music APPRECIATION - WEEK 5
Primary Focus: Music and composers of the Renaissance Period (Madrigals, Dances, des Prez, Palestrina, Gabrieli, Venitian School, Elizabethan Era)
(EBOOK: Chapters 16-18)
(EBOOK: Chapters 16-18)
lecture_notes_e.pdf | |
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medieval_timeline.pdf | |
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medieval_ren_outline.pdf | |
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medieval_ren_baroque_art.pdf | |
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St. Mark's Square in Venice, Italy. Note the many balconies in close proximity of each other, overlooking extremely narrow streets and serene waterways -- a perfect environment for the antiphonal multiple polyphonic choirs prominent in the music of composers of the Venetian school such as Giovanni Gabrieli in the Renaissance period.
Topic for Discussion: "HISTORICAL LISTENING"
MUSICAL EXAMPLES | ||
Guillaume de Machaut Motet; note the relative "confusion" of multiple and different lines of text. | ||
Guillaume Dufay (1397 - 1474); Kryie from his Missa L'homme arme mass (late 1400's); this mass was based on a popular secular tune of the time which was used as a theme in numerous masses of the period. | ||
Josquin des Prez (1450 - 1521): Ave Maria...virgo serena Early Renaissance polyphonic motet (c. 1480s) in Latin (with brief moments of homophonic chordal texture). |
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Palestrina (1525 - 1594): Pope Marcellus Mass, Gloria Renaissance Gloria from a Mass ordinary (1567) demonstrating refined polyphonic/homophic textures with clearly defined phrases. |
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Arcadelt (1507 - 1568): Il bianco e dolce cigno Italian madrigal from the Renaissance period (1538). |
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John Farmer (1570 - 1603): Fair Phyllis |
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Tielman Susato (1510 - 1570): Three Dances (1551) Instrumental dances from the Renaissance period.
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Giovanni Gabrieli (1554 - 1612), Canzoni XV for brass (Italian polyphonic instrumental chansons, composed at the very end of the Renaissance Period/beginning of the Baroque Period); note the potential for antiphonal choirs (separated brass ensembles) performing in a rich and refined polyphonic texture -- relatively unique to the Venetian School of composers. | ||
Canzon VIII a 4, by Claudio Merulo (1533 - 1604), a relatively obscure but typical instrumental polyphonic piece from the Venetian school in the 16th century; this example is actually played on authentic instruments of the period: crumhorn, shawm, two sacbuts, and organ, in a beautiful Italian church setting. |