Transcript Slide 1

Concise History of
Western Music
5th edition
Barbara Russano Hanning
Prelude II
The Age of the
Renaissance
TIMELINE
© 2014 W. W. Norton & Company, Inc.
Europe in the Renaissance
Renaissance (French for “rebirth”)
• aim: restore learning, ideals, and values of ancient
Greece and Rome
• introduction of new technologies
End of long-standing conflicts
• Hundred Years’ War between English and France
ends, 1453
• end of Byzantine Empire: Constantinople fell to
Turks, 1453
• rise of western Europe as a world power
Europe in the Renaissance (cont’d)
End of long-standing conflicts (cont’d)
• European expansion beyond Mediterranean and
northern Atlantic
European economy stabilized around 1400
• increased trade, towns and cities prosper
• middle class grew in numbers and influence
• rulers glorify themselves
 impressive palaces and country houses
 lavish entertainment, support talented musicians
Europe in the Renaissance (cont’d)
Renaissance in Italy
• geography
• commercial dominance
 trade with Byzantium
 wealthy families
 ecclesiastical culture
• citizens accumulate wealth through commerce,
banking, crafts
 personal fulfillment, priority to early matters
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Europe in the Renaissance (cont’d)
Rediscovery of ancient texts
• Ottoman attacks: Byzantines flee to Italy with
ancient Greek manuscripts
• Greek classics translated into Latin for the first time
Humanism
• humanism: strongest intellectual movement of the
Renaissance
• study of humanities, things pertaining to human
knowledge
• humanists revive ancient learning
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Europe in the Renaissance (cont’d)
Humanism (cont’d)
 grammar, rhetoric, poetry, history, moral philosophy
 developed individual’s mind, spirit; prepared for lives of
virtue and service
• humanistic studies replaced Scholasticism; emphasis
on logic
• the church borrowed from classical sources,
supported humanists
Renaissance Art and Architecture
Revival of classical antiquity
• naturalism and idealized beauty
• nudity shows beauty of human figure
• nakedness in Middle Ages implied shame
Painting and architecture
• natural and realistic effects in painting
 perspective: method for representing three-dimensional
space on flat surface
• clarity and classical models in architecture
 clean lines contrast markedly with Gothic decoration
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Renaissance Art and Architecture
(cont’d)
Musical parallels
• expanded range: pitch, contrasts in register, fuller
textures
• rising significance of composers as individual artists
The Musical Culture of the
Renaissance
Reawakened interest in Greek theory
• recovery of ancient music treatises, translated to Latin
 Aristides Quintilianus, Claudius Ptolemy, Cleonedes, and
Euclid
 passages by Plato and Aristotle on music
• power of the modes
 Plato and Aristotle: various modes had different ethical
features
 Renaissance composers chose mode based on emotions
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FII-05
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The Musical Culture of the
Renaissance (cont’d)
Reawakened interest in Greek theory (cont’d)
• Swiss theorist Heinrich Glareanus (1488–1563):
Dodekachordon (The Twelve-String Lyre, 1547)
 added four new modes, used ancient Greek names
 Aeolian and Hypoaeolian, Ionian and Hypoionian
 reconciled theory of modes with current practice
Music and words
• poetry and music are inseparable
• common expressive goal
The Musical Culture of the
Renaissance (cont’d)
Music and words (cont’d)
• increasing attention to rhythm of speech, natural
accentuation of syllables
• grammatical structure of text shaped musical setting
Music printing
• development of printing press, ca. 1450
• wider dissemination of written music
The Musical Culture of the
Renaissance (cont’d)
Court chapels established
• hired musicians and clerics
• members of chapel served as performers, composers,
scribes
• furnished music for church services and secular
entertainments
Patronage and the training of musicians
• music education
 composers were trained as choir boys
 choir schools taught singing, music theory, basic theology,
and other subjects
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FII-07
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The Musical Culture of the
Renaissance (cont’d)
Patronage and the training of musicians (cont’d)
 only male children allowed in choir
 nuns received education in convents
 cities with renowned music training: Cambrai, Bruges,
Antwerp, Paris, Dijon, and Lyons
 sixteenth century: Rome and Venice centers for musical
training
 courts employed instrumentalists
 minstrels or families of musicians, trained in apprentice system
 included other duties: servants, administrators, clerics, or church
officials
The Musical Culture of the
Renaissance (cont’d)
Patronage and the training of musicians (cont’d)
• patronage for music
 rulers competed for best composers and performers
 displayed wealth and power
 notable patrons: Medici family, Sforza family, court of
Ferrara under the Este family, Isabella d’Este at the court
of Mantua
The Musical Culture of the
Renaissance (cont’d)
Cosmopolitan musicians and the international
style
• presence at court of musicians from many lands
 learn styles and genres from other regions
• mobility among musicians: dissemination of new
genres
• development of international style: synthesis of
English, French, Burgundian, and Italian traditions
• new repertories of vernacular song
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Concise History of Western Music, 5th edition
This concludes the Lecture Slide Set
for Prelude II
by
Barbara Russano Hanning
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