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Overview of Western Musical Development Through the Renaissance

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Overview of Western Musical Development Through the Renaissance Overview of Western Musical Development Through the Renaissance Plainchant- Monophony (also called Gregorian Chant, named for Pope Gregory I) Parallel Organum- Early Polyphony (ca. 900/1000) Organum contains a second line, counterpoint, added against the original plainchant. More advanced forms of organum were eventually developed, some with more than one voice of counterpoint added to the chant. Also, the counterpoint and later the chant itself set were in lively rhythms. The later advancements are associated with the Notre Dame “school” and composers such as Leonin and Perotin. Medieval Motet- Early Polyphony Motets were compositions, first in Latin then French with sacred poems, later secular texts, with the upper voices of the counterpoint carrying this text over a chant foundation. Ars Nova (“new art”)- Polyphony In the 14th century, new, intricate rhythms were added to the motet, such as isorhythms (Isorhythms – use of a reiterated scheme or pattern of a rhythm pattern to present a chant or chant fragment used as a cantus firmus foundation for a polyphony work). Composers associated with the Ars Nova include Philippe de Vitry (1291-1361) and Guillaume de Machaut (ca. 1300 – 1377). Renaissance (“rebirth”)- Polyphony and Early Homophony In the 15th century the homophony begins to develop in England with English discant and composers such as John Dunstable and with the French fauxbourdon and the Burgundian “school” and composers such as Guillaume Dufay (ca. 1400 – 1474) and Gilles Binchois (ca. 1400 – 1460). While English discant usually maintained the chant in the middle or lower voice of three voices, works by Dufay and Binchois tended to use a chant paraphrase in the upper voice of three voices (chant paraphrase- embellishments of the chant with extra pitches added and graceful rhythms added). Mass By the Renaissance, the Mass, the primary service of the Roman Catholic Church, had taken the form that it would maintain. Composers from the Middle Ages to the present composed music primarily for the Ordinary of Mass: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. “High Renaissance” By the high point of the Renaissance, there existed a mixture of imitative polyphony and homophony. Early polyphony had not been imitative as a general rule, but this period saw the development of imitative practices. Further, though chords were produced in early polyphony as the successive layers of contrapuntal lines stacked on each other and sounded simultaneously, chords were essentially a by-product of these contrapuntal lines. During the “High Renaissance,” composers, such as Josquin Desprez (ca. 1450 – 1521), while still composing independent lines of polyphony, intentionally created a rich chordal quality. In fact, composers even used pure homophony of “block chords” as contrast to sections of polyphony. Late Renaissance Into the 16th century, the Mass continued to be an important. However, this time period also saw the development of a new form of the motet. The Renaissance motet was a relatively short composition in Latin, made up of short sections of homophony and imitative polyphony. It texts were almost always religious, but it offered composers more freedom that the set texts of the Mass. Late Renaissance composers wanted make certain that the words of their compositions were clearly heard; consequently, declamation, making sure that the words were set to rhythms and melodies that approximated human speech, was important to these composers. Additionally, text or word painting, composers attempts to match their music to the “meaning” of the text, became and important element in compositions during this period. Italian Madrigal The madrigal is a short composition set to a one-stanza poem, usually a love poem. It is usually sung with one singer per part in imitative counterpoint, much like the music of the motet and Mass of the “High Renaissance.” But with secular words came a decisive change of emphasis: the points of imitation were shorter, and the imitation itself less strict; there was generally much more homophony; and the words assumed more importance, especially with the use of word painting. English Madrigal Though the music and text were closely paired, making translation to other languages difficult; nonetheless, the genre became popular in England as well. Instrumental Music Though the Renaissance is the era of words and music, one important development in the instrumental music is that of the dance, a reflection of the popularity of dancing at the time. .
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