MUH 3211 - Music History I The Renaissance: Prelude 11/13/2018 Part II The Renaissance: Prelude DAY 13 (4 Oct 17)

The Renaissance “Rebirth” of ideas from Classical Antiquity c. 1420 – 1600 (roughly for music) Fall of Constantinople to Turks (1453) - Scholars of Greek flee west to…. Italy – Center of Western revival - rising population, resources, city-states - e.g., Cosimo de’ Medici (Florence) “Low Countries” – major source of patronage HRE – expands powers & influences Spain – expulsion of Muslims; Empire

Humanism Based in pre-Christian thought Dignity of humanity and human values Allows religion, but challenges faith w/ reason Importance of empirical evidence (science) - e.g., Lorenzo Valla, De falso credita…. - D. Erasmus – skepticism Protestant Reformation (Luther, 1517) - challenges to Christian belief - Counter-Reformation

Pietro Perugino (1446/52-1523), Delivery of the Keys (1480-81, Sistine Chapel)

Painting and Sculpture MUH 3211 - Music History I 11/13/2018 Painting and Sculpture Realism (vs. Medieval) Use of linear perspective Individual character of model Human figure (nude) Donatello, David (1430) commissioned by Cosimo de’ Medici DAY 13 (4 Oct 17)

Music Increase in Secular music and musicians - reflects rising power of courts as patrons - cappella (musicians supported by patron) Mobility of musicians - Low countries to Italy, elsewhere - contracts of limited duration Church as major patron Printing Press increases distribution (post 1501) New approach to sound: "Quam Pulchra Es“ Anthology I/31

Martin le Franc Le Champion des Dames (1440-42) Tapissier, Carmen, Cesaris Not long ago sang so well that they astonished all Paris and all who came to hear them. But never did they discant such finely wrought melody— so I was told by those who heard them— as G. Du Fay and Binchois. For they have a new practice of making lively consonance in both loud and soft music, in feigning, in rests, and in mutations. They took on the guise of the English and follow Dunstable and thereby a marvelous pleasingness makes their music joyous and remarkable.

“The English Sound” John Dunstable (c. 1390-1453) - in service to Duke of Bedford Hundred Years’ War (1337-1453) Contact w/ Burgundian musicians, e.g., Du Fay, Binchois, et al. Preference to: - thirds (consonant interval!) - triadic sonorities (chords!) - melody in top voice Faburden: Du Fay “Conditor...” Anthology I/32 G. Binchois: “De plus en plus” (Chanson)

Guillaume Du Fay (c. 1397-1474) Born in “Low Countries” (Franco-Flemish) Worked in: Cambrai, Rimini/Pesaro (Italy), Cambrai, Bologna (Italy), Rome (Papal Choir!), Savoy, for Pope (Florence/Bologna), Cambrai, etc. Sacred and Secular compositions (as jobs require) Masses (settings of Ordinary) and Motets - cantus firmus technique Chansons The leading composer of 15th century

Cattedrale di Santa Maria del Fiore (Florence, 1296-1436)