Presentation on theme: "Unit IV: The Renaissance"— Presentation transcript:
1 Unit IV: The Renaissance Chapter 14: The Renaissance Spirit
2 Renaissance Spirit Renaissance 15th & 16th centuries in Europe worth of the individualinsatiable searching for knowledgeterm borrowed from art history“rebirth”birth of modern Europe and Western society as we know it today
3 Renaissance Spirit Major Developments philosophical Historical “humanism”“rebirth” of classical learningemphasis on human life nowChurch less powerfuleducation considered status symbolfrom religious to secular societyHistoricalColumbus, Magellan….
4 Renaissance Spirit Inventions and Discoveries inventions Science printing pressgunpowderScienceuniverse revolves around the sun, not the earththeologyMartin Luther and Reformation
5 Renaissance Spirit Painting patrons include Church plus wealthy families (Medici)secular subjects mixed with sacredportrait paintingdepth perception
14 Renaissance Spirit Renaissance Musical Style musical training = part of general educationmore secular music
15 Renaissance Spirit characteristics of music still more vocal than instrumental“word painting”polyphonic texturemore “consonant” harmonygentle rhythms… conjunct melody“a cappella”
16 Renaissance Sacred Music Early Renaissance Mass5 parts of Ordinary (Text, pg. 102)Kyriefrom the GreekABA form (Kyrie - Christe - Kyrie)Gloria“Glory be to God on High”Credo“I believe in one God…”longest text
17 Renaissance Sacred Music Sanctus“Holy, Holy, Holy…”… “Hosanna”Agnus DeiLamb of Godsung 3 timesRequiem Mass“Requiem aeternam dona eis, Domine” (Grant them eternal rest, O Lord)Dies Irae
18 Renaissance Sacred Music Cantus Firmus Mass“fixed melody”cantus firmus = foundation of workunifyinitially, CF = from Gregorian Chantto … same Gregorian CF for each of 5 partsto … secular CF
19 Renaissance Sacred Music Guillaume Dufay ( )“G. duFay” (du - “fa” - y)L’homme armeé Mass: Kyrie Text, pg. 104secular CF “L’homme armeé” (The Armed Man)Renaissance Motetsacred form with a single, Latin textused in Mass, etc.
20 Renaissance Sacred Music 3-4 voicesbased on Chant or other melodiesJosquin des Prez (c )Franco-Flemish (Netherlands) SchoolAve Maria…virgo serena Text, pg. 106
21 Renaissance Sacred Music High Renaissance Massmusical settings for the OrdinaryKyrie, Gloria, Credo, Sanctus, Agnus DeiCounter-Reformationrecapture minds of the peopleCouncil of Trent
22 Renaissance Sacred Music Objections“noisy” instrument in servicesecular popular songs in Masssingers embellishing the chantcomplex, polyphonic settingsSolution: Monophonic chant only!!Giovanni Pierluigi da Palestrina c100 + masses
24 Renaissance Secular Music Instrumental dance musiclast half of 16th centurywritten by professional composerspatterned after secular vocal worksSecular vocal music2 typesRenaissance (15th century) Chanson3 voicescourtly love text“fixed form” of Middle Ages
25 Renaissance Secular Music Renaissance Madrigalvocal work for several solo voices set to short poem, usually about love“word painting”often include instruments2 types: Italian and English
26 Renaissance Secular Music 16th C. Italian madrigal3 composersLuca Marenzio ( )over 400excessive word painting and dissonanceCarlo Gesualdo (c )prince of Venosahad wife and her lover murderedClaudio Monteverdi ( )12 years for Duke of Mantua30 St. Mark’s in Venice
27 Renaissance Secular Music 8 books of MadrigalsEcco mormorar l’onde (Hear, now, the waves murmur)Text – nature“word painting”Criticized – use of “unprepared” dissonance“high” voices vs. “low” voicesFerrara – professional women singersText, pg. 118
28 Renaissance Secular Music English MadrigalMusica Transalpina (1588)Italian madrigals with texts translated into EnglishElizabethan ageThomas Morley, John Wilbye, and Thomas WeelkesEnglish version lighter and more humor“ballett” (“fa-la-la” refrain)
29 Renaissance to Baroque “Fair Phyllis” (Text, pg. 121)John FarmerSt. Mark’smore than one vocal ensemble“Cori spezzati”divide choir and instruments“Polychoral” music - antiphonal styleGiovanni Gabrielli“Sonata pian’ e forte”O quam suavis, Text, pg. 125
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