The Middle Ages & The Renaissance

The Middle Ages & The Renaissance
Unit 1 – Part 2 We begin our discussion of the historical units with the Middle Ages and Renaissance. Each historical unit first presents the cultural and musical characteristics of the period, followed by chapters on the music and composers. The Middle Ages & The Renaissance The Enjoyment of Music 11th, Shorter Edition

Prelude 2: Early Middle Ages
The Culture of the Middle Ages & Renaissance The Enjoyment of Music 11th, Shorter Edition

The Enjoyment of Music 11th, Shorter Edition
“Hearing” from The Lady and the Unicorn tapestry (late 15th century) The Enjoyment of Music 11th, Shorter Edition

Prelude 2: Middle Ages (476 – 1460) Also called the “Medieval period”
Early Middle Ages (to 1000) Fall of Roman Empire Growth of Christianity (Roman Catholic Church) Fuedal Society – clergy, nobility, and peasant classes Illiterate except clergy (monks – monasteries, nuns - convents) “Patronage” (support, employment) for music by the Church Art style = symbolic, impersonal, iconic I will divide Prelude 2 into different parts of the lecture to more clearly understand the changes during this very long historical period. The Early Middle Ages refers to a period from the fall of Roman Empire to the end of the Millennium. It is also called the “Medieval period”, referring to an era between the enlightened civilizations of ancient Greece and the Renaissance. After the fall of the Roman Empire, Western society was in a constant state of turmoil known as the “feudal society”. The rule of law ceased to exist and the period was dominated by the conflicts of ‘war lords’ over possessions and property, with very little commerce and no contact between the East and West. Also important was the expansion of Christianity in the tradition of the Roman Catholic Church, who became the first patrons and employers of musicians. It was a very class oriented time divided between the clergy, the nobility, and the peasants, and only the clergy (the monks and the nuns) were literate people who preserved the ancient writings and engaged in scholarly pursuits. Even the legendary ruler Charlemagne bemoaned the fact that he could not read or write – interesting enough because he thought it was a God-given gift, not understanding that it was something one could learn. The art style (there are several examples of paintings in the text) was meant to be symbolic or iconic, and lacked emotion or expression in contrast to the latter Renaissance art style we will study. The Enjoyment of Music 11th, Shorter Edition

Sacred Music in the Middle Ages
Chapter 12 The Enjoyment of Music 11th, Shorter Edition

Chapter 12. Sacred Music in the Middle Ages
The Mass Ordinary of the Mass 5 parts of the worship service that do not change – EVER! Latin (Vatican II, 1932 – 1965) Proper of the Mass 5 parts of the worship service that could be altered Would be changed according to feast days, holidays, baptisms, weddings, funerals, etc The Enjoyment of Music 11th, Shorter Edition

Ordinary of The Mass Kyrie (Greek) Lord have mercy Christ have mercy Gloria Glory to God in the highest and in Earth, peace to men of goodwill. Credo Literally, “I Believe” The Enjoyment of Music 11th, Shorter Edition

Ordinary of The Mass Sanctus Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are full of Thy glory. Hosanna in the highest. Blessed is He that cometh in the name of the Lord. Hosanna in the highest. Agnus Dei Lamb of God, Who takest away the sins of the world, have mercy upon us. Lamb of God. Grant us peace. The Enjoyment of Music 11th, Shorter Edition

Chapter 12. Sacred Music in the Middle Ages
Gregorian Chant (plainchant, plainsong) First written music Texture: Monophonic (choral with no accompaniment) Rhythm: Nonmetric Responsorial (soloist, then chorus) Harmony: church modes (‘modal’) Latin text - syllabic, neumatic, and melismatic It should come as no surprise that because the clergy were the literate class that sacred music would be the first style develop a music notation system used in Gregorian chant. We know that the ancient Greeks used music in their dramas and the ancient Psalms were sung, but don’t know what they sounded like because we only have the words. One 6th Century scholar stated - “If a man does not remember the sound of music, they perish forever for they cannot be written down”. Fortunately he was wrong! Gregorian chant is named after Pope Gregory who began the process of collecting the traditional melodies, but it took several centuries to complete this process and arrive at the style of music notation we are studying. You can see on the slide the characteristics of Gregorian chant. We have studied some of these terms, but notice that Meter was not yet in use, and the harmony was modal (Church modes), a harmony we will not study in detail. Hildegard of Bingen, Alleluia, O virga mediatrix The Enjoyment of Music 11th, Shorter Edition

Gregorian Chant Notation The Enjoyment of Music 11th, Shorter Edition

Text settings for Chant
Syllabic: one note for each word or syllable example – Row, Row, Row Your Boat Neumatic: two to four notes per syllable example – higher range of middle section - Hildegard, Alleluia Melismatic: many notes per syllable example - ‘Gloria’ from Angels We Have Heard on High example - opening of Hildegard, Alleluia (below) One characteristic we need to include is the text settings. Syllabic is one note per syllable or word of text as used in the Hallelujah chorus we listened to earlier. Neumatic is 2 to 4 notes per syllable as in parts of the middle section of Hildegard’s Alleluia. Melismatic was probably the most common setting in the beginning of Hildegard’s Alleluia. (audio beginning of Hidegard) Melismatic The Enjoyment of Music 11th, Shorter Edition

Hildegard of Bingen German (Holy Roman Empire) Founded her own convent Scholar: writings on science, medicine, religion, philosophy, poetry, and music Hildegard of Bingen was German, part of the Holy Roman Empire (not to be confused with the original Roman Empire). She was a scholar who studied and wrote manuscripts on many subjects as well as composing music. She founded a convent and is considered a saint. She was the 1st female granted permission by the Pope to write and teach theology or religious doctrine, a truly noteworthy accomplishment during the 12th century. The Enjoyment of Music 11th, Shorter Edition

Study this listening guide and listen to Hidegard’s Alleluia. The Enjoyment of Music 11th, Shorter Edition

(Notre Dame) Organum Cathedral of Notre Dame in Paris First polyphonic music (non-imitative) The development of precise rhythm and pitch notation Often based on pre-existing chants (“cantus firmus”) 2-part music by Leonin, 3rd and 4th parts by Perotin With the development of Organum, known as Notre Dame organum because of the influence of composers at the Notre Dame Cathedral in Paris, Western Music takes a major step. It is the first polyphonic music and responsible for further refinements in developing pitch and rhythm notation. Perhaps you have heard the old cliché “necessity is the mother of invention”. In this case that is fairly accurate. When the second musical line was added to chant it simply followed the first line at a different pitch level, not too difficult a task to accomplish even if the music is not written down. Gradually the 2nd, 3rd, and eventually 4th lines became independent melodies with different rhythm and pitch movement and therefore, a more precise system of rhythm & pitch notation were required to keep all of the parts together. Although composers in this period did not normally autograph their work, we are fairly certain who wrote the music because Leonin, the 1st composer wrote only 2 part music and Perotin, known as ‘Perotin the Great’ added the 3rd and 4th lines of music. Cathedral of Notre Dame, Paris (1163–1235) Notre Dame School, Guade Maria virgo The Enjoyment of Music 11th, Shorter Edition

Study the listening guide and listen to Notre Dame School Organum. Notice that the 1st section is a long sustained note melody in the bottom part (almost like a drone), while the 2 upper voices are very rhythmical. Also notice that the piece ends with a simple monophonic chant melody. Here’s an important clue for you – on the exam, I will only play the 1st section because that is the polyphonic style known as Organum. (audio beginning of Notre Dame Organum) The Enjoyment of Music 11th, Shorter Edition

Prelude 2: The late Middle Ages
The culture of the middle ages & Renaissance The Enjoyment of Music 11th, Shorter Edition

Prelude 2: Late Middle Ages
Feudal society ending Modern Nation/States, developing (France, England, etc.) Opening of East & West (trade, cultural exchange) Crusades Cities & first Universities (centers of art and culture) Rising influence of Royal Courts – Second source of “patronage” In the late middle ages (the last few centuries), Western society is undergoing dramatic changes. The dominance of war loads in the feudal society was coming to a close. With the fragmenting of the Holy Roman Empire, powerful nation/states are beginning to emerge. These emerging royal courts became the 2nd source of musical “patronage” or employment for musicians. There was an increase in cultural exchange, the result of expanded commerce and trade between the East and West, the Crusades, and the activity of explorers. Cities became centers for education, arts, & culture. Learning accelerated in the monasteries and convents, and the 1st universities since Plato’s Academy in ancient Greece were started in Bologna Italy & Paris France. To illustrate the importance of such institutions of higher learning, the destruction of the ancient Alexandrian library which contained 400,000 volumes would not be replicated for nearly 2,000 years, and by the 14th century, there were 500 monasteries in England alone. The Enjoyment of Music 11th, Shorter Edition

Secular Music in the Middle Ages

Chapter 13. Secular Music - late Middle Ages
Ars Nova (new art) – music style first in France, then Italy Minstrels (ie: troubadours, trouveres, etc.) Secular dance - instrumental, improvised, instruments not specified Secular songs (ie: chanson) – settings of poetry, may be monophonic or polyphonic With the rising power of the royal courts, it should not be a surprise that Secular Music becomes more important. After all, the Kings, Queens, and Emperors are always in need of music for their ceremonies, celebrations, and entertainment. This secular music was performed by a variety of entertainers depending on the area of Western Europe we examine. The only one mentioned here are the “troubadours” from southern France, but there were others such trouveres in northern France, the minnesingers in Germany, or the wandering minstrels known as jongleurs & golliards were defrocked monks. Some of these entertainers were not only musicians, but also read poetry, or engaged in juggling, acrobatics, and dance, and some entertainers were themselves royalty (such as Richard-the Lionhearted in England). The latter part of the middle ages is known as the Ars Nova meaning ‘new art’, which applies not only to music, but also to changes in literature (Dante’s Divine Comedy, Chaucer’s Canterbury Tales), and architecture moving from the Romanesque style to the imposing Gothic cathedrals. The Enjoyment of Music 11th, Shorter Edition

Mauchaut French Employed by church and royal courts
Composed “Notre Dame Mass” (First complete polyphonic setting of Ordinary) Sacred music and secular songs (chanson) Our example of late Middle Ages music is the French composer, Machaut. As was now common, he was employed by both the royal courts, notably - Charles, Duke of Normandy who would become King of France, and also by the church - the Cathedral of Rheims in France. Thus, Machaut composed both sacred and secular music. One notable work we will not study is the famous “Notre Dame Mass”, the 1st polyphonic setting of a Mass. Our example is a “Chanson”, which is French for ‘Song’. Mauchaut, Pius qu’en oubli (Chanson) The Enjoyment of Music 11th, Shorter Edition

Study the listening guide and listen to Machaut’s Since I am Forgotten. Notice the mournful sound, appropriate for a song about the neglect of a beloved friend. (continued on next page) The Enjoyment of Music 11th, Shorter Edition

(Listening guide, Machaut, “Since I am forgotten”) The Enjoyment of Music 11th, Shorter Edition

Prelude 2: The Renaissance
The Culture of the Middle Ages & Renaissance The Enjoyment of Music 11th, Shorter Edition

Prelude 2: The Renaissance 1450 - 1600
Renaissance – “rebirth” or “renewal” – began in Italy. Destruction of Constantinople – scholars, artists fled west. The “awakening of intellectual awareness” and the “beginning of the modern era (in Western society)” Humanism – focus on human achievements (science, discovery, ideas, reasoning) Secularization - focus on daily life, as opposed to religious ideas Interest in ancient Greece and Roman culture, art, philosophy The Renaissance is a crucial period in Western culture. Your textbook describes is as the “passing of European society from an exclusively religious orientation to a more secular one, and from an age of unquestioning faith to one of belief in reason & scientific inquiry”. It has been described by other historians as the “awakening of intellectual awareness” and the “birth of the modern era”. Certainly, these developments were gradual and not in a specific year, but the Renaissance is usually connected with the destruction of Constantinople (the ancient Byzantine culture) in 1453, and the fleeing of scholars and artists to the West. They first settled in what is now Italy, a place of great wealth, opportunity, and influence in the 15th century. Two of the primary characteristics included becoming a more “secular” culture, and the philosophy known as “humanism”. It generally refers to the idea that we are focused on the present rather than the afterlife, that we are capable of ethical conduct, social justice, self-fulfillment, and progress by the powers of own observations and reasoning instead of relying on traditional authority and the church. Indeed, in modern discourses we hear the term “Secular Humanism” one idea presented in contrast to the “religious beliefs. This time was inspired by the ancient Greek cultures. Just think of the cliché known as the “Renaissance man”. It implies an individual who is well-rounded, and possesses knowledge and skills in all of the arts and sciences, a common characteristic that also existed in ancient Greece. Thus we have painters or sculptors who are also inventors, scientists, and authors. The Enjoyment of Music 11th, Shorter Edition

Prelude 2: Renaissance World exploration (ie: Columbus) Scientific discovery (ie: Galileo) Invention of Printing Press: increased musical literacy, ‘amateur’ musician’ - (merchant or middle & upper classes) music in home Art – realism (expressive face, poses) sense of motion and drama, the human nude in sculpture, (ie: daVinci, Michelangelo) Music as an ‘expressive’ art. This period was an age that changed mankind’s view of the world and our place in the grand scheme of creation. With the invention of the magnetic compass, exploration expanded and proved that the earth was not flat, and science provided knowledge of the entire solar system and universe, that the sun did not revolve around the earth. The invention of the “printing press” was probably the single most important development in the history of music. Not only did it advance knowledge & learning in general through the availability of books, but the printing press turned music into a common experience of everyday life. Consider this – previously to this invention, if you wanted to study music, you would have to borrow my music, and then have been trained in the skill of music writing to create your own copy (a very limited skill possessed by only a few individuals). Within 50 years after inventing the printing press, there were 400,000 printed copies of music all over Western Europe. This spread the study and performance of music into the home life and developed an entire new demographic for music – the ‘amateur’ musician learning and performing music for simple pleasure. There was a corresponding growth of music schools, publishing houses, civic ensembles, which would eventually provide new employment for musicians. The style of art and music also changed. The art (painting, sculpture) was now becoming realistic, and expressive. Faces and poses in painting have a sense of emotion and drama (as opposed to the blank stare of medieval art). Sculpture now included the human nude, which had been banned for 1000 years, but was common in ancient Greece. Music was now viewed as an “expressive” art form. In the 12th, St. Augustine had noted this effect, stating that “music has the power to uplift the spirit, but it could also seduce the listener into easy pleasure”. In the ancient world, music was studied, but mostly because of its moral implications, or mathematical qualities. Indeed, the original 7 liberal arts and sciences of ancient Greece grouped music with Arithmetic, Geometry, and Astronomy. But in the Renaissance period, musicians understood that the real significance of music was expression, to express an emotion or idea. Mona Lisa, Leonardo da Vinci The Enjoyment of Music 11th, Shorter Edition

Before we begin to study the music and composers of the Renaissance, examine the first 2 columns of this chart on page 103 of your textbook.

Renaissance Sacred Music

Chapter 14. Renaissance Sacred Music
the Golden Age of “a-cappella” singing (choir or voices without instruments) imitative polyphony dominant (with other textures) some based on “cantus firmus” (pre-existing melody) harmony = modal but with fuller chords You will notice that all of our assigned vocal music is without instrumental accompaniment. That is appropriate because the Renaissance is considered the “Golden Age of a-cappella” singing. By this time in history, imitative polyphonic texture is the dominant style, but other textures are also included at times. In sacred music, some of the new polyphonic works are based on a pre-existing melody called the “cantus firmus”. The harmony is still “modal” as it was in the Middle Ages (a harmony we will not study in detail). But it did increasingly have sections with fuller chords. The Enjoyment of Music 11th, Shorter Edition

Chapter Josquin Singer Franco-Flemish (northern France) Employed royal courts & church - Duke of Ferrara – northern Italy, Papal Choir – Rome, late in life – returned to France *Motets, masses, and secular chansons Josquin de Prez, known as Josquin, was from France. He was Franco-Flemish, a culture that inhabited present day Belgium, and northern France, also known as Flanders, and a region with a thriving musical establishment referred to as the “Netherlands School of Music”. When he became well-known, he moved to the location with the most opportunity, the highest paying and most prestigious positions in his day, which was modern day Italy. His employment included composing for both royal courts and the prestigious “Papal Choir” in Rome. The textbook cites Josquin as an example of the new “humanist” style in music. Late in life, he returned to his homeland of France. Although he composed both sacred and secular music, his most important contributions are Motets. The Enjoyment of Music 11th, Shorter Edition

Chapter 14. Motet Most important genre of early polyphonic music Sacred music (during the Rennaisance) Timbre: SATB choir – ‘a-cappella’ Texture: mostly polyphonic (imitative) with some homorhythmic The motet is the most important genre of early polyphonic Sacred music. It is “a-cappella” (without instruments). The Enjoyment of Music 11th, Shorter Edition

Josquin’s motet, Ave Maria, is written for the standard 4-voice choir – soprano, alto, tenor, and bass. Much of it is imitation of individual voices, with other sections involving imitation of pairs of voices, and some sections using homorhythmic texture. The Enjoyment of Music 11th, Shorter Edition

Here is an example of the beginning section, imitating the melody from Soprano (the highest voice) to Bass (the lowest voice). (audio example Josquin) Here is an example from a section with pairs of voices in imitation. (audio example Josquin) Here is an example from the homorhythmic section in a different meter. After that section, the piece returns to the imitation style. Most of this piece is imitative and very similar, but listen to the very ending. Obviously, this is a VERY different rhythm and feel. The first thing you should ask yourself when you hear a dramatic change in style is WHY. Most good composers, regardless of whether it is classical, movie sound tracks, Broadway, or popular music will change the style for an EXPRESSIVE purpose, not simply to show you their skills or to keep you from becoming bored. That being said, what is this style change about? When we read the text, we discover this is a piece of praise – Hail Mary - example of grace, example of humility, example of purity, and so on. BUT, the last sentence is not about praise – it is a personal prayer – it is remember me, be with me, help me. That is an important example of the way Renaissance composers used musical characteristics to create an expressive musical style. The Enjoyment of Music 11th, Shorter Edition

14. Renaissance Sacred Music The Reformation and Counter-Reformation
(Protestant) Reformation (Martin Luther) Text in the vernacular (common language) More “congregational singing” Hymn tunes - simple melodies, homophonic texture, (ie: Bach) Pure vocal music (no instruments) Text in the traditional Latin No secular tunes/influences Clarity of text - simplified textures (ie: Palestrina) Counter-Reformation (Council of Trent) Two important events concerning Sacred music were the Reformation and Counter-Reformation. The so-called “Protestant” Reformation involved many individuals including Calvin in Switzerland, Knox in Scotland, and others – but most importantly Martin Luther in Germany, who nailed his “95 Thesis” to the door a church. Certainly, they were most concerned with changing the doctrine and liturgy of Roman Catholic Church, but the end result was the many Protestant denominations we know today such as Lutherans, Presbyterians, Anglicans, Methodists, etc. Our interest is in the musical changes they promoted. They wanted the text in the common language of the people (or the Vernacular) instead of traditional Latin. They wanted the congregation more involved in the music of the worship service, which prompted an emphasis on hymn tunes – simple melodies that even an un-trained person can easily learn and remember. In Martin Luther’s Germany, these hymns are called “Chorales”, which we will study in the music of Johann Sebastian Bach. These changes and others such as bringing instruments and secular music into the worship service were not acceptable to the Roman Catholic Church. They gathered the Bishops and Cardinals at a place called Trent. The Council of Trent decreed an end to the so-called “Reforms” and that sacred music should be strictly “a-cappella” (with no instruments). One critic of the reforms stated “Whence hath the Church so many Organs and Musical Instruments? To what purpose, I pray you, is that terrible blowing of the bellows, expressing rather the crack of thunder than the sweetness of the Voyce”. The council also demanded that church music remain in the traditional Latin, involve no secular influences, and focus on the “clarity of the text”. Because some textures seemed too complicated, causing confusion of the message, they even considered outlawing all styles except simple monophonic melody, but fortunately they did not do that. Palestrina is generally regarded as the example of writing sacred music in a style that was acceptable to the Roman Catholic Church Council of Trent. The Enjoyment of Music 11th, Shorter Edition

Chapter 14. Palestrina Italian, organist, and choirmaster Employed – St. Peters Basilica and Sistine Chapel Mostly sacred music Mass – the liturgical music of Roman Catholic Church, (approved by the Council of Trent) also motets, some secular madrigals Style: Timbre =‘a-cappella’ (5 or 6 voices in the choir) Texture = mostly polyphonic with other textures Palestrina was born in a small village close to Rome. During his career, he held the most prestigious musical position in Europe, at St. Peter’s Basilica. In other words, he worked for the Pope. He did write some secular music, but his most notable achievement is writing sacred music according to the Council of Trent guidelines. It is claimed that his final job was re-writing all of the liturgical music for the Roman Catholic Church during the late Renaissance. Some historians have even proclaimed him the “Savior of Church Music”. Palestrina’s style results in a choir sound that is simply magnificent. It is a-cappella, but it is very full and rich because he usually uses 5 or 6 parts instead of the standard 4 parts. Notice in the example we study where the extra parts are added. It is not in the high range, but includes 2 Tenor parts, and 2 Bass parts which add great depth and fullness of sound. His choral writing has been a model for composers regardless of whether they are composing secular or sacred music. Palestrina, Pope Marcellus Mass, Gloria The Enjoyment of Music 11th, Shorter Edition

Study the listening guide and listen to Palestrina’s Gloria from the Pope Marcellus Mass. The Enjoyment of Music 11th, Shorter Edition

(audio Palestrina Mass) The Enjoyment of Music 11th, Shorter Edition

Renaissance Secular Music

Chapter 15. Renaissance Secular Music
Professional musicians: courts and civic functions Merchant-class amateurs: music in the home Instrumental dance music (instruments not specified) Vocal music : Chanson and “Madrigal” As we have discussed, the rise of secular music was due in large part to the entertainment needs of the royal courts, or music at civic occasions. Secular music was also popular with the new class of “amateur” musicians and as entertainment in the home. The two most common forms, whether court, civic, or home were dances and songs. The Chanson we have studied earlier as an example of a song. In this section we will study the Madrigal. The Enjoyment of Music 11th, Shorter Edition

15. Renaissance Secular Music The Italian Madrigal
Madrigals began in Italy Text: based on a secular poem Aristocratic court entertainment Timbre: a few solo voices (ie: quartet) “Word Painting” - music style reflecting the meaning of the text The Madrigal was started in Italy. In some historical periods, it could be sacred music but the Renaissance madrigal is a secular poem set to music originally as aristocratic entertainment and sung by a quartet of solo voices. The most important expressive device is called “Word Painting”. The Enjoyment of Music 11th, Shorter Edition

Word Painting examples from Monteverdi “A un giro sol” (at a single turning glance)
The breeze laughs all about The sea becomes calm The sky becomes more radiant I alone am sad and weeping, doubtless on the day you were born, so cruel and wicked, my death was also born. Listen to a few “word painting” examples in this Monteverdi madrigal. “The breeze laughs about” – notice how the rhythm and ascending sequence imitates laughter. audio example Monteverdi) “The sea becomes calm” (audio example Monteverdi) “The sky becomes radiant” - notice the constant use of high note entrances to imitate bursts of radiant light. To this point, the poem is about the scene of a story. The next section which begins “I alone and sad and weeping” now becomes a personal story. Notice how the music has changed to a slower, more serious, and even tormented style. The Enjoyment of Music 11th, Shorter Edition

Chapter 15. Renaissance The English Madrigal
“Elizabethan” age of literature (ie: Shakespeare) Simpler and lighter in style/story, cheerful, humorous Refrain syllables (fa-la-la) Word-painting (examples - Farmer “Fair Phyllis”) The English Madrigal retains all of the general madrigal characteristics, but is a much lighter, cheerful story and sound that often includes the non-sense syllables such as “fa-la-la-la” inserted just for the joy of singing. We will hear the word painting examples in a moment. The Enjoyment of Music 11th, Shorter Edition

Chapter 15. Renaissance The English Madrigal
John Farmer Active in Ireland and England Organist and choirmaster English madrigals & songs Our English madrigal example is by John Farmer, who worked in Ireland and England. The piece we are studying is called “Fair Phyllis”. Farmer, Fair Phyllis Typical pastoral scene, by Zick The Enjoyment of Music 11th, Shorter Edition

Here are examples of “word painting” in the music. “Fair Phyllis I saw sitting all alone” – because of using the word “alone”, the words are sung by a solo voice (audio example Farmer) “Feeding her flock near to the mountain side” – because of the word “flock” implying many, the words are sung by the entire quartet (audio repeat of both sections together) “Up and down he wandered” – the melody uses many imitations of a short descending motive on the words “up and down” The Enjoyment of Music 11th, Shorter Edition

Susato: Three Dances Susato: Belgium composer Set of 3 rondes (rounds) Performed by a wind band (instruments not specified) Each section in Binary form (A-A-B-B) (C-C-D-D) (E-E-F-F) Instrumental secular music during the Renaissance also included a variety of dances. Susato is a Belgium composer, and our example is a set of 3 dances, each one in Binary form, performed without interruption. The recording uses period instruments, which have a much harsher sound that the modern improved instruments we are studying. It is a “wind band” without strings. The Enjoyment of Music 11th, Shorter Edition

15. Renaissance Secular Music
When listening to this music, you should envision a very stately court style of dancing with each person dressed up in their finest gowns and attire. The dance would have been performed in a circle with couples moving towards the center and back, or in 2 lines with couples moving the length of the formation in between the lines. The dancing would always be at arms-length (none of this close dancing in today’s style), and of course involve the obligatory bow throughout especially at the beginning and end. The Enjoyment of Music 11th, Shorter Edition

(Susato, Three Dances listening guide, pg.2) The Enjoyment of Music 11th, Shorter Edition

The Middle Ages & The Renaissance

Similar presentations

Presentation on theme: "The Middle Ages & The Renaissance"— Presentation transcript:

Similar presentations

About project

Feedback

Log in

Auth with social network:

The Middle Ages & The Renaissance

Similar presentations

Presentation on theme: "The Middle Ages & The Renaissance"— Presentation transcript:

Similar presentations

About project

Feedback