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Chapter 2: Sacred Music

Chapter 2: Sacred Music. Journal Entry #7 What does a cappella music offer the listener that instrumental music doesn’t? Turn in entries #5, #6 and #7 when done. CHARACTERISTICS, continued from yesterday…. What SHMRFT traits can you fill in so far? Text Painting?

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Chapter 2: Sacred Music

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  1. Chapter 2: Sacred Music Journal Entry #7 What does a cappella music offer the listener that instrumental music doesn’t? Turn in entries #5, #6 and #7 when done.

  2. CHARACTERISTICS, continued from yesterday… • What SHMRFT traits can you fill in so far? • Text Painting? • No extreme dynamic contrast? • Little tone color contrast? • Little rhythmic contrast?

  3. CHARACTERISTICS, cont… • Texture • Polyphonic • 4, 5, or 6 voices, nearly equal melodic interest • Imitation • Each voice presents the same melodic idea in turn (as in a round) • Some homophonic texture is used, especially in light music, dances

  4. CHARACTERISTICS, cont… • Fuller sound • Bass register used for first time, increasing number of octaves heard • Composers began to think in chords, in addition to individual melodic lines • In Middle Ages, entire melody lines thought up one at a time and then combined. • In Renaissance, melodies were thought up in relation to how they accompany each other • Mild, relaxed • Lots of stable, consonant chords, many triads • Very little dissonance

  5. CHARACTERISTICS, cont… • “Golden Age” of a cappella choral music • Little instrumental accompaniment • 2 Main uses for instruments 1. To duplicate vocal lines to reinforce the sound 2. Play the part of a missing singer Now what can you add to your SHMRFT traits?

  6. CHARACTERISTICS, cont… • Rhythm • Gentle flow, not sharply defined beat • Each melodic line held great rhythmic independence • Made it challenging to sing – each singer had to be independently strong

  7. CHARACTERISTICS, cont… • Melody • Melodies generally easy to sing • Moves stepwise, few large leaps And your SHMRFT traits now?

  8. LISTENING TO RENAISSANCE • Sicut Cervus • Giovanni Pierluigi da Palestrina

  9. Chapter 2: Sacred Music • 2 Main Forms 1. Motet 2. Mass

  10. Motet Mass Shorter Set to sacred Latin text other than the ordinary of the mass Longer Set to 5 sections:Kyrie, Gloria, Credo, Sanctus, Agnus Dei Style:polyphonic choral works Sacred Text

  11. Chapter 2, cont… • Josquin Desprez (1440-1521) • Flemish (from what is now Belgium) • Spent much of life in Italy • Served dukes’ private chapels, papal choir in Rome, Louis XII of France, several church positions

  12. Desprez, cont… • Composed masses, motets, secular vocal pieces • Strongly influenced other composers • Praised for his skill

  13. Desprez, cont… • Ave Maria…Virgo Serena (1502) (Hail, Mary…Serene Virgin) • 4-voice motet • Delicate, serene • Polyphonic imitation • Melodic phrase on “Ave Maria” presented by soprano, then imitated in turn by alto, tenor, bass • Next, “gratia plena” has different melody, also passed from soprano down

  14. Ave Maria, cont… • Each voice enters while the preceding one is in the middle of its melody. • Overlapping creates feeling of continuous flow

  15. Josquin varied texture within a piece • Also imitation between pairs of voices (duets between high voices imitated by duets between low voices)

  16. Sometimes almost homophonic, like at “Ave vera virginitas” • Also changes from duple to triple meter, then back to duple

  17. Ends with slow chords, expressing Josquin’s personal plea to the Virgin: O Mother of God, remember me. Amen.

  18. Ave Maria, cont… • Ave Maria…Virgo Serena (Hail, Mary… Serene Virgin) Josquin Desprez

  19. Josquin’s varied texture within a piece • Also imitation between pairs of voices (duets between high voices imitated by duets between low voices)

  20. Sometimes almost homophonic, like at “Ave vera virginitas” • Also changes from duple to triple meter, then back to duple

  21. Ends with slow chords, expressing Josquin’s personal plea to the Virgin: O Mother of God, remember me. Amen.

  22. Chapter 2 cont… • Giovanni Pierluigi da Palestrina (about 1525-1594) • Most important Italian composer of Ren. • Devoted to composing for Catholic church • Career in Rome; church positions, including St. Peter’s Basilica • Composed 104 masses, about 450 other sacred works

  23. Chapter 2 cont… • Career best understood against the backdrop of the Counter-Reformation. • Early 1500’s, Catholic church was challenged by Protestants (non-Catholic Christians). • Sought to correct abuses, malpractices • Sought to counter the move toward Protestantism • Led to convening of the Council of Trent (1545-1563), which considered questions of dogma and organization

  24. Chapter 2 cont… • Council determined that church music had lost its purity • Some complained that complex polyphony had made it impossible to understand the sacred text • Some wanted only monophonic music (Gregorian chant) • Church music shouldn’t be written for the empty pleasure of the ear, but to inspire religious contemplation • Palestrina’s restraint, serenity reflect emphasis on more spiritual music

  25. Chapter 2 cont… • Palestrina’s music is regarded as a model for church music because of its calmness, “other-worldly” quality • Even today, the technical perfection of Palestrina is studied as the model for students of composition and counterpoint (imitation)

  26. Chapter 2 cont… • Kyrie from Pope Marcellus Mass (1562-1563) • Giovanni Pierluigi da Palestrina • His most famous • Seen as a reflection of the Council of Trent’s desire for clear projection of sacred text. • A cappella, 6 voice parts • Soprano, alto, two tenors, two basses

  27. Chapter 2 cont… • Kyrie – 1st section of the Mass Kyrie eleison. Lord, have mercy. Christe eleison. Christ, have mercy. Kyrie eleison. Lord, have mercy. • sounds fuller than Josquin’s Ave Maria because it has two more voice parts • Very singable, eased melody, much like a Gregorian chant • Leaps are balanced by steps

  28. LISTENING TO PALESTRINA • Missa Papae Marcelli (Pope Marcellus Mass) Giovanni Pierluigi da Palestrina

  29. Renaissance Individualism “Universal man” Humanism Realism Linear Perspective Text Painting/Word Painting Imitation Consonance/Dissonance A cappella Motet Mass Kyrie, Gloria, Credo, Sanctus, Agnus Dei Josquin Desprez Imitation Giovanni Pierluigi da Palestrina Protestant Reformation Counter-Reformation Council of Trent VOCABULARY REVIEW

  30. Technology: Movable Type Printing Press, Gutenberg Bible Kalyn Julian Blake Jacob Religion: Martin Luther and the Protestant Reformation Dominique Phil Alec Bilal Exploration: Columbus, da Gama, Magellan Kieryn Claire Chris Taimoor Art: da Vinci, Michelangelo, Raphael Emma Aaron Sami Ryan Literature: William Shakespeare Anna Andrew Nathan Nick UNIT III PRESENTATIONS

  31. HOMEWORK • Complete the worksheet packet for Chapters 1-2, due tomorrow. • Answers can also be found in books, if you need to take one home…

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