1. Renaissance 1450-1600

2. Important People  Shakespeare (1564-1616)  Copernicus (1473-1543)  Magellan (1480-1521)  Leonardo da Vinci (1452-1519)

3. Leonardo da Vinci

4. Printing Music!!!  Printing from movable type  C. 1450: “Gutenberg Bible”  Ottaviani Petrucci (Venice): first to apply this concept to music  1501: 3 impressions (staff, notes, text)  1520: 1 impression

5. Renaissance Music  Smoother, more homogenous sound  Texture: Homophony with “points of imitation” (counterpoint)  Instrumental music gradually gains in importance (more of this music is preserved)  Gradual use of greater chromaticism  New tuning systems evolve  More expressive music and text more closely aligned

6. English Music in the 1400s  English music always tended towards homophony & a feeling of “sweeter” tonality  More use of 3rds and 6ths  Carol: religious poem set in popular style  Alternates between 2 and 3 voice texture  When two voices: lots of parallel 6 th

7. John Dunstable (c. 1390- December 24, 1453)  Most important English composer of this era  His style: important influence on European composers (He worked in both France and England)  Wrote: Isorhythmic Motets, Settings of the Ordinary of the Mass, other sacred & secular compositions  Quam pulchra es: Homorhythmic and Triadic Quam pulchra es

8. Guillaume Dufay (c. 1397-1474)  Most famous composer of the era  Born near Brussels  Illegitimate son of a priest & an unmarried woman  Worked in Italy & ended up as Canon of Cathedral in Cambria (NE France)  Wrote: masses, isorhythmic, motets, rondeau, ballades, secular songs

9. “Burgundian” Masses  Cantus Firmus Masses:  Use the same melody in the tenor of each movement of the Ordinary of the Mass  Tenor: could be chant OR the tenor of polyphonic secular song  If the tenor was from a polyphonic song, the mass would often be called by the title of the song.  Thus Mass L’ homme armeMass L’ homme arme  Tenor: would be written in relatively long note values and could receive isorhythmic treatment, except when it comes from a popular song in which case it will retain the original rhythm, often in prolonged note values  SATB  Tends towards fauxbourdon textures  Example: Ballade- Se la face ay pale; missa Sa la face ay paleSe la face ay pale

10. Josquin des Prez (c. 1450-1521)  Born in N. France (near Belgium) (in land controlled by the Dukes of Burgundy)  1470s: Worked for Duke Anjou  Moved to Italy  Worked for Sforza family, rulers of Milan, in 1480s  1489-1495: Member of the Papal Choir  1501-03: Worked for King Louis XII of France  1504: Provost of Church of Notre Dame in native region (Conde sur l’Escaut)

11. Josquin des Prez Music  Motets  Chansons (including instrumental works)  Masses  “Imitation” Mass (Imitating a pre-existing work) (“Parody Mass”)  “Paraphrase” Mass: paraphrasing (using) pre-existing melodies in all four voices  Homophonic sections alternate with imitative sections  Use of “text depiction” (word painting) and “text expression” (overall mood)

12. Reformation  Started with Martin Luther (1489-1546)  Monk, priest, and “Doctor of the church” (taught at University of Wittenburg)  Posted his “95 Thesis” on the door of a Church (initially, primarily opposed to the sale of “indulgences”) on October 31, 1517  Ultimately, came into conflict with the Pope and was excommunicated in 1521  This lead to the formation of the Lutheran Church and the beginning of Protestantism (“Reformation”), which spread rapidly, especially throughout Northern Europe.  Developed the Lutheran theology which departed from Catholicism in a number of ways  Translated the Bible into the vernacular  Wrote music that encouraged congregational singing

13. Early Lutheran Church  Retained much of Latin chant & polyphony  Some of the Latin: translated into German  German Mass: Published by Luther in 1526

14. Lutheran Chorale  Most important (musical) innovation of the Lutheran Church  Originally, just a text and a tune (monophonic)  Intended for congregational singing  Strophic  In German  Simple rhythms (Syllabic)  Many text & some melodies written by Luther himself  “Ein Feste Burg:” one of the most famousEin Feste Burg  Also, “Nun Komm, der Heiden Heiland”Nun Komm, der Heiden Heiland

15. Reformation Music Outside Germany  Calvin & other Protestant sects opposed Catholic liturgy, ceremony, and music much more than the Lutherans  Prohibited singing any texts or hymns  Notable musical contribution: Psalter (Psalms used as texts for hymns)

16. Protestant Church in England  England separates from Rome: 1534  Orlando Gibbons (1583-1625)  William Byrd (1540-July 4, 1623)

17. William Byrd  English composer  Remained a Catholic, wrote for both Catholic & Anglican Churches  Post with Chapel Royal  In contact with the English court: Queen Elizabeth (1533-1603; Reigned from 1558-1603): Moderate Protestant; enjoyed elaborate ritual & music  Very influential composer  Wrote 470 works  Songs, Madrigals, Masses, Anglican Church Music, Instrumental Music (Consort Music)  Students included Thomas Morley & Thomas Tomkins  Example: Sing joyfully unto GodSing joyfully unto God

18. Italian Madrigal  Most important genre of Italian secular music in the 16th century  Originated in Italy in the 1520s  Characteristics  Through composed  Sung at aristocratic gatherings  For mixed voices (Female and Male)  Texts were poems of serious nature (Petrarch)  In 4 and later 5 and 6 parts  Intended for performance with one on a part  Instruments could double or substitute for one or more parts

19. Cipriano de Rore (1516-1565)  Franco-Flemish composer who worked in Italy  Leading Madrigalist of his generation  Also wrote Masses & Motets/worked at St. Mark’s Cathedral in Venice  Taught by Franco-Flemish composer Jacob (Jacques) Arcadelt

20. Instrumental Genres  Dance Music  Arrangements of vocal music  Settings of existing melodies  Variations  Abstract instrumental works

21. Instrumental Usage  Instruments often used in “blended” ensembles of matching instruments of varying sizes  Notion of a “family” of instruments playing together: “Consort” of instruments  Example: used for banquets  Notion also of “loud” (“haut”) vs. soft (“bas”) instruments  Example: used for Queen Elizabeth going to sleep

22. Instrument Families Crumhorn Family Viola da Gamba Family Lute Family Recorder Family

23. Other Instruments Sackbut Vihuela Virginal

24. Giovanni Pierluigi da Palestrina (1525/6- 1594)  Probably born in Palestrina (n. Rome)  Organist & choirmaster at Cathedral in Palestrina (1544-1550)  1550: Bishop at Palestrina: elected Pope (became Pope Julius III): 1550-1555  Palestrina’s first & most influential patron  Brought Palestrina to Rome  1551: Appointed to Julian Chapel, Rome  1555: Admitted to Papal Chapel  1555: Next Pope: Pope Marcellus, who only reigned for 6 weeks  Palestrina ultimately dedicated one of his masses to this Pope: the “Pope Marcellus Mass” that reputedly “saved” polyphony for the churchPope Marcellus Mass  Stays in Rome for the rest of his life, positions at Julian Chapel & other churches in Rome  1580: Wife died of the plague  1581: Married a wealthy widow; continued to compose, publish his music, etc.  Commissioned to revise official chant books in line with recommendations from Council of Trent  Wrote 104 Masses, over 300 Motets, many other scared liturgical works  Early in his life, also wrote some secular madrigal

25. Palestrinian Style  Known as the “Stile autico” or “Stile Palestrina:” imitated, studied, and held as a model by many successive generations  Used cantus firmus for a few of his compositions  Tends towards 4 rather than 5 or 6 parts  Avoids chromaticism  Step-wise motion in voices (“chant-like”)  Flowing melodies  Dissonances resolved  Rhythmic flow: gently marked feeling of cut time or common time  Very transparent texture  Use of homorhythm/imitation  Text expression/text depiction

26. Council of Trent  Catholic Church’s way of dealing with Reformation  Referred to as the “Counter- Reformation”  Music had too much congregational singing, couldn’t understand the words, and there were instruments and chromaticism  Thought about going back to chanting  Palestrina’s “Pope Marcellus Mass” saved polyphonic music