The Renaissance - Spirit of Great Oak
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Transcript The Renaissance - Spirit of Great Oak
The Renaissance
By:
Katelyn Gutierrez
Period 6
Overview
Music continued to be dominated by
sacred church compositions
◦ BUT new growing interest in humanism
◦ Thus, more attention on secular music
Vocal music still dominant
◦ Instrumental music growing in popularity both
in the church and at court
Isorhythmic techniques = so yesterday
◦ Harmony grew “thicker”
Overview continued…
Polyphony = mainstay musical texture
◦ Both sacred and secular works
Church modal system still utilized in harmonies
◦ Shift toward major/minor system commonly used in
the Baroque period
1501: Ottaviano Petrucci
◦ First to begin printing music, making it available to
anyone who could afford it
Publishing music became more common
◦ With said publication, secular vocal music (like
madrigal and four-part instrumental ensemble music)
became their form of home entertainment
The Renaissance
“Renaissance” = rebirth of interest in
Greek and Roman antiquity
◦ Influence not only music but all arts
When you think Renaissance, you’d better
think:
◦ Columbus, Leonardo da Vinci, Michelangelo,
Martin Luther, Copernicus and Shakespeare
It is suggested that the Renaissance
started in Italy between 1420-1470
William Byrd (1543-1623)
He was Catholic…
◦ But he was an organist/choirmaster for the
Anglican Church
Early 1570s moved to London where he
joined Chapel Royal
During the time that practicing
Catholicism was punishable in England, he
secretly wrote vocal works to be used in
private Catholic services
The MAN
Byrd is the word…
His most famous Catholic works include
three small settings of the Ordinary
◦ One each for three, four and five voices
◦ Avoided cantus firmus
◦ Direct, simple polyphonic sections and
simpler homophonic sections
Mass for Five Voices
This is the last movement of the mass, the
Agnus Dei
In it are simple melodic imitation between
the individual voices, sections of
homophonic and polyphonic writing
Secular Music in the Renaissance
Still less important form of musical
composition
Secular motets continued to be written
◦ New polyphonic format called the madrigal came
about in Italy and England
Other popular styles included:
◦ Frottola & canzionetta (Italy), chanson (France),
Tenorlied (Germany) and consort songs & lute songs
or ayres (England)
◦ Instrumental music began to appear more often
when commercial sale of printed music became
available
Secular continued…
“Consort” music = music for families of
instruments
◦ Keyboard and lute music became especially
popular through the end of the Renaissance
through development of consort music
Music for dancing
◦ Slower = allemande or pavane
◦ Faster = galliard, gigue or saltarello
Heinrich Isaac (1450-1517)
Flemish composer
◦ He spent more time as a court musician in
Austria and Italy
Made music for both the mass Ordinary
and Proper
◦ Including a number of motets
Often credited with fusing elements of
Franco-Flemish styles with German
musical forms
Isaac continued…
In Germany, it is common to use
polyphonic music in the mass Proper
◦ Isaac commissioned by Emperor Maximilian I
to compose new liturgical settings for created
works in German polyphonic Tenorlied style
Stallone? NO.
Innsbruck, ich muss dich lassen
That’s “Innsbruck, I Must Now Leave You”
“Believe it or not, Isaac actually composed this work
when he was about to leave Innsbruck, a town of
which he was apparently quite fond.”
◦ Funny, right?!
Anyways, Bach the pirate re-harmonized this melody
as the hymn, “O welt, ich muss dich lassen” (O World,
I Must Now Leave You
◦ It was Baroque so he fixed it! *obligatory laughter*
The tune has shown up in many different hymnals
with several different texts over the past few hundred
years
Carlo Gesuealdo da Venosa (15611613)
Nobleman and composer
He was “the bad boy of the late
Renaissance”
◦ His wife was cheating, he called a hit on the
guy…she died too…wait—what?
AKA his musical inspiration
His music included a list of innovative
madrigals on topics of love and loss
◦ Full of melancholy and reflective of the late Italian
madrigal (although somewhat extreme)
Prince of Venosa
Master of text painting techniques
Making use of extreme dissonances,
chromatic passages, dramatic melodic and
harmonic leaps, and other nonconventional techniques
◦ There are a handful of sacred compositions
Che fai meco mio cor
That’s “What do you do to me, my
heart?”
Published in his 4th book of madrigals
(1596)
Musical gestures align with lyrics
EMO