1. By: Katelyn Gutierrez Period 6
The Renaissance
By:
Katelyn Gutierrez
Period 6

2. 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”

3. 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

4. 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

5. 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

6. The MAN

7. 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

8. 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

9. 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

10. 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

11. 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

12. 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

13. Stallone? NO.

14. 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

15. Carlo Gesuealdo da Venosa (1561-1613)
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)

16. Prince of Venosa Master of text painting techniques
Making use of extreme dissonances, chromatic passages, dramatic melodic and harmonic leaps, and other non- conventional techniques
There are a handful of sacred compositions

17. 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

18. EMO