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History of European art music
Early
Medieval (500 – 1400)
Renaissance (1400 – 1600)
Common practice
Baroque (1600 – 1760)
Classical (1730 – 1820)
Romantic (1815 – 1910)
Modern and contemporary
20th century classical (1900 – 2000)
Contemporary classical (1975 – present)

Renaissance music is European music written during the Renaissance, approximately 1400 - 1600. Classical music is a broad term that usually refers to mainstream music produced in or rooted in the traditions of Western liturgical and Secular music Early music is commonly defined as European classical music from the Middle Ages, the Renaissance and the Baroque. The term medieval music encompasses European music written during the Middle Ages. The common practice period, in the history of European Art music (broadly called Classical music) spanning the Baroque, Classical, and Baroque music describes an era and a set of styles of European classical music which were in widespread use between approximately 1600 and 1750. The dates of the Classical period in Western music are generally accepted as 1750 to 1810 Romantic Music is a Musicological term referring to a particular period theory compositional practice and canon in European music history from about 1815 to 1910 At the turn of the 20th century classical music was characteristically late Romantic in style while at the same time the Impressionist movement spearheaded by Claude Debussy Contemporary classical music can be understood as belonging to a period that started in the mid-1970s with the retreat of modernism. The Renaissance (from French Renaissance, meaning "rebirth" Italian: Rinascimento, from re- "again" and nascere Defining the beginning of the era is difficult, given the lack of abrupt shifts in musical thinking during the 15th century. Music historians divide the European classical music into various eras based on what style was most popular as taste changed The process by which music acquired "Renaissance" characteristics was a gradual one, and musicologists have placed its beginnings from as early as 1300 to as late as the 1470s. In addition, the Italian humanist movement, rediscovering and reinterpreting the aesthetics of ancient Greece and Rome, influenced the development of musical style during the period.

Contents

Overview

Style and trends

Topics

Architecture
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Northern Europe
Poland
Spain

The increasing reliance on the interval of the third as a consonance is one of the most pronounced features of early Renaissance European art music (in the Middle Ages, thirds had been considered dissonances: see interval). The Renaissance (from French Renaissance, meaning "rebirth" Italian: Rinascimento, from re- "again" and nascere Renaissance architecture is the architecture of the period between the early 15th and early 17th centuries in different regions of Europe in which there was a Renaissance dances belong to the broad group of Historical dances While we know that people danced in Europe long before the Renaissance, the first Renaissance Literature refers to the period in European literature, which began in Italy during the 15th century and spread around Europe through Renaissance painting bridges the period of European art history between the art of the Middle Ages and Baroque art. Renaissance philosophy was the period of the History of philosophy in Europe that falls roughly between the Middle Ages and the Enlightenment During the Renaissance, the rediscovery of ancient scientific texts was accelerated after the Fall of Constantinople in 1453, and the invention of Printing Renaissance technology is the set of European artifacts and customs spanning roughly the 14th through the 16th century Early Modern warfare is associated with the start of the widespread use of Gunpowder and the development of suitable weapons to use the explosive The English Renaissance was a cultural and artistic movement in England dating from the early 16th century to the early 17th century French Renaissance is a recent term used to describe a cultural and artistic movement in France from the late 15th century to the early 17th century The German Renaissance, part of the Northern Renaissance, was a cultural and artistic movement that spread among German thinkers in the 15th and 16th The Italian Renaissance began the opening phase of the Renaissance, a period of great cultural change and achievement in Europe that spanned the period from the end of the 14th The Renaissance in the Low Countries is the cultural period that roughly corresponds to the 16th century in the Low Countries. The Northern Renaissance is the term used to describe the Renaissance in Northern Europe, or more broadly in Europe outside Italy. The Renaissance in Poland (Odrodzenie literally 'Rebirth' lasted from the late 15th century to the late 16th century and is widely considered to be the Golden Age of Polish culture This article is about the Spanish Renaissance of the 15th-16th centuries In Music theory, the term interval describes the relationship between the pitches of two Notes Intervals may be described as vertical Polyphony, in use since the 12th century, became increasingly elaborate with highly independent voices throughout the 14th century: the beginning of the 15th century showed simplification, with the voices often striving for smoothness. In Music, polyphony is a texture consisting of two or more independent Melodic voices, as opposed to music with just one voice ( Monophony This was possible because of a greatly increased vocal range in music – in the Middle Ages, the narrow range made necessary frequent crossing of parts, thus requiring a greater contrast between them.

The modal (as opposed to tonal) characteristics of Renaissance music began to break down towards the end of the period with the increased use of root motions of fifths. In Music, a scale is an ordered series of Musical intervals which along with the key or tonic, define the pitches However mode Tonality is a system of Music in which specific hierarchical pitch relationships are based on a key "center" or tonic. This later developed into one of the defining characteristics of tonality.

Genres

Principal liturgical forms which endured throughout the entire Renaissance period were masses and motets, with some other developments towards the end, especially as composers of sacred music began to adopt secular forms (such as the madrigal) for their own designs. A madrigal is a type of Secular vocal music composition written during the Renaissance and early Baroque eras

Common sacred genres were the mass, the motet, the madrigale spirituale, and the laude. For other uses see Mass (disambiguation The Mass, a form of sacred musical composition, is a choral composition that In Western music, motet is a word that is applied to a number of highly varied choral musical compositions A madrigale spirituale (Italian pl madrigali spirituali) is a madrigal, or madrigal-like piece of music with a sacred rather than a secular text "Lauda" redirects here For the former F1 racing driver see Niki Lauda.

During the period, secular music had an increasingly wide distribution, with a wide variety of forms, but one must be cautious about assuming an explosion in variety: since printing made music more widely available, much more has survived from this era than from the preceding Medieval era, and probably a rich store of popular music of the late Middle Ages is irretrievably lost. Printing is a process for reproducing text and image typically with ink on Paper using a printing press Secular music included songs for one or many voices, forms such as the frottola, chanson and madrigal. The frottola was the predominant type of Italian popular secular song of the late fifteenth and early sixteenth century A chanson ( French for " Song " from Latin cantio) is in general any lyric -driven French songs usually Polyphonic A madrigal is a type of Secular vocal music composition written during the Renaissance and early Baroque eras

Secular vocal genres included the madrigal, the frottola, the caccia, the chanson in several forms (rondeau, virelai, bergerette, ballade, musique mesurée), the canzonetta, the villancico, the villanella, the villotta, and the lute song. A madrigal is a type of Secular vocal music composition written during the Renaissance and early Baroque eras The frottola was the predominant type of Italian popular secular song of the late fifteenth and early sixteenth century In Music, a canon is a contrapuntal composition that employs a Melody with one or more imitations of the melody played after a given duration (e A chanson ( French for " Song " from Latin cantio) is in general any lyric -driven French songs usually Polyphonic A virelai is a form of Medieval French verse used often in Poetry and Music. A ballade (French for "ballad' pronounced bah-LAHD refers to a one-movement musical piece with lyrical and dramatic narrative qualities Musique mesurée, or Musique mesurée à l'antique, was a style of vocal musical composition in France in the late 16th century. In music a canzonetta (pl canzonette, canzonetti or canzonettas) was a popular Italian secular vocal composition which originated around 1560 Villancico (or Vilancete, in Portuguese) was a common lyric form of the Iberian Peninsula during the Renaissance. In music a villanella (plural villanelle &mdash not to be confused with the French poetic form Villanelle) is a form of light Italian secular Villotta (pl villotte is a kind of popular song found mainly in northern Italy especially near Venice The lute song was a generic form of music in the late Renaissance and very early Baroque eras generally consisting of a singer accompanying himself on a Lute Mixed forms such as the motet-chanson and the secular motet also appeared. The motet-chanson was a specialized musical form of the Renaissance, developed in Milan during the 1470s and 1480s which combined aspects of the contemporary

Purely instrumental music included consort music for recorder or viol and other instruments, and dances for various ensembles. A consort of instruments was a phrase used in England during the 16th and 17th centuries to indicate an Instrumental ensemble. The recorder is a woodwind Musical instrument of the family known as Fipple Flutes ' or internal duct flutes &mdash whistle-like The viol (also called viola da gamba) is any one of a family of bowed, Fretted stringed Musical instruments developed in the 1400s Common genres were the toccata, the prelude, the ricercar, the canzona, and intabulation (intavolatura, intabulierung). Toccata (from Italian toccare, "to touch" is a Virtuoso piece of music typically for a keyboard or Plucked string instrument A prelude is a short piece of Music, which its form will vary from piece to piece A ricercar (or ricercare recercar; the terms are interchangeable is a type of late Renaissance and mostly early Baroque instrumental composition In music a canzona (also Canzone) was a 16th-century multipart vocal setting of a literary canzone and a 16th - and 17th-century instrumental Intabulation, from the Italian word intavolatura, refers to an arrangement or transcription of a vocal or ensemble piece for keyboard, Lute, or other plucked Instrumental ensembles for dances might play a basse danse (or bassedanza), a pavane, a galliard, an allemande, or a courante. The basse danse, or "low dance" was the most popular Court dance in the fifteenth and early sixteenth centuries especially at the Burgundian The pavane, pavan paven pavin pavian pavine or pavyn (It pavana, padovana; Ger The galliard ( gaillarde, in French was a form of Renaissance dance and music popular all over Europe in the 16th century An allemande (also spelled allemanda, almain, or alman) (from the French word for "German" is one of the most popular Instrumental The courante, corrente, coranto and corant are just some of the names given to a family of Triple metre dances from the late Renaissance

Towards the end of the period, the early dramatic precursors of opera such as monody, the madrigal comedy, and the intermedio are seen. Madrigal comedy is a term for a kind of entertainment music of the late 16th century in Italy, in which groups of related generally A cappella madrigals For the film see Intermedio (film. The intermedio, or intermezzo, in the Italian Renaissance, was a theatrical performance

Theory and notation

According to Margaret Bent (1998), "Renaissance notation is under-prescriptive by our standards; when translated into modern form it acquires a prescriptive weight that overspecifies and distorts its original openness. "

Ockeghem, Kyrie "Au travail suis," excerpt
Ockeghem, Kyrie "Au travail suis," excerpt

Renaissance compositions were notated only in individual parts; scores were extremely rare, and barlines were not used. In Musical notation, a bar or measure is a segment of time defined as a given number of beats of a given duration Note values were generally larger than are in use today; the primary unit of beat was the semibreve, or whole note. In Music notation, a note value indicates the relative Duration of a note, using the color or shape of the Note head, the presence A beat is the basic Time Unit of a piece of Music; for example each tick sounded by a Metronome would correspond to a beat In Music, a whole note (American or "German" terminology or semibreve (British or "classical" terminology is a Note represented In Music, a whole note (American or "German" terminology or semibreve (British or "classical" terminology is a Note represented As had been the case since the Ars Nova (see Medieval music), there could be either two or three of these for each breve (a double-whole note), which may be looked on as equivalent to the modern "measure," though it was itself a note value and a measure is not. Ars nova was a stylistic period in Music of the Late Middle Ages, centered in France, which encompassed the period roughly from the preparation The term medieval music encompasses European music written during the Middle Ages. Length The breve sign indicates a short vowel as opposed to the Macron  ¯ which indicates long vowels in academic transcription The situation can be considered this way: it is the same as the rule by which in modern music a quarter-note may equal either two eighth-notes or three, which would be written as a "triplet. " By the same reckoning, there could be two or three of the next smallest note, the "minim," (equivalent to the modern "half note") to each semibreve. These different permutations were called "perfect/imperfect tempus" at the level of the breve–semibreve relationship, "perfect/imperfect prolation" at the level of the semibreve–minim, and existed in all possible combinations with each other. Three-to-one was called "perfect," and two-to-one "imperfect. " Rules existed also whereby single notes could be halved or doubled in value ("imperfected" or "altered," respectively) when preceded or followed by other certain notes. Notes with black noteheads (such as quarter notes) occurred less often. A quarter note (American or "German" terminology or crotchet (British or "classical" terminology is a note played for one quarter of the duration This development of white mensural notation may be a result of the increased use of paper (rather than vellum), as the weaker paper was less able to withstand the scratching required to fill in solid noteheads; notation of previous times, written on vellum, had been black. Mensural notation is the musical notation system which was used in European music from the later part of the 13th century until about 1600. Paper is thin material mainly used for writing upon printing upon or packaging Vellum (from the Old French Vélin for "calfskin" is mammal skin prepared for writing or printing on single pages scrolls codices or books Other colors, and later, filled-in notes, were used routinely as well, mainly to enforce the aforementioned imperfections or alterations and to call for other temporary rhythmical changes.

Accidentals were not always specified, somewhat as in certain fingering notations (tablatures) today. Tablature (or Tabulature) is a form of Musical notation, which tells players where to place their fingers on a particular instrument However, Renaissance musicians would have been highly trained in dyadic counterpoint and thus possessed this and other information necessary to read a score, "what modern notation requires [accidentals] would then have been perfectly apparent without notation to a singer versed in counterpoint. In Music, polyphony is a texture consisting of two or more independent Melodic voices, as opposed to music with just one voice ( Monophony " See musica ficta. In European music prior to about 1600, musica ficta (from Latin 'false' or 'feigned' music referred to chromatically altered pitches not notated in the A singer would interpret his or her part by figuring cadential formulas with other parts in mind, and when singing together musicians would avoid parallel octaves and fifths or alter their cadential parts in light of decisions by other musicians (Bent, 1998).

It is through contemporary tablatures for various plucked instruments that we have gained much information about what accidentals were performed by the original practitioners.

For information on specific theorists, see Johannes Tinctoris, Franchinus Gaffurius, Heinrich Glarean, Pietro Aron, Nicola Vicentino, Tomás de Santa María, Gioseffo Zarlino, Vicente Lusitano, Vincenzo Galilei, Giovanni Artusi, Johannes Nucius, and Pietro Cerone. Johannes Tinctoris (c 1435 &ndash 1511 was a Flemish composer and music theorist of the Renaissance. Franchinus Gaffurius ( Franchino Gaffurio) ( January 14, 1451 – June 25, 1522) was an Italian music theorist Heinrich Glarean (also Glareanus) (June 1488– March 28, 1563) was a Swiss music theorist, poet and humanist Pietro Aron, also known as Pietro Aaron (1489 &ndash after 1545 was an Italian music theorist and Composer. Nicola Vicentino (1511 &ndash 1575 or 1576 was an Italian music theorist and composer of the Renaissance. Tomás de Santa María (also Tomás de Sancta Maria) (d 1570 was a Spanish music theorist organist and composer of the Renaissance. Gioseffo Zarlino ( January 31 or March 22, 1517 &ndash February 4, 1590) was an Italian music theorist and Vicente Lusitano (died after 1561) was a Portuguese Music Composer and theorist of the late Renaissance. Vincenzo Galilei (c 1520 &ndash July 2, 1591) was an Italian lutenist, Composer, and music theorist, and the father of Giovanni Maria Artusi (c 1540 – 18 August 1613) was an Italian theorist, Composer, and writer Johannes Nucius (also Nux, Nucis) (c 1556 &ndash March 25, 1620) was a German composer and music theorist of the late Pietro Cerone (1566&ndash1625 was an Italian music theorist singer and priest of the late Renaissance.

Composers of the Renaissance

Early Renaissance music (1400 – 1467)

This group gradually dropped the late Medieval period's complex devices of isorhythm and extreme syncopation, resulting in a more limpid and flowing style. Isorhythm (from the Greek for "the same rhythm" is a musical technique that arranges a fixed pattern of pitches with a repeating Rhythmic pattern In Music, syncopation includes a variety of Rhythms which are in some way unexpected in that they deviate from the strict succession of regularly spaced What their music "lost" in rhythmic complexity, however, it gained in rhythmic vitality, as a "drive to the cadence" became a prominent feature around mid-century.

Middle Renaissance music (1467 – 1534)

In the early 1470s, music starts to be printed using a printing press. A printing press is a mechanical device for applying pressure to an inked surface resting upon a medium (such as paper or cloth thereby transferring an image Music printing had a major effect on how music spread for not only did a printed piece of music reach a larger audience then any manuscript ever could, it did it far cheaper as well. Also during this century, a tradition of famous makers began for many instruments. These makers were masters of their craft. Some examples are Stradivarius for violins or Meuschel for trumpets. A Stradivarius is a Stringed instrument built by members of the Stradivari family particularly Antonio Stradivari.

Towards the end of the 15th century, polyphonic sacred music (as exemplified in the masses of Johannes Ockeghem and Jacob Obrecht) had once again become more complex, in a manner that can perhaps be seen as correlating to the stunning detail in the painting at the time. Johannes Ockeghem (also Jean de; surname Okeghem, Ogkegum, Okchem, Hocquegam, Ockegham; other variant spellings are also Jacob Obrecht (1457/1458 &ndash late July 1505 was a Dutch composer of the Renaissance. Ockeghem, particularly, was fond of canon, both contrapuntal and mensural. In Music, a canon is a contrapuntal composition that employs a Melody with one or more imitations of the melody played after a given duration (e In Music, a prolation canon or mensuration canon is a type of canon, a musical composition which employs a Melody with one or more imitations He composed a mass in which all the parts are derived canonically from one musical line.

It was in the opening decades of the next century that music felt in a tactus (think of the modern time signature) of two semibreves-to-a-breve began to be as common as that with three semibreves-to-a-breve, as had prevailed prior to that time.

In the early 16th century, there is another trend towards simplification, as can be seen to some degree in the work of Josquin des Prez and his contemporaries in the Franco-Flemish School, then later in that of G. P. Palestrina, who was partially reacting to the strictures of the Council of Trent, which discouraged excessively complex polyphony as inhibiting understanding the text. Josquin des Prez (c 1450 to 1455 &ndash August 27 1521 often referred to simply as Josquin, was a Franco-Flemish composer of the Renaissance. In Music, the Franco-Flemish School refers somewhat imprecisely to the style of polyphonic Vocal music composition in Europe in the 15th Giovanni Pierluigi da Palestrina (between 3 February 1525 and 2 February 1526 - 2 February 1594 was an Italian Composer of the Renaissance. The Council of Trent was the 19th Ecumenical Council of the Roman Catholic Church. Early 16th-century Franco-Flemings moved away from the complex systems of canonic and other mensural play of Ockeghem's generation, tending toward points of imitation and duet or trio sections within an overall texture that grew to five and six voices. They also began, even before the Tridentine reforms, to insert ever-lengthening passages of homophony, to underline important text or points of articulation. In Music, homophony (hoʊˈmɒfəni from Greek "homófonos" where ομοιο = the same and φωνή = a sound tone is a texture in which two or more Palestrina, on the other hand, came to cultivate a freely flowing style of counterpoint in a thick, rich texture within which consonance followed dissonance on a nearly beat-by-beat basis, and suspensions ruled the day (see counterpoint). In Music, counterpoint is the relationship between two or more voices that are independent in contour and Rhythm, and interdependent in Harmony By now, tactus was generally two semibreves per breve with three per breve used for special effects and climactic sections; this was a nearly exact reversal of the prevailing technique a century before.

Late Renaissance music (1534 – 1600)

In Venice, from about 1534 until around 1600, an impressive polychoral style developed, which gave Europe some of the grandest, most sonorous music composed up until that time, with multiple choirs of singers, brass and strings in different spatial locations in the Basilica San Marco di Venezia (see Venetian School). Venice ( Italian: Venezia, Venetian: Venesia or Venexia) is a city in Northern Italy, the capital of the Saint Mark's Basilica ( Italian: Basilica di San Marco a Venezia) the Cathedral of Venice, is the most famous of In music history the Venetian School is a term used to describe the Composers working in Venice from about 1550 to around 1610; it also describes These multiple revolutions spread over Europe in the next several decades, beginning in Germany and then moving to Spain, France and England somewhat later, demarcating the beginning of what we now know as the Baroque musical era. Baroque music describes an era and a set of styles of European classical music which were in widespread use between approximately 1600 and 1750.

The Roman School was a group of composers of predominantly church music, in Rome, spanning the late Renaissance into early Baroque eras. The Roman school is the education system of the Ancient Rome. Many of the composers had a direct connection to the Vatican and the papal chapel, though they worked at several churches; stylistically they are often contrasted with the Venetian School of composers, a concurrent movement which was much more progressive. By far the most famous composer of the Roman School is Giovanni Pierluigi da Palestrina, whose name has been associated for four hundred years with smooth, clear, polyphonic perfection.

The brief but intense flowering of the musical madrigal in England, mostly from 1588 to 1627, along with the composers who produced them, is known as the English Madrigal School. The English Madrigal School was the brief but intense flowering of the musical madrigal in England mostly from 1588 to 1627, along with the composers who The English madrigals were a cappella, predominantly light in style, and generally began as either copies or direct translations of Italian models. Most were for three to six voices.

Musica reservata is either a style or a performance practice in acappella vocal music of the latter, mainly in Italy and southern Germany, involving refinement, exclusivity, and intense emotional expression of sung text. In Music history, musica reservata (also musica secreta) is either a style or a performance practice in A cappella vocal music of

In addition, many composers observed a division in their own works between a prima pratica (music in the Renaissance polyphonic style) and a seconda pratica (music in the new style) during the first part of the 17th century. Prima pratica, literally "first practice" refers to early Baroque music which looks more to the style of Palestrina, or the style codified by

Mannerism

In the late 16th century, as the Renaissance era closes, an extremely manneristic style develops. In secular music, especially in the madrigal, there was a trend towards complexity and even extreme chromaticism (as exemplified in madrigals of Luzzaschi, Marenzio, and Gesualdo). Luzzasco Luzzaschi (c 1545 &ndash September 10, 1607) was an Italian Composer, Organist, and teacher of the late Renaissance Luca Marenzio (also Marentio) ( October 18 ? 1553? &ndash August 22, 1599) was an Italian composer of the late Renaissance This article is about the composer for the Italian town see Gesualdo (town. The term "mannerism" derives from art history.

Transition to the Baroque

Beginning in Florence, there was an attempt to revive the dramatic and musical forms of Ancient Greece, through the means of monody, a form of declaimed music over a simple accompaniment; a more extreme contrast with the preceding polyphonic style would be hard to find; this was also, at least at the outset, a secular trend. Florence ( Italian: Firenze Florentia and Fiorenza) is the Capital City of the Italian region of Tuscany In Poetry, the term monody has become specialized to refer to a poem in which one person laments another's death These musicians were known as the Florentine Camerata. The Florentine Camerata was a group of humanists Musicians Poets and Intellectuals in late Renaissance Florence who gathered

We have already noted some of the musical developments that helped to usher in the Baroque, but for further explanation of this transition, see antiphon, concertato, monody, madrigal, and opera, as well as the works given under "Sources and further reading. Baroque music describes an era and a set of styles of European classical music which were in widespread use between approximately 1600 and 1750. This article is about the musical term See Antiphon (person the orator of ancient Greece Concertato is a term in early Baroque music referring to either a genre or a style of music in which groups of instruments or voices share a melody usually In Poetry, the term monody has become specialized to refer to a poem in which one person laments another's death A madrigal is a type of Secular vocal music composition written during the Renaissance and early Baroque eras Opera is an art form in which Singers and Musicians perform a Dramatic work (called an opera which combines a text (called a Libretto "

For a more thorough discussion of the transition to the Baroque specifically pertaining to instrument music, see Transition from Renaissance to Baroque in instrumental music. In the years centering around 1600 in Europe, several distinct shifts emerged in ways of thinking about the purposes writing and performance of music

Instruments of the Renaissance

Many instruments originated during the Renaissance; others were variations of, or improvements upon, instruments that had existed previously. Some have survived to the present day; others have disappeared, only to be recreated in order to perform music of the period on authentic instruments. As in the modern day, instruments may be classified as brass, strings, percussion, and woodwind.

Brass Brass instruments in the Renaissance were traditionally played by professionals. Some of the more common brass instruments that were played:

Strings As a family strings were used in many circumstances, both sacred and secular. A few members of this family include:

Hurdy-Gurdy
Hurdy-Gurdy
Lute
Lute

Percussion Some Renaissance percussion instruments include the triangle, the Jews harp, the tambourine, the bells, the rumble-pot, and various kinds of drums.

Woodwinds (Aerophones) The woodwind instruments (Aerophones) use a column of air vibrating within a pipe that has little holes along it to generate vibration with the airflow through the pipe and control the length of the sound waves produced by the vibrating air. A player could create this air column by using a few different methods. The first is blowing across a mouth hole (as would be done with flutes). The second is blowing into a mouthpiece with a single reed (as would be found with the clarinet or saxophone) or a double reed (which is used with oboes and bassoons).

The woodwind instruments of the Middle Ages are not the same as modern day woodwinds. They were more eccentric and exotic. For example, you would find that modern woodwinds fit the natural position of the hand. Woodwinds in the Renaissance used simple holes drilled in the instrument.

See also

Sources and further reading

External links

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