Characteristics: Texture - Introduction to Music SMUS 110
Characteristics: Texture - Introduction to Music SMUS 110
Characteristics: Texture - Introduction to Music SMUS 110
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<strong>Introduction</strong> <strong>to</strong> <strong>Music</strong>
Review<br />
•<br />
•<br />
•<br />
<strong>Music</strong>al <strong>Texture</strong><br />
<strong>Music</strong>al Form<br />
<strong>Music</strong>al Style
Medieval <strong>Music</strong><br />
Western music written during the Middle Ages. This<br />
era begins with the fall of the Roman Empire and<br />
ends sometime in the early fifteenth century.
Medieval <strong>Music</strong><br />
Middle Ages (450–1450)<br />
•<br />
Rome sacked by Vandals: 455
Medieval <strong>Music</strong><br />
Middle Ages (450–1450)<br />
•<br />
•<br />
Rome sacked by Vandals: 455<br />
Beowulf: c. 700
Medieval <strong>Music</strong><br />
Middle Ages (450–1450)<br />
•<br />
•<br />
•<br />
Rome sacked by Vandals: 455<br />
Beowulf: c. 700<br />
First Crusade <strong>to</strong> Jerusalem: 1066
Medieval <strong>Music</strong><br />
Middle Ages (450–1450)<br />
•<br />
•<br />
•<br />
•<br />
Rome sacked by Vandals: 455<br />
Beowulf: c. 700<br />
First Crusade <strong>to</strong> Jerusalem: 1066<br />
Black Death: 1347–52
Medieval <strong>Music</strong><br />
Middle Ages (450–1450)<br />
•<br />
•<br />
•<br />
•<br />
•<br />
Rome sacked by Vandals: 455<br />
Beowulf: c. 700<br />
First Crusade <strong>to</strong> Jerusalem: 1066<br />
Black Death: 1347–52<br />
Joan of Arc executed by English: 1431
Medieval <strong>Music</strong><br />
Middle Ages (450–1450)<br />
•<br />
Catholic church center of musical life
Medieval <strong>Music</strong><br />
Middle Ages (450–1450)<br />
•<br />
•<br />
Catholic church center of musical life<br />
Only sacred music was notated
Medieval <strong>Music</strong><br />
Middle Ages (450–1450)<br />
•<br />
•<br />
•<br />
Catholic church center of musical life<br />
Only sacred music was notated<br />
Women not allowed <strong>to</strong> sing in church, but did<br />
make music in convents
Medieval <strong>Music</strong><br />
Middle Ages (450–1450)<br />
•<br />
•<br />
•<br />
•<br />
Catholic church center of musical life<br />
Only sacred music was notated<br />
Women not allowed <strong>to</strong> sing in church, but did<br />
make music in convents<br />
Instruments not used in church, few have<br />
survived
Medieval <strong>Music</strong><br />
Middle Ages (450–1450)<br />
•<br />
•<br />
•<br />
•<br />
•<br />
Catholic church center of musical life<br />
Only sacred music was notated<br />
Women not allowed <strong>to</strong> sing in church, but did<br />
make music in convents<br />
Instruments not used in church, few have<br />
survived<br />
<strong>Music</strong> manuscripts did not indicate tempo,<br />
dynamics or rhythm
Medieval <strong>Music</strong><br />
Gregorian Chant is the central tradition of Western<br />
plainchant, a form of monophonic liturgical music<br />
within Western Christianity that accompanied the<br />
celebration of Mass and other ritual services. It is<br />
named after Pope Gregory I, Bishop of Rome from<br />
590 <strong>to</strong> 604, who is traditionally credited for having<br />
ordered the simplification and cataloging of music<br />
assigned <strong>to</strong> specific celebrations in the church<br />
calendar. The resulting body of music is the first <strong>to</strong><br />
be notated in a system ancestral <strong>to</strong> modern musical<br />
notation.
Medieval <strong>Music</strong><br />
Gregorian Chant
Medieval <strong>Music</strong><br />
Gregorian Chant
Medieval <strong>Music</strong><br />
Parallel Organum
Medieval <strong>Music</strong><br />
Parallel Organum
Medieval <strong>Music</strong><br />
The School of Notre Dame is the group of<br />
composers working at or near the Notre Dame<br />
Cathedral in Paris from about 1160 <strong>to</strong> 1250, along<br />
with the music they produced.
Medieval <strong>Music</strong><br />
14th Century Ars nova<br />
•<br />
musical style that flourished in France and the<br />
Low Countries in the Late Middle Ages
Medieval <strong>Music</strong><br />
14th Century Ars nova<br />
•<br />
•<br />
musical style that flourished in France and the<br />
Low Countries in the Late Middle Ages<br />
new technique of composition, not “New Art”
Medieval <strong>Music</strong><br />
14th Century Ars nova<br />
•<br />
•<br />
•<br />
musical style that flourished in France and the<br />
Low Countries in the Late Middle Ages<br />
new technique of composition, not “New Art”<br />
used in conjunction with another term, ars<br />
antiqua, music of the 13th century
Medieval <strong>Music</strong><br />
14th Century Ars nova<br />
•<br />
•<br />
•<br />
•<br />
musical style that flourished in France and the<br />
Low Countries in the Late Middle Ages<br />
new technique of composition, not “New Art”<br />
used in conjunction with another term, ars<br />
antiqua, music of the 13th century<br />
beginning of measured rhythm
Medieval <strong>Music</strong><br />
Ordinary of the Mass<br />
•<br />
Kyrie eleison (Ternary form)
Medieval <strong>Music</strong><br />
Ordinary of the Mass<br />
•<br />
•<br />
Kyrie eleison (Ternary form)<br />
Gloria in excelsis deo
Medieval <strong>Music</strong><br />
Ordinary of the Mass<br />
•<br />
•<br />
•<br />
Kyrie eleison (Ternary form)<br />
Gloria in excelsis deo<br />
Credo in unum Deum
Medieval <strong>Music</strong><br />
Ordinary of the Mass<br />
•<br />
•<br />
•<br />
Kyrie eleison (Ternary form)<br />
Gloria in excelsis deo<br />
Credo in unum Deum<br />
• Sanctus
Medieval <strong>Music</strong><br />
Ordinary of the Mass<br />
•<br />
• Gloria in excelsis deo<br />
• Credo in unum Deum<br />
• Sanctus<br />
• Agnus Dei (Ternary form)<br />
Kyrie eleison (Ternary form)
Medieval <strong>Music</strong><br />
Guillaume de Machaut was a Medieval French poet<br />
and composer who wrote in a wide range of styles<br />
and forms. He is a part of the musical movement<br />
known as the ars nova. Machaut helped develop<br />
the motet and secular song forms. He wrote the<br />
Messe de Nostre Dame, the earliest known complete<br />
setting of the Ordinary of the Mass attributable <strong>to</strong> a<br />
single composer.
Medieval <strong>Music</strong><br />
Guillaume de Machaut
Medieval <strong>Music</strong><br />
Guillaume de Machaut<br />
•<br />
secular music often used poetry about courtly<br />
love as their texts
Medieval <strong>Music</strong><br />
Guillaume de Machaut<br />
•<br />
•<br />
secular music often used poetry about courtly<br />
love as their texts<br />
allowed women <strong>to</strong> sing, unlike the church<br />
where only men and boys sang
Medieval <strong>Music</strong><br />
Guillaume de Machaut<br />
•<br />
•<br />
•<br />
secular music often used poetry about courtly<br />
love as their texts<br />
allowed women <strong>to</strong> sing, unlike the church<br />
where only men and boys sang<br />
still used technique of tenor melody, but with a<br />
countable meter
Medieval <strong>Music</strong><br />
Guillaume de Machaut<br />
Qui es promesse Ha! Fortune<br />
He who trusts the promises of Fortune and feels<br />
secure in the riches of her gifts. or he who believes<br />
her <strong>to</strong> be so much his friend that for him she will be<br />
firm or sure in anything.
Medieval <strong>Music</strong><br />
Guillaume de Machaut<br />
Qui es promesse Ha! Fortune
Medieval <strong>Music</strong><br />
Guillaume de Machaut<br />
“Agnus Dei” from the<br />
Nostre Dame Mass<br />
Agnus Dei, qui <strong>to</strong>llis<br />
peccata mundi:<br />
miserere nobis.<br />
A-B-A form
Medieval <strong>Music</strong><br />
Guillaume de Machaut<br />
“Agnus Dei” from the<br />
Nostre Dame Mass<br />
Agnus Dei, qui <strong>to</strong>llis<br />
peccata mundi:<br />
miserere nobis.<br />
A-B-A form
Medieval <strong>Music</strong><br />
Secular <strong>Music</strong><br />
In the West, secular music developed in the<br />
Medieval period. Secular music in the Middle Ages<br />
included love songs, political satire, dances, and<br />
dramatic works. Drums, harps, recorders, and<br />
bagpipes were the instruments used in secular<br />
music because they were easy for the traveling<br />
musicians <strong>to</strong> <strong>to</strong>te about. Instruments were taught<br />
through oral tradition and provided great dancing<br />
music and accompanied the stanzas well.
Medieval <strong>Music</strong><br />
Estampie<br />
an outdoor dance played on powerful instruments,<br />
performed by traveling minstrels. It consists of four<br />
<strong>to</strong> seven sections, called puncta, each of which is<br />
repeated, in the form<br />
aa, bb, cc, etc…<br />
It is in triple meter and involves fairly vigorous<br />
hopping!
Medieval <strong>Music</strong><br />
Estampie
Medieval <strong>Music</strong><br />
Medieval Instruments and Dances<br />
•<br />
double reeds frequently used
Medieval <strong>Music</strong><br />
Medieval Instruments and Dances<br />
•<br />
•<br />
double reeds frequently used<br />
percussion instruments provide steady beat, in<br />
contrast <strong>to</strong> the less pronounced beat of sacred<br />
music
Medieval <strong>Music</strong><br />
Medieval Instruments and Dances<br />
•<br />
•<br />
•<br />
double reeds frequently used<br />
percussion instruments provide steady beat, in<br />
contrast <strong>to</strong> the less pronounced beat of sacred<br />
music<br />
wind parts often difficult <strong>to</strong> play, especially on<br />
period instruments
Medieval <strong>Music</strong><br />
Medieval Instruments and Dances
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
•<br />
Gutenberg Bible: 1456
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
•<br />
•<br />
Gutenberg Bible: 1456<br />
Columbus reaches America: 1492
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
•<br />
•<br />
•<br />
Gutenberg Bible: 1456<br />
Columbus reaches America: 1492<br />
Leonardo da Vinci: Mona Lisa, c. 1503
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
•<br />
•<br />
•<br />
•<br />
Gutenberg Bible: 1456<br />
Columbus reaches America: 1492<br />
Leonardo da Vinci: Mona Lisa, c. 1503<br />
Michelangelo: David: 1504
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
•<br />
•<br />
•<br />
•<br />
•<br />
Gutenberg Bible: 1456<br />
Columbus reaches America: 1492<br />
Leonardo da Vinci: Mona Lisa, c. 1503<br />
Michelangelo: David: 1504<br />
Martin Luther’s 95 theses: 1517
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
•<br />
•<br />
•<br />
•<br />
•<br />
•<br />
Gutenberg Bible: 1456<br />
Columbus reaches America: 1492<br />
Leonardo da Vinci: Mona Lisa, c. 1503<br />
Michelangelo: David: 1504<br />
Martin Luther’s 95 theses: 1517<br />
Shakespeare: Romeo and Juliet: 1596
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
•<br />
Rebirth of human creativity
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
•<br />
•<br />
Rebirth of human creativity<br />
Age of curiosity & individualism
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
•<br />
•<br />
•<br />
Rebirth of human creativity<br />
Age of curiosity & individualism<br />
Humanism: loved all things Greek and Roman
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
•<br />
•<br />
•<br />
•<br />
Rebirth of human creativity<br />
Age of curiosity & individualism<br />
Humanism: loved all things Greek and Roman<br />
Visual arts depicted realism w/ linear<br />
perspective and illusion of space & depth
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
•<br />
•<br />
•<br />
•<br />
•<br />
Rebirth of human creativity<br />
Age of curiosity & individualism<br />
Humanism: loved all things Greek and Roman<br />
Visual arts depicted realism w/ linear<br />
perspective and illusion of space & depth<br />
Catholic Church far less powerful
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
•<br />
•<br />
•<br />
•<br />
•<br />
•<br />
Rebirth of human creativity<br />
Age of curiosity & individualism<br />
Humanism: loved all things Greek and Roman<br />
Visual arts depicted realism w/ linear<br />
perspective and illusion of space & depth<br />
Catholic Church far less powerful<br />
Education a status symbol for the aris<strong>to</strong>cracy<br />
and upper middle class
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
<strong>Characteristics</strong>: Words and <strong>Music</strong><br />
•<br />
Vocal music more important than instrumental
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
<strong>Characteristics</strong>: Words and <strong>Music</strong><br />
•<br />
•<br />
Vocal music more important than instrumental<br />
Word painting
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
<strong>Characteristics</strong>: Words and <strong>Music</strong><br />
•<br />
•<br />
•<br />
Vocal music more important than instrumental<br />
Word painting<br />
Wide range of emotion without extreme<br />
contrasts like Medieval music
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
<strong>Characteristics</strong>: <strong>Texture</strong><br />
• Polyphonic
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
<strong>Characteristics</strong>: <strong>Texture</strong><br />
• Polyphonic<br />
• Imitation among the voices
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
<strong>Characteristics</strong>: <strong>Texture</strong><br />
• Polyphonic<br />
• Imitation among the voices<br />
• Sounds fuller
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
<strong>Characteristics</strong>: <strong>Texture</strong><br />
• Polyphonic<br />
• Imitation among the voices<br />
• Sounds fuller<br />
• Expanded pitch range
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
<strong>Characteristics</strong>: <strong>Texture</strong><br />
• Polyphonic<br />
• Imitation among the voices<br />
• Sounds fuller<br />
• Expanded pitch range<br />
• Consonant chords are favored with use of<br />
triads
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
<strong>Characteristics</strong>: Rhythm and Melody<br />
•<br />
Rhythm a gentle flow rather than sharply<br />
defined beat
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
<strong>Characteristics</strong>: Rhythm and Melody<br />
•<br />
•<br />
Rhythm a gentle flow rather than sharply<br />
defined beat<br />
Melodic line has greater rhythmic<br />
independence
Renaissance <strong>Music</strong><br />
Renaissance (1450–1600)<br />
<strong>Characteristics</strong>: Rhythm and Melody<br />
•<br />
•<br />
•<br />
Rhythm a gentle flow rather than sharply<br />
defined beat<br />
Melodic line has greater rhythmic<br />
independence<br />
Melody usually moves along a scale with few<br />
large leaps
Renaissance <strong>Music</strong><br />
Josquin des Prez was a Franco-Flemish composer of<br />
the Renaissance and is usually considered <strong>to</strong> be the<br />
central figure of the Franco-Flemish School. Josquin<br />
is widely considered by music scholars <strong>to</strong> be the first<br />
master of the high Renaissance<br />
style of polyphonic vocal music<br />
that was emerging during his<br />
lifetime.
Renaissance <strong>Music</strong><br />
Josquin: Domine ne in furore<br />
•<br />
Four voice motet
Renaissance <strong>Music</strong><br />
Josquin: Domine ne in furore<br />
•<br />
•<br />
Four voice motet<br />
Polyphonic imitation
Renaissance <strong>Music</strong><br />
Josquin: Domine ne in furore<br />
•<br />
•<br />
•<br />
Four voice motet<br />
Polyphonic imitation<br />
Overlapping voice parts
Renaissance <strong>Music</strong><br />
Josquin: Domine ne in furore<br />
•<br />
•<br />
•<br />
Four voice motet<br />
Polyphonic imitation<br />
Overlapping voice parts<br />
My heart is troubled, my strength hath left me, and<br />
the light of my eyes themselves is not with me
Renaissance <strong>Music</strong><br />
Josquin: Domine ne in furore
Renaissance <strong>Music</strong><br />
Josquin: Domine ne in furore
Renaissance <strong>Music</strong><br />
Giovanni Pierluigi da Palestrina<br />
was an Italian Renaissance<br />
composer of sacred music and<br />
the best-known 16th-century<br />
representative of the Roman<br />
School of musical composition.<br />
He has had a lasting influence<br />
on the development of church<br />
music, and his work has often<br />
been seen as the culmination of<br />
Renaissance polyphony.
Renaissance <strong>Music</strong><br />
Palestrina: “Agnus Dei” from Pope Marcellus Mass<br />
•<br />
Rich polyphonic texture – 6 voices
Renaissance <strong>Music</strong><br />
Palestrina: “Agnus Dei” from Pope Marcellus Mass<br />
•<br />
•<br />
Rich polyphonic texture – 6 voices<br />
Vocal imitation
Renaissance <strong>Music</strong><br />
Palestrina: “Agnus Dei” from Pope Marcellus Mass<br />
•<br />
•<br />
•<br />
Rich polyphonic texture – 6 voices<br />
Vocal imitation<br />
Spirit of Gregorian chant
Renaissance <strong>Music</strong><br />
Palestrina: “Agnus Dei” from Pope Marcellus Mass<br />
•<br />
•<br />
•<br />
•<br />
Rich polyphonic texture – 6 voices<br />
Vocal imitation<br />
Spirit of Gregorian chant<br />
Palestrina’s work became the model for<br />
composers of masses
Renaissance <strong>Music</strong><br />
Palestrina: “Agnus Dei” from Pope Marcellus Mass
Renaissance <strong>Music</strong><br />
Secular <strong>Music</strong><br />
•<br />
<strong>Music</strong> was an important leisure activity
Renaissance <strong>Music</strong><br />
Secular <strong>Music</strong><br />
•<br />
•<br />
<strong>Music</strong> was an important leisure activity<br />
People were expected <strong>to</strong> play a musical<br />
instrument and read notation
Renaissance <strong>Music</strong><br />
Secular <strong>Music</strong>: Madrigal<br />
•<br />
Several solo voices set <strong>to</strong> a short poem, usually<br />
about love
Renaissance <strong>Music</strong><br />
Secular <strong>Music</strong>: Madrigal<br />
•<br />
•<br />
Several solo voices set <strong>to</strong> a short poem, usually<br />
about love<br />
Combined homophonic & polyphonic textures
Renaissance <strong>Music</strong><br />
Secular <strong>Music</strong>: Madrigal<br />
•<br />
•<br />
•<br />
Several solo voices set <strong>to</strong> a short poem, usually<br />
about love<br />
Combined homophonic & polyphonic textures<br />
Word painting & unusual harmonies
Renaissance <strong>Music</strong><br />
Thomas Weelkes<br />
was an English composer and<br />
organist. He became organist of<br />
Winchester College in 1598, moving<br />
<strong>to</strong> Chichester Cathedral. His works<br />
are chiefly vocal, and include<br />
madrigals, anthems and services.
Renaissance <strong>Music</strong><br />
Thomas Weelkes: As Vesta was Descending<br />
•<br />
Note text painting:
Renaissance <strong>Music</strong><br />
Thomas Weelkes: As Vesta was Descending<br />
•<br />
•<br />
Note text painting:<br />
Pitches rise on “ascending”
Renaissance <strong>Music</strong><br />
Thomas Weelkes: As Vesta was Descending<br />
•<br />
•<br />
•<br />
Note text painting:<br />
Pitches rise on “ascending”<br />
Pitches fall on “descending”
Renaissance <strong>Music</strong><br />
Thomas Weelkes: As Vesta was Descending<br />
•<br />
•<br />
•<br />
•<br />
Note text painting:<br />
Pitches rise on “ascending”<br />
Pitches fall on “descending”<br />
“Running down”
Renaissance <strong>Music</strong><br />
Thomas Weelkes: As Vesta was Descending<br />
•<br />
•<br />
•<br />
•<br />
•<br />
Note text painting:<br />
Pitches rise on “ascending”<br />
Pitches fall on “descending”<br />
“Running down”<br />
“Two by two,” “three by three,” “all alone”
Renaissance <strong>Music</strong><br />
Thomas Weelkes: As Vesta was Descending
Renaissance <strong>Music</strong><br />
Carlo Gesualdo<br />
Prince of Venosa and Count of<br />
Conza, was an Italian<br />
nobleman, lutenist, composer,<br />
and murderer. As a composer<br />
of the late Renaissance, he is<br />
remembered for writing<br />
intensely expressive madrigals<br />
and sacred music that use a<br />
chromatic language not heard<br />
again until the late 19th<br />
century.
Renaissance <strong>Music</strong><br />
Carlo Gesualdo: Moro, lasso, al mio duolo<br />
•<br />
Unusual chromatic harmonies
Renaissance <strong>Music</strong><br />
Carlo Gesualdo: Moro, lasso, al mio duolo<br />
•<br />
•<br />
Unusual chromatic harmonies<br />
Quick changing tempo and rhythmic variety
Renaissance <strong>Music</strong><br />
Carlo Gesualdo: Moro, lasso, al mio duolo<br />
•<br />
•<br />
•<br />
Unusual chromatic harmonies<br />
Quick changing tempo and rhythmic variety<br />
Careful use of repetition <strong>to</strong> create overall form
Renaissance <strong>Music</strong><br />
Carlo Gesualdo: Moro, lasso, al mio duolo<br />
•<br />
•<br />
•<br />
•<br />
Unusual chromatic harmonies<br />
Quick changing tempo and rhythmic variety<br />
Careful use of repetition <strong>to</strong> create overall form<br />
Combined creates intensely expressive, overtly<br />
emotional musical experience
Renaissance <strong>Music</strong><br />
Carlo Gesualdo: Moro, lasso, al mio duolo<br />
•<br />
•<br />
•<br />
•<br />
•<br />
Unusual chromatic harmonies<br />
Quick changing tempo and rhythmic variety<br />
Careful use of repetition <strong>to</strong> create overall form<br />
Combined creates intensely expressive, overtly<br />
emotional musical experience<br />
Four hundred years ahead of his time
Renaissance <strong>Music</strong><br />
Carlo Gesualdo: Moro, lasso, al mio duolo<br />
I shall die, miserable, in my suffering, and the one<br />
who could give me life, alas, kills me and is<br />
unwilling <strong>to</strong> give me aid. O painful fate! The one<br />
who could give me life, alas, gives me death.
Renaissance <strong>Music</strong><br />
Carlo Gesualdo: Moro, lasso, al mio duolo
Renaissance <strong>Music</strong><br />
Secular <strong>Music</strong>: Lute Song<br />
•<br />
Song for solo voice and<br />
lute (plucked string<br />
instrument)
Renaissance <strong>Music</strong><br />
Secular <strong>Music</strong>: Lute Song<br />
•<br />
•<br />
Song for solo voice and<br />
lute (plucked string<br />
instrument)<br />
Popular instrument in<br />
the Renaissance home
Renaissance <strong>Music</strong><br />
Secular <strong>Music</strong>: Lute Song<br />
•<br />
•<br />
•<br />
Song for solo voice and<br />
lute (plucked string<br />
instrument)<br />
Popular instrument in<br />
the Renaissance home<br />
Homophonic texture
Renaissance <strong>Music</strong><br />
Secular <strong>Music</strong>: Lute Song<br />
•<br />
•<br />
•<br />
•<br />
Song for solo voice and<br />
lute (plucked string<br />
instrument)<br />
Popular instrument in<br />
the Renaissance home<br />
Homophonic texture<br />
Lute accompanies the<br />
vocal melody
Renaissance <strong>Music</strong><br />
John Dowland<br />
was an English Renaissance<br />
composer, singer, and lutenist.<br />
He is best known <strong>to</strong>day for his<br />
melancholy songs such as<br />
Come, heavy sleep and Flow my<br />
tears but his instrumental<br />
music has undergone a major<br />
revival and has been a source<br />
of reper<strong>to</strong>ire for lutenists and<br />
classical guitarists during the<br />
twentieth century.
Renaissance <strong>Music</strong><br />
John Dowland: Flow My Tears<br />
•<br />
Very popular Lute Song (Recorded by Sting)
Renaissance <strong>Music</strong><br />
John Dowland: Flow My Tears<br />
•<br />
•<br />
Very popular Lute Song (Recorded by Sting)<br />
Expression of melancholy—descending four-<br />
note pattern
Renaissance <strong>Music</strong><br />
John Dowland: Flow My Tears<br />
•<br />
•<br />
•<br />
Very popular Lute Song (Recorded by Sting)<br />
Expression of melancholy—descending four-<br />
note pattern<br />
Three brief musical sections: A B C
Renaissance <strong>Music</strong><br />
John Dowland: Flow My Tears
Renaissance <strong>Music</strong><br />
Instrumental <strong>Music</strong><br />
•<br />
Still subordinate <strong>to</strong> vocal music
Renaissance <strong>Music</strong><br />
Instrumental <strong>Music</strong><br />
•<br />
•<br />
Still subordinate <strong>to</strong> vocal music<br />
Instrumentalists accompanied voices
Renaissance <strong>Music</strong><br />
Instrumental <strong>Music</strong><br />
•<br />
•<br />
•<br />
Still subordinate <strong>to</strong> vocal music<br />
Instrumentalists accompanied voices<br />
More music written specifically for instruments
Renaissance <strong>Music</strong>
Renaissance <strong>Music</strong><br />
Instrumental <strong>Music</strong><br />
•<br />
Instrumental music intended for dancing
Renaissance <strong>Music</strong><br />
Instrumental <strong>Music</strong><br />
•<br />
•<br />
Instrumental music intended for dancing<br />
Pavane or passamezzo in duple meter
Renaissance <strong>Music</strong><br />
Instrumental <strong>Music</strong><br />
•<br />
•<br />
•<br />
Instrumental music intended for dancing<br />
Pavane or passamezzo in duple meter<br />
Galliard in triple meter
Renaissance <strong>Music</strong>
Renaissance <strong>Music</strong><br />
Instrumental <strong>Music</strong><br />
•<br />
Distinguished between loud & soft instruments
Renaissance <strong>Music</strong><br />
Instrumental <strong>Music</strong><br />
•<br />
•<br />
Distinguished between loud & soft instruments<br />
Outdoor (loud): trumpet, shawm
Renaissance <strong>Music</strong><br />
Instrumental <strong>Music</strong><br />
•<br />
•<br />
•<br />
Distinguished between loud & soft instruments<br />
Outdoor (loud): trumpet, shawm<br />
Indoor (soft): lute, recorder
Medieval <strong>Music</strong><br />
Medieval Instruments and Dances
Looking Ahead<br />
•<br />
•<br />
•<br />
•<br />
TEST 2<br />
Baroque <strong>Music</strong> (1600–1750)<br />
<strong>Music</strong> in Baroque Society<br />
Concer<strong>to</strong> Grosso and Ri<strong>to</strong>rnello Form<br />
• Fugue
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