2. Begins on page 74 Chapter 9 Renaissance Music

3. The Renaissance Outlook  Rebirth of interest in ancient civilizations  Humanism  Many great works of art  Gutenberg’s invention of movable type  Age of exploration  The “Renaissance man” – Leonardo da Vinci

4. The Renaissance Mass  Ordinary set to music  Based on phrase of Gregorian chant  Addition of bass voice part  Points of imitation  Josquin: Kyrie from Pange lingua Mass © Schirmer, Cengage Learning Copyright © 2010 by Schirmer Cengage Learning

5. The Renaissance Motet  Sacred polyphonic work for voices  All parts sing same text  Sung in Latin  Sung by small groups of men and boys

6. The Renaissance Motet  New lines of text introduced in imitation  No strong feeling of chord progressions  Limited feeling of meter  Sung without accompaniment (a cappella)

7. The Renaissance Motet  Very singable and smooth vocal lines  Form determined by text  Polyphonic voice lines fit together beautifully  Restrained, reverent quality  Palestrina: “Sicut cervus” Copyright © 2010 by Schirmer Cengage Learning

8. The Madrigal  Secular work, often polyphonic, for small vocal group  Differs from a motet ► Vernacular languages ► Texts often deal with love ► Tend to be more rhythmic ► Sung at social gatherings

9. Word Painting  Often music depicts words being sung  Weelkes’s “As Vesta Was.. ” examples: ► “descending” ► “came running down amain” ► “two by two,” “three by three,” “together” Copyright © 2010 by Schirmer Cengage Learning

10. Renaissance Instrumental Music  Lute  Dance music ► Pavane ► Galliard Copyright © 2010 by Schirmer Cengage Learning

11. Summary  The Renaissance outlook  The Renaissance Mass ► Josquin: Kyrie  The Renaissance motet ► Palestrina: “Sicut cervus”  The Madrigal ► Weelkes: “As Vesta Was from Latmos Hill Descending”  Renaissance instrumental music