Chapter 6 The Renaissance The “High Renaissance” Style

Key Terms High Renaissance Imitative counterpoint Homophony a cappella Point of imitation Mass

The Mass Longest, most important worship service of the Catholic church In Middle Ages, Mass sung in plainchant Invention of organum added some polyphonic music to Mass Renaissance composers added even more polyphonic music Favored sung portions of Ordinary (unchanging texts) They also sought to unify Mass musically

Liturgy of the Word Introit Kyrie Gloria Collect Epistle Gradual Proper, sung Kyrie Ordinary, sung Gloria Collect Proper, recited Epistle Gradual Alleluia or Tract Proper, sung Sequence Gospel Proper, recited Homily Spoken Credo Ordinary, sung

Liturgy of the Eucharist Offertory Proper, sung Secret Proper, recited Preface Sanctus Ordinary, sung Canon Ordinary, recited Pater noster Agnus Dei Ordinary, sung Communion Proper, sung Postcommunion Prayer Proper, recited Ite, missa est Ordinary, recited Response

“High Renaissance” Style Imitation Type of polyphonic texture Voices enter one after another Each voice genuinely melodic Same motive and words for each voice (but on different pitches) Voices take turns vying for attention Creates beautiful balance between parts

“High Renaissance” Style Homophony A simpler texture that reflects influence of secular music Top voice dominates Lower voices follow rhythm of top voice, supporting melody with rich chords Creates “block chord” feel Provides effective contrast to imitation

“High Renaissance” Style Tone color–a cappella sound Scale, key & mode–medieval modes Pitch & melody–medium register, smooth motion, ups and downs carefully balanced Harmony–consonant chords with occasional, mild dissonance Texture–alternation between imitation and homophony Rhythm–fluid; metric, but without strong accents

Josquin, Pange lingua Mass Unified Mass—each movement based on same plainsong hymn, “Pange lingua” Recurring use of familiar, beloved hymn tune turned Mass into profound artistic experience Used the five standard movements for Renaissance Mass Kyrie, Gloria, Credo, Sanctus, Agnus Dei

Josquin, Pange lingua Mass Kyrie I This section is a point of imitation—a short passage of imitative polyphony based on a single motive The Kyrie I motive is a paraphrase of the chant hymn’s first phrase

Josquin, Pange lingua Mass Kyrie I Voices enter one by one Tenor, bass – soprano, alto – bass, tenor, soprano Final soprano entrance paraphrases second phrase of chant hymn Crescendo of activity approaching cadence

Josquin, Pange lingua Mass Christe Two successive points of imitation First one based on phrase 3 of the plainchant hymn Kyrie II Begins with point of imitation Ends with free materials—descending sequence, powerful oscillating passage, and extended final cadence

Josquin, Pange lingua Mass From the Gloria Alternates between imitation and homophony Eight points of imitation Four homophonic sections Josquin mostly uses imitation, reserves homophony for emphasis Music offers urgent, almost dramatic plea for mercy (miserere nobis)

Pange lingua Mass, Gloria Qui tollis peccata mundi, MISERERE NOBIS. SUSCIPE DEPRECATIONEM NOSTRAM. Qui sedes ad dexteram Patris, miserere nobis. You who take away the sins of the world, Have mercy upon us Hear our prayer. You who sit at the right hand of the Father, Have mercy upon us.

Pange lingua Mass, Gloria Quoniam tu solus sanctus, tu solus Dominus, TU SOLUS ALTISSIMUS, JESU CHRISTE, Cum sancto spiritu, in gloria Dei Patris. AMEN. (Capital letters indicate phrases sung in homophony.) For you alone are holy, you alone are the Lord, You alone are the most high, Jesus Christ, With the Holy Spirit, in the glory of God the Father. Amen.