The Renaissance

Music

Renaissance Music by 1425

Mensural (Measured) Notation had reached the point of using dots, flags, white and colored notes

Consonance vs. Dissonance

Consonance: What sounds good Dissonance: What sounds bad 3rds and 6ths added to the list of

consonant sounds (Perfect 4th, 5th, 8ve)

Renaissance MusicJohannes Tinctoris Renaissance Music Theorist and Composer

Pythagoras-Antiquity Boethius-Medieval

Believed in what sounded good to the ear “[T]he pleasure of the ear is derived…then, not

by heavenly bodies, but by earthly instruments with the cooperation of nature.”-1477 Book on the Art of Counterpoint

Renaissance MusicJohannes Tinctoris

Tinctoris wrote that the musical Renaissance began in England and moved to France

COMPOSERS INCLUDE:John Dunstable (1390-1453)-English used

interval of thirds—TriadsGuillaume du Fay (1400-1474)-Belgium-ItalyJohannes Ockegham (1420-1496)-France

(among others)

Renaissance Music Texture-homogeneous texture (same part, different

time, forms vertical structure)-polyphonic—employs uses of pervading imitation

Rhythm-Flowing, less strong downbeats (specifically vocal)—tactus (steady pulse) governs work

Melody-usually newly composed-lyrical Harmony-3rds, 6ths added to 4ths, 5ths, 8ves Compositional Buzz Words-cantus firmus, motet,

chanson, frotolla, cyclic Mass

Renaissance MusicJohn Dunstable English Composer given credit for being

among the first to use new harmoniesQulam pulchra es (“How Fair You Are”) c.1430Motet (polyphonic religious work)Uses consonant sounds, moving chordally,

hymn-like (strophic)Very few dissonant sounds used

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Renaissance MusicGuillaume du Fay

Born in what is now Belgium, moved to Italy for most of career (spent time in France) p.106-107

Last well-known composer to write plainchant, upon commission in 1457 (found in 1988)

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Renaissance MusicGuillaume Du FayNuper rosarum flores (“The Rose Blossoms”)MotetWritten for the consecration of the dome of the

cathedral in Florence March 25, 1436Sounds very similar (rhythmically) as middle ages,

harmonically (chordally) much differentUses cantus firmus-fixed melody (chant or melodic

line that music is written around)All parts singing the same thing, one moving faster

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The Florence Cathedral Domedesigned by Filippo Brunelleschi

Smaller inner shell helps support the outer shell

Renaissance MusicJousquin des Prez Born in Belgium/France c1450-1521 and spent

most of life in either Italy or France p.108-9 Ave Maria…virgo serena (Hail the Serene Virgin

Mary) c. 1470-80 (page 108, 110, 111) Published in Petrucci’s First Book of Motets Uses not only normal Renaissance harmonies (triads-

3rds, 4ths, 5ths, 6ths, 8ves) but… Pervading imitation…series of musical ideas

presented imitatively (echo)—replaces isorhythm The point that a new idea is presented is the “point of

imitation”

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Renaissance MusicCyclic Mass OLD

Liturgically Appropriate No Unifying musical

concept throughout Monophonic, Polyphonic Only later instrumentally

accompanied

NEW Focus placed on musical

continuity Based on single Cantus

Firmus (presented throughout)—May or may not be chant related

Polyphonic Usually accompanied

(organ, other instruments)

Renaissance MusicGuillaume Du Fay Cyclic Mass Missa Se la face ay pale (“Mass: If My

Face Is Pale”)-p.117 First to be based on secular tune

(composed by Du Fay) Tenor no longer lowest voice—allowed

more harmonies (still fairly consonant)

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Renaissance MusicCantus Firmus Generally applied in one of three ways:

1. Strict Technique: Cantus Firmus remains constantly in one voice (usually tenor)

2. Ostinato Technique: Cantus Firmus repeats constantly, always appearing in at least one voice

3. Free Technique: Cantus Firmus migrates from voice to voice or may drop out completely

May be canonic: in the form of a canon…strict imitation (parody) of original theme or altered (augmentation, inversion, retrograde, retrograde inversion)

Renaissance MusicThe Motet

Religious Polyphonic Work—Prayer set to music

Three types:1) Liturgical—written within the liturgy of the Mass

Proper (usually Offertory texts)2) Devotional—Non-liturgical services or gatherings

(including confraternities and Memorial Services)—(Usually non-liturgical poetry)

3) Occasional—Commissioned for special circumstances (Usually non-liturgical poetry or prose)

Renaissance MusicWord-Painting The use of Musical Elements to imitate

the meaning of a specific passage of text

Renaissance Music Word-Painting Example Musical Example: Absalon, fili mi (“Absalom, My

Son”) Josquin (possibly Pierre de la Rue) In the Bible, a son of David who staged a revolt against his

father's kingship and was defeated and killed in the ensuing battle.

His body was then taken down and cast into a pit dug in the forest, and a heap of stones was raised over his grave. When the tidings of the result of that battle were brought to David, as he sat impatiently at the gate of Mahanaim, and he was told that Absalom had been slain, he gave way to the bitter lamentation: "O my son Absalom, my son, my son Absalom! would God I had died for thee, O Absalom, my son, my son!" (2 Sam. 18:33. Comp. Ex. 32:32; Rom.9:3).

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Renaissance Music Word-Painting Example

Motet Written in lament of a lost son. Exact loss

unknown (p.126-127) Uses Word-Painting to symbolize the Depths of

Hell

Another example would be an ascending line while text is saying ascending in to heaven or climbing a mountain.

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The Renaissance

Secular Music

Secular (vocal) Music of The Renaissance Most music was still memorized,

improvised or embellished from what we have—Fewer works are available than sacred for this reason.

Renaissance MusicThe Chanson (French: song) Secular Polyphonic Work—Poem or Prose set to

Music (Secular Version of the Motet) Instruments often replaced text (served same

melodic purpose) Progressed much like the motet—from several

non-related lines to a unifying theme and mood prevailing throughout AND more rhythmic denotations

Chanson ExamplesDu Fay Adieu ces bons vins de Lannoys

(“Farewell These Good Wines of Lannoys”)

Ca 1425-1450 Three melodic lines (superius, tenor and

contratenor) only superius is vocal—can be vocal or instrumental.

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Chanson ExamplesHayne van Ghizeghem

De tous biens plaine (“Of All Good Things”) Ca 1470 Three melodic lines (superius, tenor and

contratenor) again, vocal or instrumental. More fluid melodic line Very popular—several arrangements survive

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Chanson ExamplesHeinrich Isaac Helas, que devera mon coeur (“Alas, that my heart will

devour?”) p.130 Ca late 1480’s Pervading Imitation Paratactic structure-successive points of imitation

present new material—all voices are equal Three-Voiced Rondeau (each strophe consists of eight

lines of text set to music following the rhyme scheme ABaAabAB—Uppercase letters show Refrain that remains constant strophe to strophe)

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Renaissance MusicFrottola

Italian version of the Chanson Lighthearted and sarcastic rather than the courtly love

themes in chansons Characterized by dance-like rhythms with syncopation

(hemiola) Highly published by Petrucci Most for solo voice, lute or keyboard Spread throughout Europe—did not remain just in Italy Occasionally written in antiphonal style (moving back

and forth)

Frottola Musical ExamplesMarchetto Cara (c. 1470-1525) From Mantua, Italy Hor venduto ho la speranza (“I have just

sold hope”) Published in 1504 in Petrucci’s first book

of frottolle (plural)

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Frottola Musical ExamplesJosquin des Prez El grillo (“The Cricket”) Antiphonal Only partially imitative

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The Parisian ChansonClaudin de Sermisy

Parisian Chanson, influenced by Frottola—Lighter text. (Based in France)

Still Polyphonic, and homorhythmic (moving together).

Tant que vivray (“As Long As I Live”)-1528 Parisian Chanson began to become more

complicated, some using onomatopoeic techniques (words that describe sounds “crash, kaplooie, bang….’Batman’”)—Described subjects such at War, Birds, Cries, Gossip

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The Italian Madrigal

Developed in Italy Similar to Frottola, Differences:

More rhythmic variation (contrapuntal) More “daring” harmonies (use of dissonance) Through-composed—Each line of text set to new

music (allowed for word-painting)

This is different than the madrigal encountered in the Middle Ages

The Italian MadrigalMusic Examples-p.145

Jacob Arcadelt Il bianco e dolce cigno (“The White and Gentle

Swan”)-1539 Early Italian Madrigal

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The Italian MadrigalMusical Examples Madalena Casulana (p.148-149) Morir non puo il mio cuore (“My Heart

Cannot Die”)-1566—p.147 Among earliest published female

composers

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The Italian Madrigal Musical Examples Matona mia cara (“My Dear Lady”)-1581 Orlando de Lassus (p.171) Considered an anti-madrigal from its light-

hearted parody on the madrigal style Difficult to translate to English as it is

intentionally written as a German soldier speaking broken Italian

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Review of Secular Vocal Music of the Renaissance Call and Answer of musical genres (more

of variations on innovations):France: Chanson (1450-1500) Italy: Frottola (1480s)France: Parisian Chanson (1520s) Italy: Madrigal (1530s)

Renaissance Music-Germany

Lied (“Song”) and Tenorlied (“Tenor Song”)-Musical selection prominent in Germany

Meistersingers (“Master Singers”)-Group of singers, sophisticated

Most famous, Hans Sachs

Renaissance Music-Germany

Musical example:Henrich Isaac Innsbruck, ich muss dich lassen (“Innsbruck, I

Must Leave You”)

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Renaissance Music-Spain

Villancico-Musical form of the Renaissance Similar to Italian Frottola Al amor quiero vencer (“I Want to Conquer

Love”) Solo voice with vihuela (guitar-like)

accompaniment Specific directions for embellishment (do or

don’t or do what I say)

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Renaissance Music-England

Italian Madrigal form moved to England…English Madrigal

Thomas Morley (1557-1602) Now is the Month of Maying (“Now is the Month

of Maying”)-1597 Renaissance Ballata (Ballet), Fa-La Lighter side (English Madrigals included light

and more serious)

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Renaissance Music-England

John Dowland (1563-1626) Known for Lute Song (strophic, notated for

lute and 1+ voices) Come, Heavy Sleep Serious side of English Renaissance

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Again, To Review:

France: Chanson (1450-1500) Italy: Frottola (1480s) France: Parisian Chanson (1520s) Italy: Madrigal (1530s)In their own right: Germany: Lied and Tenorlied (1500s) Spain: Villancico (Late 1400s) England: English Madrigal—Renaissance Ballet (Fa-

La) and Lute Song

The Renaissance

Sacred Music

Renaissance Music: State of the Art Up until the beginning of the Reformation,

there was one church, one (religious) language and one liturgy

More churches (sects) began to form, regional vernacular slipped in and the liturgy was altered.

Music of the Reformation

Martin Luther, in addition to German Monk—Lutenist, flutist, singer and composer (admired works by Josquin des Prez)

Some Protestant composers still used parts of the traditional Roman Liturgy (i.e. Introits, Graduals)

Latin still used (some), vernacular used frequently

Communal Music important-CHORALES-German term for hymn (strophe)

Music of the Reformation

All Protestants did not embrace music like Luther

Jean Calvin-Calvinists (later Presbyterian) only allowed unaccompanied unison singing of the Psalms (NO OTHER MUSIC)

Ulrich Zwingli-NO MUSIC Luther comments: “I am not satisfied with

him who despises music, as all fanatics do,…Music is a gift of God, not a gift of Men.”

The Chorale:

Meant to be sung by a congregation Began to be combined for “special” music

with form of tenorlied (polyphonic work set around tenor melody)

Musical Examples

Ein feste Burg ist unser Gott (“A Mighty Fortress is Our God”)-1551

Johann Walter (Protestant Composer) Set using text that Martin Luther adapted

for his own hymn (that he composed) by the same name

Elaborated chorale

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Musical Examples

Verily, Verily I Say Unto You Thomas Tallis (1505-1585) (Protestant

Composer) Uses word-painting “I will raise Him up” Anthem-meant to be sung by choir

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Musical Examples♫3:7

Sing Joyfully Unto God William Byrd (1542-1623)-(Catholic

Composer) Anthem 6 voices

Music of the Counter-Reformation

Refer to earlier notes regarding Council of Trent’s Stand on the place of music

In addition: secular music was discouraged as a model for sacred compositions (motet)

Pierluigi da Palestrina

Missa Papae Marcelli (“Mass for Pope Marcellus”)-1567

Polyphonic work—Accepted by the Catholic church, as the TEXT does not get lost from moving parts

Palestrina considered poster-child for Catholic compositions

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The Renaissance

Instrumental and Dance Music

Instrumental Music

See Instrument Presentation