1. © McGraw-Hill Higher Education Music: An Appreciation 9th Edition by Roger Kamien Part III The Renaissance

2. Time-Line Renaissance (1450-1600) Guttenberg Bible—1456 Columbus reaches America—1492 Leonardo da Vinci: Mona Lisa—c. 1503 Michelangelo: David—1504 Raphael: School of Athens—1505 Martin Luther’s 95 theses—1517 Shakespeare: Romeo and Juliet—1596

3. The Renaissance Rebirth of human learning and creativity Time of great explorers Humanism Weakening of the Catholic Church Education & literacy now status symbol Result of invention of printing press Mythology is favorite subject Nude body, as in ancient times, is shown Fascination w/ ancient Greece & Rome Visual art becomes more realistic

4. Chpt. 1: Music in the Renaissance Church choirs grew in size (all male) Musical center shifted from Church to courts Court composers wrote secular & sacred music Rise of the individual patron Musicians: higher status & pay than before Italy became music capital in 16 th Century Composers became known for their work Worked throughout Europe, especially in Italy Many composers were Franco-Flemish Other important centers: Germany, England & Spain

5. Words and Music Characteristics of Renaissance Music Polyphonic Instruments, if present, doubled the vocal parts Vocal music more important than instrumental Word painting/text painting Texture Primarily vocal-a cappella Rhythm and Melody Rhythm “flows” and overlaps Composers less concerned with metrical accents Smooth, stepwise melodies predominate Melodies overlap rhythmically between voices

6. Chpt 2: Sacred Music in the Renaissance Two main forms: Short polyphonic choral work Latin text usually overlaid with vernacular text Often borrows lowest voice part from a chant Motet Josquin Desprez Leading composer of his time—famous Mass—the Catholic worship service Long work that includes 5 main parts of service Kyrie Gloria Credo Sanctus Agnus Dei 1440-1521 (contemporary of Columbus & da Vinci)

7. Listening Ave Maria…virgo serena Josquin Desprez Vocal Music Guide: p. 109 Basic Set, CD 1:74 Brief Set, CD 1:56 Four voices Polyphonic imitation Overlapping voice parts

8. Palestrina Culmination of the Renaissance (1525-1594) Music director at St. Peter’s Worked primarily in Rome His work became the model for mass composers Worked during and after Council of Trent Wrote music meeting demands of Trent Council of Trent (1545-1563) addressed: Abuses & malpractice within Church Emerging Protestantism Role of music in worship Some advocated a return to monophonic music Finally decided on non-theatrical worship music

9. Ch. 3: Secular Music in the Renaissance Madrigal Extensive use of text painting Printed in part-book or opposing-sheet format Intended for amateur performers (after dinner music) English madrigal lighter & simpler Originated in Italy Printing

10. Listening As Vesta was Descending (1601) by Thomas Weelkes Vocal Music Guide: p. 115 Basic Set, CD 1:80 Brief Set, CD 1:62 Follow text (English) throughout song Note text painting: Pitches rise on “ascending” Pitches fall on “descending” “Running down” “Two by two,” “three by three,” “all alone”

11. Instrumental Music Still subordinate to vocal music Increasingly, instruments accompanied voices Sometimes played adapted vocal music alone Dancing became ever more popular during the Renaissance Published music stated that various parts of the music could be sung or played Purely instrumental music existed almost exclusively for dancing Distinction between loud outdoor instruments and softer indoor ones Composers did not specify instrumentation

12. Ch. 4: The Venetian School: From Renaissance to Baroque Giovanni Gabrieli and the Polychoral Motet Plaudite (Clap Your Hands) Vocal Music Guide: p. 121 Basic Set, CD 1:84