Instrumental Music Shows Up
rise of instrumental music in the renaissance governed by
exploitation of compositional styles and genres idiomatic to the instruments and independent of vocal music
reliance on preexisting vocal genres
categories of emerging instrumental music
dance music
arrangements of vocal music
settings of existing melodies
variations
abstract instrumental works
social dancing was popular in the renaissance especially for well-bred people - they were expected to be good dancers
it was basically the only place you could go to find love
suuuuper high expectations
dance music was improvised but started to be published after the invention of the printing press
music served two very different purposes in the renaissance
dances for ensemble were functional and suitable for accompanying dancers
typically plain uppermost principal melody
homophonic
dance pieces for solo lute are stylized and intended for the enjoyment of the listener
earliest form to gain independence from vocal music
each dance follows a particular meter, tempo, rhythmic pattern
distinguished by the particularity of rhythm and form
feature distinct sections, usually repeated, with two, three, or more sections depending on the dance
danserye - specific parts for specific instruments aren't named in the scores until the 17th century
most instruments were built in families covering the range from soprano to bass so that any instrument could take any part
mixed ensembles using instruments from different families became more popular
toward the end of the sixteenth century contrasting sounds became the rule in instrumental music, moving towards combination of strings and winds
dances were grouped in pairs or threes - slow dance in duple meter followed by fast one in triple meter on the same tune
pavane - stately dance in three repeated strains (AABBCC)
galliard - followed the same form with a variant of the same melody
instruments doubled or replaced voices in polyphonic compositions, reading from the vocal parts and adding embellishments
lutenists and keyboard players made arrangements of vocal pieces, either improvised or written down as tablature (intabulations)
examples of renaissance tendency to rework existing music
many instrumental settings of chansons
could be played as background music or for their own pleasure
catholic services could alternate between choir chant and organ cantus firmus
lutheran hymns could alternate between unison congregation and polyphonic setting for choir or organ
combined change with repetition, taking a given element and presenting an uninterrupted series of variants on it
achieves length and coherence in pieces without words
variations on dance tunes written for lute
solo lute repertory was developed independently of mainstream vocal music and became the first to harbor a style idiomatic to the instrument
lute variations on standard poetry
became popular with english keyboardists (virginalists)
interest in varying melodies rather than bass patterns and bare melodic outlines
cultivated several types of music that were truly independent of dance rhythms or borrowed tunes
improvising figuration on polyphonic instruments or drawing on imitative textures from vocal music
ranked among the earliest examples of solo instrumental music and became mainstays of the repertory for solo player
canzona - leading genre of contrapuntal instrumental music, embellished and later thoroughly reworked chansons
long-short-short opening figure
features a series of themes that differ from each other in melodic outline and rhythm
giovanni gabrieli
divided choirs
rise of instrumental music in the renaissance governed by
exploitation of compositional styles and genres idiomatic to the instruments and independent of vocal music
reliance on preexisting vocal genres
categories of emerging instrumental music
dance music
arrangements of vocal music
settings of existing melodies
variations
abstract instrumental works
social dancing was popular in the renaissance especially for well-bred people - they were expected to be good dancers
it was basically the only place you could go to find love
suuuuper high expectations
dance music was improvised but started to be published after the invention of the printing press
music served two very different purposes in the renaissance
dances for ensemble were functional and suitable for accompanying dancers
typically plain uppermost principal melody
homophonic
dance pieces for solo lute are stylized and intended for the enjoyment of the listener
earliest form to gain independence from vocal music
each dance follows a particular meter, tempo, rhythmic pattern
distinguished by the particularity of rhythm and form
feature distinct sections, usually repeated, with two, three, or more sections depending on the dance
danserye - specific parts for specific instruments aren't named in the scores until the 17th century
most instruments were built in families covering the range from soprano to bass so that any instrument could take any part
mixed ensembles using instruments from different families became more popular
toward the end of the sixteenth century contrasting sounds became the rule in instrumental music, moving towards combination of strings and winds
dances were grouped in pairs or threes - slow dance in duple meter followed by fast one in triple meter on the same tune
pavane - stately dance in three repeated strains (AABBCC)
galliard - followed the same form with a variant of the same melody
instruments doubled or replaced voices in polyphonic compositions, reading from the vocal parts and adding embellishments
lutenists and keyboard players made arrangements of vocal pieces, either improvised or written down as tablature (intabulations)
examples of renaissance tendency to rework existing music
many instrumental settings of chansons
could be played as background music or for their own pleasure
catholic services could alternate between choir chant and organ cantus firmus
lutheran hymns could alternate between unison congregation and polyphonic setting for choir or organ
combined change with repetition, taking a given element and presenting an uninterrupted series of variants on it
achieves length and coherence in pieces without words
variations on dance tunes written for lute
solo lute repertory was developed independently of mainstream vocal music and became the first to harbor a style idiomatic to the instrument
lute variations on standard poetry
became popular with english keyboardists (virginalists)
interest in varying melodies rather than bass patterns and bare melodic outlines
cultivated several types of music that were truly independent of dance rhythms or borrowed tunes
improvising figuration on polyphonic instruments or drawing on imitative textures from vocal music
ranked among the earliest examples of solo instrumental music and became mainstays of the repertory for solo player
canzona - leading genre of contrapuntal instrumental music, embellished and later thoroughly reworked chansons
long-short-short opening figure
features a series of themes that differ from each other in melodic outline and rhythm
giovanni gabrieli
divided choirs