but can refer to both sacred and secular music)
Choral music without instrumental accompaniment
As Vesta was from Latmos hill descendingShe spied a maiden Queen the same ascending,Attended on by all the shepherds’swain;To whom Diana’s darlings came
running down amainFirst two by two, then three by three togetherLeaving their Goddess all alone, hasted thither;And mingling with the shepherds of her train,With mirthful tunes her presence did entertain.Then sang the shepherds and nymphs of Diana:Long live fair Oriana!
JOHN WARD
(English Renaissance Madrigalist)
Upon a bank with roses set about
Upon a bank with roses set about,Where pretty turtles joining bill to billAnd gentle springs steal softly murmuring out,Washing the foot of pleasure’s sacred hill, There little Love sore wounded lies,His bow and arrows broken,Bedewed with tears from Venus’s eyesO grevious to be spoken.
JOHN FARMER
(English Renaissance Madrigalist)
Fair Phyllis
Fair Phyllis I saw sitting all aloneFeeding her flock near
to the mountain side.The shepherds knew not
wither she had gone,But after [her], her lover Amyntas hie’d.Up and down he wandered
while she was missing;When he found her,
oh, then they fell a-kissing.
JOSQUIN DESPREZ (c. 1440-1521)
Two types of SACRED Renaissance music GENRES
–MASS
–MOTET SACRED Renaissance music DOES
NOT use Text Painting– Emphasis is on musical structure and
religious “otherworldly” musical qualities
Motet
Polyphonic choral work set to a sacred Latin text other than that of the mass; one of the two main forms of sacred Renaissance music
Rhythm "speech-like" and gently flowing rhythms
Melody longer melodies with larger rangers (more higher and lower notes);smooth, more scalar melodies(pitch movement by step) with arch-likeshapes
Form lots of imitation of tiny bits of melody
Dynamics mostly at one level, changes are made in the volume by adding togethermore voices
Texture mostly polyphonic (some homophony, more imitative polyphony )
Harmony very consonant (secular music uses dissonance for text painting)
Timbre almost all vocal music; use of full mixed (men and women/children)choirs or small groups (1 on a part) ; a cappella
Musical Rhetoric
•Refers to the emotive (causing a listener to feel a specific way) or persuasive (causing the listener to "see" a scene or "hear" a story) power of music
•An example of musical rhetoric is the way a composer tries to "paint" a picture of a scene, story, or idea in the listener's mind of a written text, which is either sung or given to the listener in the form of a program.
FRANZ SCHUBERT - Erlköing (The Elfking)
Lied (leet) / Lieder (leader)– An art song with a German text
ANTONIO VIVALDI - First Movement: Allegro from La Primavera [Spring], Concerto for Violin and String Orchestra, Op. 8, No. 1 from The Four Seasons
Spring has come, and joyfully,The birds greet it with a happy song.And the streams, fanned by gentle
breezes,Flow along with a sweet murmur.Covering the sky with a black cloak,Thunder and lightning come to
announce the season.When these have quieted down, the
little birds Return to their enchanting song.
Leonardo da Vinci (1452-1519)
Painter, sculptor, architect, engineer, & scientist
A “Renaissance” Man– Emphasis on
education
Mona Lisa– Real person
Botticelli (1445-1510)
The Birth of Venus (1485)– Mythological deity– Emphasis on reality &
sensuality of human body
La Primavera (1477-78)– Mix of real people &
mythological characters
– Depiction of everyday HUMAN emotions
Michelangelo (1475-1564) David (1504)
– Biblical character– Real person– Emphasis on reality
& sensuality of human body
Raphael (1483-1520) Aristotle and Plato
(1511)– Greek and Roman
influence– Real persons
The School of Athens (1511)– Greek and Roman
influence– Emphasis on reality
with use of perspective
William Shakespeare (1564-1616)
Playwright who writes about real and mythological persons– Example: Romeo &
Juliet• Focuses on
everyday HUMAN feelings