The History of Renaissance Music

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Musical Characteristics

and Burgundian Schools

3-part polyphony Melodic and rhythmic interest in top voice Solo songs with textless instrumental parts below Melodic progression characterized by numerous thirds Use of triple meter Homophonic polyphony (chordal or familiar style) Fauxbourdon (Burgundian) and English Descant Landini cadence still common Imitation used infrequently Cantus firmi used less frequently than Franco-Flemish music Secular continued with polytextuality

Franco Flemish Style

Franco-Flemish (or Netherlands) style spread throughout Europe in the 15th and 16th centuries Exemplified, dignified and sophisticated musical techniques 4-part writing (added part below the tenor, melody on top, created conventional parts: superius altus tenor bassus Use of complete triads Balanced polyphony - stylistic equality among parts Development of contrapuntal techniques Imitation Augmentation Diminution Retrograde Inversion Imitation important New types of canon Pairing of voices (duet style) Use of combined styles within the same piece (alteration of chordal and contrapuntal passages) Fauxbourdon and Landini cadences disappeared Authentic and plagal cadences most common musica reservata initiated by composers

National Schools (Roman, Spanish, Venetian, English)

Continued spread of Franco-Flemish style throughout Europe Development of other national schools Vocal polyphony attained the highest level of perfection Highest development of a cappella for church music Vocal style was dominant, but independent instrumental styles were beginning to emerge Religious music was still the dominate over secular music, but this was decreasing Religious music still dominated by the Roman Catholic Church, but protestant music began to increase in Germany, France and England Secular music increased in importance under the patronage system of the nobility Major/minor tonality gaining in importance, but modality still influenced both sacred and secular music Development of music printing Triad is the basic unit of composition Dissonances were prepared and resolved Generally balanced polyphony with equality of parts Use of both homophonic and contrapuntal textures in same piece Use of cori spezzati

Secular Music

Gaining in importance because of: Growing spirit of secularization Patronage System of the nobility Flourishing of poetry Intended as entertainment for amateur performers Composed and performed as chamber music for small ensembles Italian secular music influenced the French, German and English secular schools 1565 - the use of castrati emerged as a way to preserve the sound of a women's voice in Italian music since St. Paul's dictum prohibited women from performing on stage or in churches 1588 - the English Madrigal School is firmly established, led by Thomas Morley, and produces some of the most delightful secular music concerning love and/or grief 1590-1604 - The camerata was established by Count Giovanni de Bardi

Roman Catholic Music

Use of both homophonic and contrapuntal textures in same piece Equality of parts 5-part texture most common, but ranged from 3- to 8-parts or more Triad is basic unit of composition Treatment of dissonant intervals was strict and limited to a few devices passing tones neighboring tones anticipations suspensions cambiatas Music was written a cappella, although instruments were most likely used in performance mostly diatonic, but chromaticism began to appear Continued use of Latin, but some places outside Italy began to use the vernacular 1562 - Pope Pius IV's Counter-Reformation 1574 - use of castrati became common and were used in the Sistine Chapel choir

Protestant Music

Germany The chorale was the most important new musical contribution of the Lutheran Reformation Chorales at first were monophonic, then set in simple 4-part harmony with chorale melody in the uppermost voice France Biblical psalms were translated into French verse Unison congregational singing England The Anglican Church adapted many of the styles of the Roman Catholic Church The Anglican Service took the place of the Catholic Mass Anglican chant was largely based on Catholic plainsong English text was used in place of Latin Metrical organization was given to the melodies