1. The Renaissance (1450-1600) “Rebirth” of human creativity
Famous people
Christopher Columbus (1492)
Ferdinand Magellan ( )
Leonardo da Vinci ( )
dominant intellectual movement – humanism
focus on human life and accomplishments
study of Greek and Latin
impact on art

2. The Renaissance (1450-1600) Education
Catholic church far less powerful
Protestant Reformation – Martin Luther ( )
church did not monopolize learning
education viewed as status symbol
paid tutors for upper middle class and aristocracy
ca – invention of printing with moveable type

3. Music and Renaissance Society
Greater circulation of music
printing press
larger number of composers and performers
Musical training expected in education
Growth of church choirs
church remains an important patron of music
Shift to musical activities in royal courts
Composers seek recognition

4. Characteristics of Renaissance Music
Predominance of vocal music
interest in lyrics
use of word painting
Chiefly polyphonic in texture
usually 4-6 vocal parts of equal interest
homophonic texture also used
fuller / larger pitch range used
more attention to harmonic effect
“golden age” of a cappella choral music
Gentle flowing rhythms / scalar melodic patterns

5. Sacred Music in the Renaissance
Renaissance motet
polyphonic choral work set to sacred Latin text other than the mass ordinary
Josquin Desprez ( , Flemish)
Background
born in Hainaut (modern Belgium)
worked most of his life in Italy
court composer
Papal choir in Rome
worked for Louis XII of France

6. Sacred Music in the Renaissance
Listening example
Ave Maria … virgo serena (1502) – Josquin Desprez
4-voice motet
Latin prayer to the Virgin Mary
points of imitation
polyphonic with texture changes
word painting – “new joy” w/ rhythmic animation
Renaissance mass
polyphonic choral setting of the mass ordinary
Kyrie, Gloria, Credo, Sanctus, Agnus Dei

7. Sacred Music in the Renaissance
Giovanni Pierluigi da Palestrina (ca , Italy)
Background
devoted himself to Catholic church music
career centered in Rome / held many important music positions
became music director at St. Peter’s cathedral
wrote 104 masses / 450+ other sacred works
important figure in the Counter-Reformation, including the Council of Trent ( )

8. Sacred Music in the Renaissance
Pope Marcellus Mass ( ) - Palestrina
reflects Council of Trent’s desire for clear text projection, even as a polyphonic piece
dedicated to Pope Marcellus II
written for 6 voices (sop., alto, 2 ten., 2 bass)
Kyrie
constant imitation
fuller sound due to more parts
continuous flowing rhythm / sustained chords at cadences

9. Secular Music in the Renaissance
Vocal Music
increasingly popular / important leisure activity
written for groups of soloists or solo voice with one or more accompanying instruments
two types
madrigal
ballett (fa-la)

10. Secular Music in the Renaissance
Madrigal characteristics
a piece for several solo voices set to a short poem - usually about love
combines polyphonic and homophonic textures
strong use of word painting and unusual harmonies
History of the Madrigal
originated in Italy ca. 1520
explosion of Italian poetry / thousands of madrigals
collection of Italian madrigals published in England

11. Secular Music in the Renaissance
As Vesta Was Descending (1601)
Thomas Weelkes (ca ) - English organist and church composer
in The Triumphes of Oriana - collection of madrigals honoring Queen Elizabeth I (several composers)
word painting - “descending”, “ascending”, “two by two”, etc.

12. Secular Music in the Renaissance
Ballett (Fa-La)
dance-like song for several solo voices
mostly homophonic with melody in top voice
same music for each stanza of poem / refrain of “fa, la, la …”
Now Is the Month of Maying (1595)
Thomas Morley ( ) - English composer
binary form: aa bb

13. Secular Music in the Renaissance
Instrumental Music
accompanied voices or played music intended to be sung
harpsichord, organ, lute
music written for instruments more common
mostly to accompany dancing
performed in pairs (i.e. pavane and galliard)
use of loud vs. soft instruments
families of instruments played together
numbers of players depend on circumstances

14. Secular Music in the Renaissance
Ricercar in the Twelfth Mode
Andrea Gabrieli (ca )
organist at St. Mark’s Cathedral in Venice ( )
written for 4 instruments (SATB)
polyphonic composition employing imitation
form: A B CC A
The Most Sacred Queene Elizabeth, Her Galliard
John Dowland ( ) - lutenist and composer
written for lute
lively court dance in triple meter / after pavane
binary form: A A’ B B’

15. The Venitian School
16th century - Venice becomes center of vocal and instrumental music
focal point - St. Mark’s Cathedral
employed 20 instrumentalists / 30 singers
Venitian School - organists/ music directors at St. Mark’s
Adrian Willaert
Andrea Gabrieli
Giovanni Gabrieli (Andrea’s nephew)
two choir lofts with own organ
some music written for voices with separate instrument parts
tendency toward homophonic texture

16. The Venitian School Giovanni Gabrieli (ca.1555-1612)
studied with uncle Andrea / organist at St. Mark’s ( )
Plaudite (1597)
polychoral motet
12 vocal parts divided into 3 choirs (low, middle, high)
instrument parts
stereophonic in nature