Renaissance
1450-1600
Important People

Shakespeare (1564-1616)

Copernicus (1473-1543)

Magellan (1480-1521)

Leonardo da Vinci (1452-1519)
Leonardo da Vinci
Printing Music!!!

Printing from movable type

C. 1450: “Gutenberg Bible”

Ottaviani Petrucci (Venice): first to
apply this concept to music

1501: 3 impressions (staff, notes,
text)

1520: 1 impression
Renaissance Music

Smoother, more homogenous sound

Texture: Homophony with “points of imitation” (counterpoint)

Instrumental music gradually gains in importance (more of this music is
preserved)

Gradual use of greater chromaticism

New tuning systems evolve

More expressive music and text more closely aligned
English Music in the 1400s

English music always tended towards homophony & a feeling of “sweeter”
tonality

More use of 3rds and 6ths

Carol: religious poem set in popular style

Alternates between 2 and 3 voice texture

When two voices: lots of parallel 6th
John Dunstable (c. 1390- December 24,
1453)

Most important English composer
of this era

His style: important influence on
European composers (He worked in
both France and England)

Wrote: Isorhythmic Motets,
Settings of the Ordinary of the
Mass, other sacred & secular
compositions

Quam pulchra es: Homorhythmic
and Triadic
Guillaume Dufay (c. 1397-1474)

Most famous composer of the era

Born near Brussels

Illegitimate son of a priest & an
unmarried woman

Worked in Italy & ended up as
Canon of Cathedral in Cambria (NE
France)

Wrote: masses, isorhythmic,
motets, rondeau, ballades, secular
songs
“Burgundian” Masses

Cantus Firmus Masses:

Use the same melody in the tenor of each movement of the Ordinary of the Mass

Tenor: could be chant OR the tenor of polyphonic secular song

If the tenor was from a polyphonic song, the mass would often be called by the
title of the song.

Thus Mass L’ homme arme

Tenor: would be written in relatively long note values and could receive
isorhythmic treatment, except when it comes from a popular song in which case it
will retain the original rhythm, often in prolonged note values

SATB

Tends towards fauxbourdon textures

Example: Ballade- Se la face ay pale; missa Sa la face ay pale
Josquin des Prez (c. 1450-1521)

Born in N. France (near Belgium) (in
land controlled by the Dukes of
Burgundy)

1470s: Worked for Duke Anjou

Moved to Italy

Worked for Sforza family, rulers of
Milan, in 1480s

1489-1495: Member of the Papal
Choir

1501-03: Worked for King Louis XII of
France

1504: Provost of Church of Notre
Dame in native region (Conde sur
l’Escaut)
Josquin des Prez Music

Motets

Chansons (including instrumental works)

Masses

“Imitation” Mass (Imitating a pre-existing work) (“Parody Mass”)

“Paraphrase” Mass: paraphrasing (using) pre-existing melodies in all four voices

Homophonic sections alternate with imitative sections

Use of “text depiction” (word painting) and “text expression” (overall mood)
Reformation

Started with Martin Luther (1489-1546)

Monk, priest, and “Doctor of the church”
(taught at University of Wittenburg)

Posted his “95 Thesis” on the door of a
Church (initially, primarily opposed to the
sale of “indulgences”) on October 31, 1517

Ultimately, came into conflict with the
Pope and was excommunicated in 1521

This lead to the formation of the Lutheran
Church and the beginning of Protestantism
(“Reformation”), which spread rapidly,
especially throughout Northern Europe.

Developed the Lutheran theology which
departed from Catholicism in a number of
ways

Translated the Bible into the vernacular

Wrote music that encouraged
congregational singing
Early Lutheran Church

Retained much of Latin chant &
polyphony

Some of the Latin: translated into
German

German Mass: Published by Luther
in 1526
Lutheran Chorale

Most important (musical) innovation of the Lutheran Church

Originally, just a text and a tune (monophonic)

Intended for congregational singing

Strophic

In German

Simple rhythms (Syllabic)

Many text & some melodies written by Luther himself

“Ein Feste Burg:” one of the most famous

Also, “Nun Komm, der Heiden Heiland”
Reformation Music Outside Germany

Calvin & other Protestant sects opposed Catholic liturgy, ceremony,
and music much more than the Lutherans

Prohibited singing any texts or hymns

Notable musical contribution: Psalter (Psalms used as texts for hymns)
Protestant Church in England

England separates from Rome: 1534

Orlando Gibbons (1583-1625)

William Byrd (1540-July 4, 1623)
William Byrd

English composer

Remained a Catholic, wrote for both
Catholic & Anglican Churches

Post with Chapel Royal

In contact with the English court:
Queen Elizabeth (1533-1603; Reigned
from 1558-1603): Moderate Protestant;
enjoyed elaborate ritual & music

Very influential composer

Wrote 470 works

Songs, Madrigals, Masses, Anglican
Church Music, Instrumental Music
(Consort Music)

Students included Thomas Morley &
Thomas Tomkins

Example: Sing joyfully unto God
Italian Madrigal

Most important genre of Italian secular music in the 16th century

Originated in Italy in the 1520s

Characteristics

Through composed

Sung at aristocratic gatherings

For mixed voices (Female and Male)

Texts were poems of serious nature (Petrarch)

In 4 and later 5 and 6 parts

Intended for performance with one on a part

Instruments could double or substitute for one or more parts
Cipriano de Rore (1516-1565)

Franco-Flemish composer who
worked in Italy

Leading Madrigalist of his
generation

Also wrote Masses &
Motets/worked at St. Mark’s
Cathedral in Venice

Taught by Franco-Flemish
composer Jacob (Jacques) Arcadelt
Instrumental Genres

Dance Music

Arrangements of vocal music

Settings of existing melodies

Variations

Abstract instrumental works
Instrumental Usage

Instruments often used in “blended” ensembles of matching instruments of
varying sizes

Notion of a “family” of instruments playing together: “Consort” of
instruments


Example: used for banquets
Notion also of “loud” (“haut”) vs. soft (“bas”) instruments

Example: used for Queen Elizabeth going to sleep
Lute Family
Instrument Families
Crumhorn Family
Viola da Gamba Family
Recorder Family
Other Instruments
Vihuela
Sackbut
Virginal
Giovanni Pierluigi da Palestrina (1525/61594)

Probably born in Palestrina (n. Rome)

Organist & choirmaster at Cathedral in Palestrina (1544-1550)

1550: Bishop at Palestrina: elected Pope (became Pope Julius III): 1550-1555

Palestrina’s first & most influential patron

Brought Palestrina to Rome

1551: Appointed to Julian Chapel, Rome

1555: Admitted to Papal Chapel

1555: Next Pope: Pope Marcellus, who only reigned for 6 weeks

Palestrina ultimately dedicated one of his masses to this Pope: the “Pope
Marcellus Mass” that reputedly “saved” polyphony for the church

Stays in Rome for the rest of his life, positions at Julian Chapel & other
churches in Rome

1580: Wife died of the plague

1581: Married a wealthy widow; continued to compose, publish his music, etc.

Commissioned to revise official chant books in line with recommendations
from Council of Trent

Wrote 104 Masses, over 300 Motets, many other scared liturgical works

Early in his life, also wrote some secular madrigal
Palestrinian Style

Known as the “Stile autico” or “Stile Palestrina:” imitated, studied, and held
as a model by many successive generations

Used cantus firmus for a few of his compositions

Tends towards 4 rather than 5 or 6 parts

Avoids chromaticism

Step-wise motion in voices (“chant-like”)

Flowing melodies

Dissonances resolved

Rhythmic flow: gently marked feeling of cut time or common time

Very transparent texture

Use of homorhythm/imitation

Text expression/text depiction
Council of Trent

Catholic Church’s way of dealing
with Reformation

Referred to as the “CounterReformation”

Music had too much congregational
singing, couldn’t understand the
words, and there were instruments
and chromaticism

Thought about going back to
chanting

Palestrina’s “Pope Marcellus Mass”
saved polyphonic music