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Middle Ages and Renaissance

Middle Ages and Renaissance. Worldview, Music. Medieval World: 476-1475. Church is the center of life and thought Music, sacred and secular, is mostly monophonic ( monophony) . Terms: reciting tone, melisma, syllabic, plainchant, Divine Office

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Middle Ages and Renaissance

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  1. Middle Ages and Renaissance Worldview, Music

  2. Medieval World: 476-1475 • Church is the center of life and thought • Music, sacred and secular, is mostly monophonic (monophony). • Terms: reciting tone, melisma, syllabic, plainchant, Divine Office • Listening example: Anonymous, In Paradisum, 9th century • Listening example: Hildegard of Bingen, Columba aspexit, 12th century

  3. Painting: Madonna and Child Enthroned, c. 1270, Margaritonedi Arezzo c. 1216-1290).For a painting in the 13th century, this painting, with its stylized, two-dimensional character, is remarkably like Byzantine art from earlier times.

  4. Medieval Court Music • Secular composers for the voice: • Troubadours, S. France • Trouveres, North France • Minnesingers Germany • Listening Example: Bernard de Ventadorn, La dousavotz, 12th century, troubadour

  5. Divine Office • Part of the liturgy • A series of 8 daily church services, approx. 3 hours apart, in which the Psalms were sung. • Unaccompanied • Plainchant (at least in the Middle Ages)

  6. The Mass • Kyrie—a sung simple prayer 3-part, or ternary, form • Gloria—a long hymn • Credo—a recitation of beliefs • Sanctus—a shorter hymn • Agnus Dei—a sung simple prayer

  7. Organum • The addition of another voice to monophonic plainchant, usually at perfect interval such as the fourth or fifth, in parallel motion. • Organum is an early form of polyphony • Example: Perotin, Alleluia, Diffusaest gratia c. 1200 (p. 58textbook; CD 1:4 of 6-CD set).

  8. The early motet • After 1200, music starts to break away from a church-only focus. • Motet: from the French word “mot” for the many words in the upper voices. Polyphonic. • A fragment of plainchant is repeated many times in the lowest voice. Other voice parts layer in over top, each with its own words, many secular. • Isorhythm—a short rhythmic pattern which is repeated many times, but on different pitches.

  9. Ars Nova • The complex polyphony of the late Medieval period is described as the “new art” (ars nova) of the fourteenth century. • The motet continues to develop as an important genre. • Organum is now considered to be “ancient art” (arsantiqua).

  10. In music, the ars nova broke from the use of plainchant and organum (the arsantigua), and moved to more complex polyphonic forms. Similarly, Giotto Giotto di Bondone (1266 or 1267- to 1337) broke from the Byzantine tradition of stylized, two-dimension icons, moving toward a more representation style of painting.

  11. Late Medieval Polyphony • Listening Ex. Guillaume de Machaut (c. 1300-1377), Chanson, Dame de qui toute me joie vient, 14th century. Machaut was a leading composer of the ars nova period in non-imitative polyphony • Form: a a b (binary); 3 stanzas, same music for first two, new music for third stanza • melismatic

  12. Renaissance Music:1475-1600 • Worldview: while the Church is still highly influential, discoveries and new developments in the arts and sciences • Composers use the Mass in new ways, with paraphrase, and imitative polyphony • The melodies paraphrased in the Mass could be sacred, from a hymn, or borrowed from secular tunes. Chant becomes the main melody. • Homophony emphasizes the text

  13. The Magdalen, portrait (c. 1525) by Bernardino Luini, c. 1480-1532This portrait reflects the Renaissance concern with the individual

  14. Renaissance Music, cont. • Listening examples: • Guillaume Dufay (c. 1400-1474), 15th century, Ave Maris Stella; stanzas of plainchant alternate with homophony • JosquinDepres (c. 1450-1521), Kyrie from the Pange Lingua Mass. Early 16th century—early high Renaissance. 3-part form due to the text. This is a parody mass (uses paraphrase of an existing song)

  15. Portrait of a Humanist (c. 1520), by Sebastiano del Piombo (1485-1547), a painter of the high Renaissance

  16. (Late) High Renaissance • Giovanni Pierluigi da Palestrina, (1525-1594) • Listening Ex. Gloria from the Pope Marcellus Mass: homophony • Listening ex. Thomas Weelkes, (c. 1575-1623), madrigal, As Vesta Was from Latmos Hill Descending: secular, sections of homophony alternate with sections of imitative polyphony, word painting

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