4.6 Supplemental Readings
Supplemental Readings
Music: Renaissance Music
Characteristics of Renaissance Music include a steady beat, balanced phrases (the same length), polyphony (often imitative), increasing interest in text-music relationships, Petrucci and the printing of music, and a growing merchant class singing/playing music at home. Word painting was utilized by Renaissance composers to represent poetic images musically. For example, an ascending me- lodic line would portray the text “ascension to heaven.” Or a series of rapid notes would represent running.
Art music in the Renaissance served three basic purposes: (1) worship in both the Catholic and burgeoning Protestant Churches, (2) music for the entertainment and edification of the courts and courtly life, and (3) dance music. Playing musical instruments became a form of leisure and a significant, valued pastime for every educated person. Guests at social functions were expected to contribute to the eve- ning’s festivities through instrumental performance. Much of the secular music in the Renaissance was centered on courtly life. Vocal music ranged from chansons (or songs) about love and courtly intrigue to madrigals about nymphs, fairies, and, well, you name it. Both chansons and madrigals were often set for one or more voices with plucked-string accompaniment, such as by the lute, a gourd-shaped instrument with frets, raised strip on the fingerboard, somewhat similar to the modern guitar.
A madrigal is a musical piece for several solo voices set to a short poem. They originated in Italy around 1520. Most madrigals were about love. Madrigals were published by the thousands and learned and performed by cultured aristocrats. Similar to the motet, a madrigal combines both homophonic and polyphonic textures. Unlike the motet, the madrigal is secular and utilizes unusual harmonies and word painting more often. Many of the refrains of these madrigals utilized the text “Fa La” to fill the gaps in the melody or to possibly cover risqué or illicit connotations. Sometimes madrigals are referred to as Renaissance Fa La songs.
A volume of translated Italian madrigals were published in London during the year of 1588, the year of the defeat of the Spanish Armada. This sudden public interest facilitated a surge of English madrigal writing as well as a spurt of other secular music writing and publication. This music boom lasted for thirty years and was as much a golden age of music as British literature was with Shakespeare and Queen Elizabeth I. The rebirth in both literature and music originated in Italy and migrated to England; the English madrigal became more humorous and lighter in England as compared to Italy.
Renaissance music was mostly polyphonic in texture. Comprehending a wide range of emotions, Renaissance music nevertheless portrayed all emotions in a balanced and moderate fashion. Extreme use of and contrasts in dynamics, rhythm, and tone color do not occur. The rhythms in Renaissance music tend to have a smooth, soft flow instead of a sharp, well-defined pulse of accents.
Composers enjoyed imitating sounds of nature and sound effects in their compositions. The Renaissance period became known as the golden age of a cappella choral music because choral music did not require an instrumental accompaniment.
Instrumental music in the Renaissance remained largely relegated to social purposes such as dancing, but a few notable virtuosos of the time, including the English lutenist and singer John Dowland, composed and performed music for Queen Elizabeth I, among others.
Dowland was a lutenist in 1598 in the court of Christian IV and later in 1612 in the court of King James I. He is known for composing one of the best songs of the Renaissance period, Flow, my Teares. This imitative piece demonstrates the melancholy humor of the time period. Dowland’s Flow, My Teares may be heard at https://www.youtube.com/watch?v=jkRrzAo9Wl4. For more information on Dowland, and lyrics to Flow My Tears, go to genius.com/John-dowland- flow-my-tears-annotated.
The instruments utilized during the Renaissance era were quite diverse. Local availability of raw materials for the manufacture of the instrument often deter- mined its assembly and accessibility to the public. A renaissance consort is a group of renaissance instrumentalists playing together. A whole consort is an ensemble performing with instruments from the same family. A broken consort is an ensemble comprised of instruments from more than one family.
The Motet
The motet, a sacred Latin text polyphonic choral work, is not taken from the ordinary of the mass. A contemporary of Leonardo da Vinci and Christopher Co- lumbus, Josquin des Prez was a master of Renaissance choral music. Originally from the region that is today’s Belgium, Josquin spent much of his time serving in chapels throughout Italy and partly in Rome for the papal choir. Later, he worked for Louis XII of France and held several church music directorships in his native land. During his career, he published masses, motets, and secular vocal pieces, and was highly respected by his contemporaries.
Josquin’s “Ava Maria …Virgo Serena”(“Hail, Mary … Serene Virgin”) ca. 1485 is an outstanding Renaissance choral work. A four part (Soprano, Alto, Tenor, Bass) Latin prayer, the piece weaves one, two, three and four voices at different times in polyphonic texture.
Video URL: https://youtu.be/LUAgAF4Khmg?si=osLxlYwR4UhB2Vfv
- Composer: Josquin du Prez
- Composition: Ava Maria.. Virgo Serena
- Date: c 1485, possibly his earliest dated work
- Genre: motet
- Form: through composed sections
- Performing forces: four part choir
- What we want you to remember about this composition:
- The piece is revolutionary in how it presented the imitative weaving of melodic lines in polyphony. Each voice imitates or echoes the high voice (soprano).
- After the initial introduction to Mary, each verse serves as a tribute to the major events of Mary’s life—her conception, the nativity, annunciation, purification, and assumption.
Music of Catholicism—Renaissance Mass
In the sixteenth century, Italian composers excelled with works comparable to the mastery of Josquin des Prez and his other contemporaries. One of the most important Italian Renaissance composers was Giovanni Pieruigi da Palestrina (c. 1525-1594). Devoting his career to the music of the Catholic Church, Palestrina served as music director at St. Peter’s Cathedral, composed 450 sacred works and 104 masses. His influence in music history is best understood with a brief background of the Counter-Reformation.
Protestant reformists like Martin Luther and others, sought to correct malpractices and abuses within the structure of the Catholic Church. The Reformation began with Martin Luther and spread to two more main branches: The Calvinist and The Church of England. The protestant reformists challenged many practices that benefitted only the church itself and did not appear to serve the lay members (parishioners). A movement occurred within the church to counter the protestant reformation and preserve the original Catholic Church. The preservation movement or “Counter-Reformation” against the protestant reform led to the development of the Jesuit order (1540) and the later assembling of the Council of Trent (1545-1563) which considered issues of the church’s authority and organizational structure. The Council of Trent also demanded simplicity in music in order that the words might be heard clearly.
The Council of Trent discussed and studied the many issues facing the Catholic Church, including the church’s music. The papal leadership felt that the music had gotten so embellished and artistic that it had lost its purity and original meaning. It was neither easily sung nor was its words (still in Latin) understood. Many accused the types of music in the church as being theatrical and more entertaining rather than a way of worship (something that is still debated in many churches today). The Council of Trent felt melodies were secular, too ornamental, and even took dance music as their origin. The advanced weaving of polyphonic lines could not be understood, thereby detracting from their original intent of worship with sacred text. The Council of Trent wanted a paradigm shift of religious sacred music back toward monophonic Gregorian chant. The Council of Trent finally decreed that church music should be composed to inspire religious contemplation and not just give empty pleasure to the ear of the worshipper.
Renaissance composer Palestrina heeded the recommendations from The Council of Trent and composed one of the period’s most famous works, “Missa Papae Marcelli” (Pope Marcellus Mass). Palestrina’s restraint and serenity reflect the recommendations of The Council of Trent. The text, though quite polyphonic, is easily understood. The movement of the voices does not distract from the sacred meaning of the text. Through history, Palestrina’s works have been the standard for their calmness and quality.
Video URL: https://youtu.be/oeLIgzAe5sI?si=BVxZZgJ57wz81wIL
- Composer: Giovanni Pieruigi da Palestria
- Composition: “Missa Papae Marcelli” (Pope Marcellus Mass)- 1. Kyrie
- Date: c 1562
- Genre: Choral, Kyrie of Mass
- Form: through-composed (without repetition in the form of verses, stanzas, or strophes) in section
- Nature of text: Latin text/English translation
Kyrie eleison, Lord have mercy,
Christe eleison, Christ have mercy,
Kyrie eleison, Lord have mercy,
- Performing forces: unknown vocal ensemble
- What we want you to remember about this composition:
- Listen to the polyphony and how the voices move predominantly stepwise after a leap upward. After initial voice begins the piece, the other voices enter imitating the initial melody and then continue to weave the voices as more enter. Palestrina’s mass would come to represent proper counterpoint/polyphony and become the standard for years to come.
Music of the Protestant Reformation
As a result of the Reformation, congregations began singing strophic hymns in German with stepwise melodies during their worship services. This practice enabled full participation of worshipers. Full participation of the congregations’ members further empowered the individual church participant, thus contributing to the Re-renaissance’s Humanist movement. Early Protestant hymns stripped away contrapuntal textures, utilized regular beat patterns, and set biblical texts in German.
Instead of a worship service being led with a limited number of clerics at the front of the church, Luther wanted the congregation to actively and fully participate, including in the singing of the service. Since these hymns were in German, members of the parish could sing and understand them. Luther, himself a composer, composed many hymns and chorales to be sung by the congregation during worship, many of which Johann Sebastian Bach would make the melodic themes of his Chorale Preludes 125 years after the original hymns were written. These hymns are strophic (repeated verses as in poetry) with repeated melodies for the different verses. Many of these chorales utilize syncopated rhythms to clarify the text and its flow (rhythms). Luther’s hymn “A Mighty Fortress” is a good example of this practice. The chorales/hymns were usually in four parts and moved with homophonic texture (all parts changing notes in the same rhythm). The melodies of these four-part hymn/chorales used as the basis for many chorale preludes per- formed on organs prior to and after worship services are still used today.
Video URL: https://youtu.be/hVN0CIcqRYs?si=cBQ4oVOqz3_d9tBw
- Composer: Marin Luther
- Composition: “A Mighty Fortress Is Our God”
- Date: c 1592
- Genre: Four-Part homophonic church anthem. This piece was written to be sung by the lay church membership instead of just by the church leaders a was practiced prior to the Reformation.
- Form: Four part Chorale, Strophic
- Nature of text: Originally in German so it could be sung by all church attendees.
Translation:
Translated from original German to English by Frederic H. Hedge in 1853.
A mighty fortress is our God, a bulwark never failing;
Our helper He, amid the flood of mortal ills prevailing: For still our ancient foe doth seek to work us woe;
His craft and power are great, and, armed with cruel hate, On earth is not his equal.
Did we in our own strength confide, our striving would be losing; Were not the right Man on our side, the Man of God’s own choosing: Dost ask who that may be? Christ Jesus, it is He;
Lord Sabaoth, His Name, from age to age the same,
And He must win the battle.
And though this world, with devils filled, should threaten to undo us, We will not fear, for God hath willed His truth to triumph through us: The Prince of Darkness grim, we tremble not for him;
His rage we can endure, for lo, his doom is sure,
One little word shall fell him.
That word above all earthly powers, no thanks to them, abideth;
The Spirit and the gifts are ours through Him Who with us sideth: Let goods and kindred go, this mortal life also;
The body they may kill: God’s truth abideth still,
His kingdom is forever.
- What we want you to remember about this composition:
- Stepwise melody, Syncopated rhythms centered around text
Entertainment Music of the Renaissance
Royalty sought the finest of the composers to employ for entertainment. A single court, or royal family, may employ as many as ten to sixty musicians, singers, and instrumentalists. In Italy, talented women vocalists began to serve as soloists in the courts. Secular pieces for the entertainment of nobility and sacred pieces for the chapel were composed by the court music directors. Musicians were often transported from one castle to another to entertain the court’s patron, traveling in their patron’s entourage.
The Renaissance town musicians performed for civic functions, weddings, socials, and religious ceremonies/services. Due to market, that is, the supply and demand of the expanding Renaissance society, musicians experience higher status and pay unlike ever before. The Flanders, Low Countries of the Netherlands, Belgium, and northern France became a source of musicians who filled many important music positions in Italy. As in the previous era, vocal music maintained its important status over instrumental music.
Germany, England, and Spain also experienced an energetic musical expansion. Secular vocal music became increasingly popular during the Renaissance. In Europe, music was set to poems from several languages, including English, French, Dutch, German, and Spanish. The invention of the printing press led to the publication of thousands of collections of songs that were never before available. One instrument or small groups of instruments were used to accompany solo voices or groups of solo voices.
With the rebirth of the Renaissance, came a resurgence of the popularity of dance. This resurgence led to instrumental dance music becoming the most widespread genre for instrumental music. Detailed instruction books for dance also included step orders and sequences that followed the music accompaniment.
The first dances started, similar to today’s square dances, soon evolved into more elaborate and unique forms of expression. Examples of three types of Renaissance dances include the pavanne, galliard, and jig.
The pavanne is a more solemn stately dance in a duple meter (in twos). Its participants dance and move around with prearranged stopping and starting places with the music. Pavannes are more formal and used in such settings.
The galliard is usually paired with a pavanne. The galliard is in triple meter (in threes) and provides an alternative to the rhythms of the pavane. The jig is a folk dance or its tune in an animated meter. It was originally developed in the 1500s in England. The instrumental jig was a popular dance number. Jigs were regularly performed in Elizabethan theatres after the main play. William Kemp actor, song and dance performer, and a comedian, is immortalized for having created comic roles in Shakespeare. He accompanied his jig performances with pipe and tabor and snare drum. Kemp’s jig started a unique phrasing/cadence system that carried well past the Renaissance period.
Video URL: https://youtu.be/YWO2UWOrV2o?si=iLGbOCpqRkRkMlDi
- Composer: unknown by was performed by William Kemp. The piece became known as Keim’s Jig
- Composition: “Kemp’s Jig”
- Date: late 1500
- Genre: jig (dance instrumental piece)
- Performing forces: solo lute
- What we want you to remember about this composition:
- A jig is a light folk dance. It is a dance piece of music that can stand alone when played as an instrumental player. This new shift in instrumental music from strictly accompaniment to stand alone music performances begins a major advance for instrumental music.
- Will Kemp was a dancer and actor. He won a bet that he could dance from London to Norwich (80 miles). “Kemps Jig” was written to celebrate the event.
This piece of dance music is evolving from just a predictable dance accompaniment to a central piece of instrumental music. Such alterations of dance music for the sake of the music itself are referred to as the stylization of dance music that has carried on through the centuries.