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Chapter 4

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Chapter 4

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Samuel Leung
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Chapter ‘The Emergence of Renaissance Style In their quests evve ancient practices, most Renisance scholars au arin had aes modesto study and initate. Ancien buildings and sculpture were + Chapter Outline CConsonance and Disonance: “ring the Ear close athand in Tay for painters separ and arches Wir ad grow SonotinThe Contanance in bo of ancient tro ent. Bathe sounds of ancient masc had not Angle been [Link] for msc he inition of odes om aia antigay Fauxbourdon ond ws ely impone burden Not unc he closing decades of the 16th century id scholars and New Sonor, Old ‘muscansatempe so fereat the muse pacies of ancient Greece, Mos srvcure: Du Foye Renaissance musicians were nevertheless rly convinced tht the snie pr rsa ores ‘oftheir own time was inferior to cat ofthe distant past. They reached this conclusion from the many references in ancien iteratute to musics mac ‘lous power. In the words ofthe Spanish composer and theorist Bartolomé osquins Ave Mara... ie ‘serana and te Syl ofthe ae Ronde ara en a0. 131) remot eres Toaure ‘Without a doubs, music has immense effece upon and mighty power oe ‘over the human soul, whether to calm or to rouse it. If in our time a music does not work so many miracles, it is to be attributed not to the Meloy ‘ewe perfecto ceeds nt of nathan wh othe via iat tin tet [reel msc. a i they woud dey th our ms was ered by themes ep ‘unharmonious, an dinspated has i ben rendered through the cor upton of certain singers" (Winrar This bie ese fom Johannes Tica’ Ube de arte ontrapunes ("ook on the Art of Courterpoing,” 47) remanabl in wo spect fit, becouse Tors iden @ ‘reak n musical tration thos had eared about 40 years ‘efre— that whet we now thnk oes the bepnning ofthe Renozance erin rusiand eon, becouse he ‘bases hisjudert no on the estoy of pat eos, Jn the manne ofthe mecical schol, but, flowing the huni pfecence fr direc evidence fom anginal ouces cover recived wisdom, on the tay of acl works of muse Both the manner ond nature of his buen signa the emergence ofthe Rerasance erin mui. Concoris of sounds and melodies, fen whose sweet: es. the pleasure ofthe ears derived are pred then, ‘ot by heavenly bodies, but by ea instruments with the cooperation of mare. To these cinco the ancent ‘usicate—Pato, Pycagoras, Nicomachs, Arson Piola, Archyas, Pokey and mary other, neding ‘ven Boethius—most assiduously apedhemscies, yet how they were aceustamed mo arrange ant for thes alma unknown to our generatin- Adi may refer tomy ‘ownexpeiene, have had in my hand seri old songs ‘oF unknown crigin (hat were] So inepy m supidycoa ose that hey ater offended than pleased he ea aN TS Further, although itseems beyond belie there docs not exist a single piece of musi, not composed within the last fry years, that repute by the learned a+ ‘worth hearing. Yee a thi presen me, not to mention innumerable singer ofthe most beawiful diction, there flourish, whether by the effee of some celestial ine ence or hy the force of assiduous practice, countess composers, among them Jean Ockephem, Jean Regi, Antoine Tusnoys, Fiemin Caron, and Guillaume Faugues, who glory in having stidied this divine art under John Dunstable, Giles Binchos, and Guillaune Du Fay, recently deceased. Nearly all the works ofthese ‘men evhal such sweetness cat in my opinion they are to be considered most suitable, not only for men and Iheroes, but even forthe immoral gods Indeed, Tnever hear them, I never examine them, without coming away happier and more enlightened. As Virgil took Homer for his model in that divine work the semi so I, by Hercules, have used these composers as models for my modest works, and especialy in the arrangement of the ‘concords I have plaaly imitated their admirale style ‘of compoting. ‘Soren Noon compte Coie one wey Oe ‘ran Reps eases pe CONSONANCE AND DISSONANCE: TRUSTING THE EAR Although they may have fl inferior to their ancient eounterpars Rensence musicians fle conf deny superior o their immediate predecessors. Comment tors ofthe 15th century influenced by humans, by new ways thinking about the asin general and by the sil broader sense that hey were pat ofa clara rebithdrew a dear dscncion between what we now think of medieval nse andthe musi of thee own ime Johannes Tintoris (1435-1511) renowned ‘composer andthe mos prominnt theorist of his yenertion, exes thi ew ‘lun. [Although i seems beyond bi” he decared in 1477, there does ‘nt exsta ingle piece of mac, ot composed within the las ory years, ha i ‘regarded by the leaned s worth hearing” (se Primary Evidence: A New Way ‘of Hearing New Mus, Signficany, Tinctors based his historical evaluation on sce composers and on works he knew. He did not rely ono even refer to the commentaries ‘of past authorities. In shor, he tasted “he jgmenc of my ers” over tration. This ‘may no sem particularly striking now bat in Tneors time, the practce of dfer= ‘tng othe judgment of exablishe authority was sl deeply ingrained. ‘case in point involves an issue een to she diference between medieval end Renasance musi’ the question of consonance and dissonance. Medieval theo, drawing on he authority of Boe and through him Pythagoras, gave priority to ‘number and reason over soundin defining rconsonsnt interval. They thasconsieredas ‘consonant only those interval tht could te expressed at mathematically simple ratios the cetae Q:1), che fifth (2), and the Feareh(43) Although the sth-century wc Greek philosopher Arstoenus had mainined guna Pythagoras, dat thids shoul be considered consonant because they ed consonant, Howthiss had dismised this appeal co the eidence ofthe senses. Argoxenus, he complained, left all judgment up tothe ear whereas Pythagoras, “havirg lef behind the [udgrent of the ea, ha= ing proceeded othe underying causes, misusting any human ear and set no sore by instruments inuired how one coal explore the tru cause of consonance ‘through reason in solid and reliable sion" “intors and other Renaissance thei rejected this antiempiial tradition. ‘inctors speaks of the “snecnes" of the thied, praising icin what he deeibes 2s “Arsoxenin fshion," chat, “by dhe gent ofthe eat” Bartolomé Ramos de Pareja similarly marshaled empirical evidence in favor of the dhird. According to teadtional Pythagorean cheor the mathematical ratios for he this 8164 forthe naj and 3227 forthe ninor—weredsinctyinelegant, tijing te cassiication fof these intervals as dsonant. Ramos de Pareja mainained, however, thatthe er ould notin fat distinguish berween the intervals of S164 and 80:64 (edule to Sh, He therefore argued that che mar third of should be considered consonant, long with de interal of the minor thd as 3025 (65). This empirical and practical challenge to rational music theory manifested tel in ocher way swell The 1d-cenrur theorist Guido of Arer2, following Boethins, tha drawn a sharp disinesion beoween a marite—one who understands the eset ‘mathematical nature of masie—and acento singe”) —a mere performer, ie beter than a beast, for whoover docs things wthoot understanding them, i by definition a Teas (illustration *The two sides of musi” p. 2). Tinctors endorse the di tintin, but with a pactieal ewe, In is Diciomary of Music (published in 1473, the first sich work oft kind), he defines amasias as somone who “afer earful ational investigation” of musi “throwgh benct of thought, assumes the afce of singes” Ramos de Pareja ina treatise pointeyentled Mie price Practical Mae"), dismissed the authority of Guido altogether onthe grounds that he was “perhaps 2 beter monk than a msician™ This dg at Guido roused the clergy, who denounced [Ramos de Paci 8 viral here. One writer aecked him sa "Spanish prevarice- tor ofthe truth and asked hen pil, 1f [Rope] Gregory the Grea, believed 2 the time to be the composer of all liturgical chant] wished to use ony these seven Latin leer [A, B,C,cte]and repetthem ab often as needed, ans [Suine) Ambrose and [Suing} Augustine prefered o followin is oorteprather than in foreign oes, why dont you bosh to pervert this oder and deve with your arrogant censorship? Are you perhaps more sain than tse pillar ofthe charch or more cultivated ‘ormore experience... The docrine of tha pious monk (Guido of Arez0), ‘spread dnroughout the world, will at forever notwithstanding your malice” As this response suggests, more vas a take here than a dilference of opinion shout consonance and dissmance. Indeed, the Renaissance challenge to medieval Schoastici-—in all ares of erady, noe ast mosic—frghtened many a8 a theeat 10 ‘the authority’ ofthe church and its teaching. "The strugale between the acceptance of traton and the new methed of eteltonght wold play self out on many fronts ‘ver the course of sucoedng centri inthe reams of astronomy, geography theo) ty well 2s music, The new asad excmplited bythe wilingness vo quistion or tren dime lage body of mic anda thought ofthe past, marks 2 sine Shift in outlook and one tat more than any single stylistic element characterizes the ‘sical Renaissance SONORITY: THE CONTENANCE ANGLOISE According to Tinctors, the fountain and origin” of what he and his contemporaries perceived tobe distinctly new musica style “lies with the Fglish whose leading mas- terwas John} Dunstable” From Dunable(. 1390-1453) he aces itt the French ‘composes Gilles Binehois (1400-146) and Guillaume Du Fay x. 1397-1478), and fom them othe leading composers fis owe dy, most notbly Johannes Ockeghern (21420-1497 Johannes Regis (1425-1496), and Antoine Busnoys c3, 1430-1492). Title sown about Dunstable its but is ily he spac time in rance in the set= tev of the Duke of Bedford, who was Gghting the French i the Hundred Yeas! Wat, Tso, he would have been well sisted 0 inflseace French composers. And indeed, nos al of is musi s preserved in continental rather than English manuscripts. Tnctris was not the fist to peri meting new inthe mos of Dunstable, ‘inc and Da Fay As carl as 142, che French poet Marcin le Fran had singled ovt those composers as expla of what he called the amtenence angles, the "English [pine which he characeized as “new way of composing ith Lely consonances” [Akhough ke ranc does esrb hissy in any dtl be Sesto have ben respond ing to new kindof ono in which the musics dominate by eid, hs, and sth The English predilection for hinds a aad ean eden music of the ate medieval cra Gee Chapter 3), Dunsable an his allows wed thes ira ina manner tha has “nce ben described sone of panconsonance, harmonic om that makes ample we ferns (ceric alignment of thre nots whose base pitches are separated by major or ‘rior thirds n ose poston) and limits the ws of dsonance considerably ‘Dunstable Quem pale (‘How Fur You Are).a moter writen sometime before 1430 om a text from the Song of Solomon, llsrates these characteristics. Ts three soies are of more ores equal weighs none of them derives rom preeistent material "They all have the same viythaue roi and they combine repeatedly to form ends that move in backs, almost ike chorale or hymn. The ineras resling fom the Jntertelatonshp of the three voices are overwhelmingly coasonan: dsonances, such 2 the “En the uppermost voice in measure 2, are few in namber and hthmialy ‘pief-The texture heres silat that ofthe polyphonic conducts (ee Chapter 2), yet the rhythms and vertal alignment of sonoeis clearly distinguish Dunstables mort Fi that earlier orm, The afuene ofthe emtoanc ago on Du Fy is apparent in ‘tha vertical intervals are strongly oriented toward thts and trad, with an increasing runber of triadic cadences the fifth nevertheless eins ts tdional pid of place 3s the final cadena inser as in Dunstable Quam pulse Fanxbourdon and Faburden Du Fay was an important figure in the development of fausbourdon, another com psiionaleechnique that fivored wade sonore and that emerged around 1430.A Frusbourdon i an annotated ine that ras paral to the uppermost of ewo notated Hines way ache interval of fourth bolo crnting» harmoniesre cn thieds and sinths The Adveat hymn Conor abmesierson (Bountil Crestor of the Stats) temates beeen plainchant Gn the odd-numbered xophes) and thee-voieed por Iyphony. Inthe polyphonic scons, the two higher voices sng an embelised version (ofthe original planchant. Interestingly, the eal preserved version of this work transmits the painchant micloy in mensura statin, bringing it into alignment with the dytha of the alkemating polyphony. This source also transcrtes only one ofthe two upper voices in the polyphonic secon. The tir voice is indicated simply by the ‘rod fat writen nthe magn Inthe related contemporary English technique of faburden, musicians would lnzerpolatelines both above and below a preexisting melo. The upper line would par alle the notated melody a fourth shove snd the lover line woud vary between thirds fu its below it This ested in wht we migh day think fa iat chords hat js frs-inversion chords, withthe sth sale degree in the rot) although theorists ‘ofthe tine would not have perceived them a soch. The ne effec, however, 25 with fauxbourdon, wi o reinforce the idea of thieds and sats s consonant intervals fie mearnsii no Focu in Chapter. Rea OE We know ofmany 1h-ontery works olay only om movements and. motets by Leonel Power and eter singe suring soars and we en ony spate aboot (avnly Engh) composer of the late 14h and early how anny sources have been low: Scholae have inven- th centric wet in rythm, in English desc tried mest sources, but work continues on almost all style (note against note), oF in the style af contcmpo- of them in dtermine when, where, and under what c= Coins they nee produced, what mie they ein pnconsoance ofthe mene angi with is plea tuna vho componed them The annwerstomanysech we this ad sith {uetonsoen depend on all but crucial ies of ex dence: The ype of paper we he binding te hand ofa Gimou Mite, £13 nm i ae ae olrsrbe, payment records eon archives—any Zod all ofthese cn help unrvel the meri of Hse Fecnaing document ised here are the most important colletions hog sacred (Mass movement, motes) and seule Sheena ppg that fe mire of ‘aed ant seca works, Fo listing of 1Sth-ena see Focas Chanson Manoserips ofthe 15th Cenury, Trent Codes odin” isthe plural of “codex ix ‘ty chaasons The later works inthis soure display the Canonict Mise. 213, now in the Bodlelan Library, A large manuscript of 146 leaves, ic contains some 525 campositions by Islan and Netherlandish com posers, including Du Fay and Binchois. The repertory (chansons, alate) hovsedn Tent Talysixvolemesin he Museo Provinciale {PAne and one inthe Museo Dincesino, Compiled in “The Old Hall Manuscript, now inthe Brith Library, the region of what is now southern Germany, Ausra, ‘London, but named afer the library in St- Edmund’ and northern Kaly becween roughly 1430 and 1480, they allege in which ie was orginally housed, was prepared contain more tan 1,500 compositions, both sacred and in England during the early decade of the 15th contury. secular, by composer from England the Low Countries, [A sable manuscript preserves areperory that dates Germany, France, and Tal, including Dunstable, from ct 1350 to a. 1420, Ie contains about 150 Mass and Binchois may, New Sonority, Old Structure: Du Fay's Nuper rosarum flores “The new snorty characteristic of Renasanc syle was not att accompanied by new approaches to mis rere, Indeed, ome of Dy Fay’ most sigaican early works far organized accoring to the medieval technique of oehythm even a they explore ‘ew sonore, The mote Niger rari fer The Rose Blossoms), writen for the ‘consration ofthe newly completed doane ofthe ethers in Florence on March 28, 1136, provides a revealing example ofthis mixing of old and new. The deme—designed by Filippo Bruneleschi (1377-1446), who alo oversaw its -onsrustion—isa timp of Renssance engineering. Brunllsci contemporaries marveled att "Who coud ever be so cold or envious” asked Leon Bats Alber, the autho of an important treatise on perspective, “sto fal 1 recognize the genius fan architect capable of erating sch an enormous struct, rising in ee sky, ig ‘ough co coverall he peopl of Tuscany ints shadow-—and all dane without the aid fof centering or even much safoling?™ The conserstion of the dome, then, was an event ia honor ofan architectural sastespece 0 tno coincidence that the stroctare ofthe cathedral is reflected in Dy Fay’ more. The cant firmus the term composers of the ime were now ‘ting forthe "ied melody” that served a the basis of composiion—derives fom EXAMPLE 4-1. Opening of ue Ineo Pris as ine === the opening ofthe Inuit Trib le te Awesome Is Ths Pace’) chant employed (appropriacely enough) in ceremonies for the dedication of a new church (Gee Example 4-1. Du Fay applies the cats firms in an ursaal way her, sting ‘canonical in two vices (m. 29f.)."The melody inthe Tenor H line sted th shove the melody in the Tenor, and each voice basco a liferentsorkythms0 the ‘v0 voices move a different sped It has been suggested that this rwo-voiead eanonie cant firmus stretre may relate to the novel structure of Brunelle dome, which consists of an inner ame swpporting separate outer skin. This technica innovation made the construction of such large dome posible, and it may be that che double canes frm is Ds Fay’ rusia counterpart o ranlleschi doe. ‘Les speculative is the relationship ofthe work general proportions to Solomon's ‘Temple in Jerusalem, which theologians had long viewed the rotorypial church, As deserted in I Kings, the Temple was ad oui the proportions 6-42, with the ‘otal length ofthe building, + the length of te nave, 2 the width ofthe using and ‘he leah ofthe sanctuary, and th height ofthe balding, The Cathedral of Florence followed thee same proportions, and Du Fay mirrors them precy inthe empoal presentation ofthe cant firmus, which esate! four times in the proporons of (64233, We can seal see chee relationships by comparing the duration ofthe Best ‘note ofthe tenor line—a breve inthe orignal notation within each stem ofthe «ans firmus. Using a modern-day quarter aoe =the base unt of measrement che secesivestrtments rst onan underlying vale of units per breve ensures 29-56, beginning with a drted whole noe in wansripton), hen unis (measures 85-112, begining with a whole note)? units (nesses 127-140, beginning with a half ote), anu finally 3. units (measures 155-168, bepining wih a dotted half noe), The moter ‘concludes witha ewo-measare Amen” that sands outside this schutne, ‘The namber symbolism in Du Fay’ mote goes farther sil The numbers 4and 7 dominate throughout. The text consists of ovr saphes of seven lines an teenie is divide ino fou sections, one for each strophe, corresponding tothe changes inthe ‘hyn of he cants firmus just outlined, Fpl, cach of these setins hast daration 1028 bees the length ofeach section varies actording tothe menniraton sign wed for each ection, The number 28, the product of x75 alo a periet numb, hat '.a number thats the sum ofall is aes, excung lf U2 +4 +7» 14 =28), In spite ofits arch sometre strate, the sanorities of Napr rsa orcs ae ‘ses cach unit ofthe text-an opening slaasion tothe Vig, ve stophiesin pase of ‘he Virgin and a csing petition, a brit prayer invoking the protection ofthe Virgin — through a sere of contsting ttre that ae somtimes imitative and smetimes no. He also ses ony two voles at certain jnctures, sme playing off igh agains ow reir (ee table" Tear! Struct of Jogi’ Av Maris. evra Cadential Structure Asina great many mosial works ofthe Renaissance cadence play an important role inariculating the form of ths moct ach of secionss more o less secontined, depending on the strength of is closing cadence. Josquin calibrated the sequence of| ‘eences wth great care (ee tble* Caden] Stractare of Josquin Ave Maria... bge leven”), moving from the weakest at she very beginning (wo wees on the interval ‘fa third, with ryehiie overap into the next section) to the strongest atthe end (four voies onthe interval ofa, sstained fra duration of four fll nes. (iro an Eten) ‘Section Sslatation Srophe 1 Third + Octave Toi ‘Overaps into spe 1 Overops into strophe 2 Svophe2 Unison No overep Sxophe Unison Nooverap ‘Suophe: Unison Nooverap Fa Followed by one breve rest, itn ‘Sustained over four broves ‘This kind of strucrure, based on discrete units hat are more or less independent from one another, is known as paratactie form. Musial, no unifying themes or "iychmic poters run throughout the work as whole; instead the structure consis ‘of sucesion of esentily closed, uncanacted, and unrelated nits (A, B,C, D,E, tc), Pata fon ielaracersc of great deal of Renaisance msi, voeal swell 2s insrumentl Mode Like other composers ofthe Renaissance, Jsguin worked within the framework of the eightmode system that had been in we since medieval mes (sce Chapter 1) Individual voices would geneily move within the confines of a paricalar mode, dentiffing the mode ofa woek consisting of many voices was sometimes a challenge Most heodss agreed, however, that the mode of any given polyphonic composition ‘ould be determined primarily bythe range and final of the tenor voice, Acorn to this stem, de Maria. virgo serena is writen in transposed bypotyian (on ©) Some theorists inthe generations afer Josquin recognized addtional moces based ‘on A and C. Tha the Héeh-century cheovst Heinrich Glarean cited this motet as an ‘eample ofthe hypoionian mode, whch, sconding to his L2-mode system is tased (on C with an ambitas from the G below to dhe G adore, Melody “Melody in Renaissance musics generally characterized by conjunct motion—thats, stepwise progressions, with only occasional leaps of more than if and even then rarely anything other than a sath or an ocave. A in plainchan, large leap are gener ally followed by a move in the opposite direction, further contributing tothe broeder sense of balance between upward and downward movement. The opening motive of ‘Ave Maria. virgo sri fe derives from the plainchant melody associated with ‘the Sequence ve Mara used in the Fest ofthe Annunciation The Sequence varies from source to soure—this ws ate avon to the chant repertorybut none ‘German manuscript of Jorqun ime it ead asin Example 43, Beginning withthe nonliturgial portion of the text, however (Ae nie emp. Jonguin abandons the Sequence aa source of melodie materi and moves ahead with ely composed ‘ess. The musical se ofthese lines nevertheless preserves the sme base melodic character found inthe opening motive EXAMPLE'4-3 Sequence tev Moria Asve Marti = 0 ga - ti ple = na Rhythm ‘Most Renaissance music lacks sense of rested downbeat and is organized rhythm tally around a steady pulse called the ucts (Latin for touch”) One theorist ofthe late Sch century claimed tha the rate ofthe tacts was equivalent tothe heartbeat of 28 ones Do-mi-mus te - cum, vir - Josquin des Prez. .1450-152) Josquin, hailed by his contem- Porares «= one of the grestest compores of his time, was also one of the fist com posers whose reputation endured well past his death Joaquin,” wrote Marin Lathe, "is master of the ote, which mast express wha: he desies* Thirey years afer his deat, theorists and pedagogues were ull recommending his works s= models for aspiring young composers. So great was Josgui’s reputation, {i fact, tat some publishers sewght to profit fom it frsudlenty Several dozen works ateibuted to hin 1éth-cencuy print ae now known to have been writ- ten by others Teed tscems the more we learn about Josquin's life the es we know with certain. Only within dhe past ten years have scholars discovered his ue family name ‘wae Leblote and cht “des Pres” was nickname of oe. ‘Archival research has further reviled that wo "Josqing” ‘were working tthe cathedral of Mila i dhe 1470: che ‘composes we Know as Josquin des Pez, and another Jos- ‘in wh served in the daca chapel for some 40 years and fra alo anger and compose. ‘We nevertheless have enovgh to now that Jongain was highly selt-confdent individual, well aware of his talens In 1502, a member of the court of Duke Ercole (P'Eseof Ferrara wrote to his mater about two potential employees, Jenquin and Hensieus ase: {must notify Your Lordship ha ane che singer hasbeen in Ferrara and has written a motet. on antsy ended “La mila 0a sola ms" wich i yery good, and he wrote it in vwo days. From this one can only judge that he is very rapid in the ar of compositions besides, he is good satured and easy to get along with andit seems tome that hei che right man for Your Lord tip. Signor Dan Alfonso bade me as ien if fhe wotld like to join Your Lordships service, and he replied that he would rather be in your service than in that of any other lord whom he Tknows, and tha he does not reject the proposal tnd he hs taken the period of ene month to ‘reply ay to whether he will serve or not. We have accepted that term for taking his into sevice (only ia order to advise you about ie) an we have promised him 10 ducats a month, provided that you approve, and we ask you if ‘you will eign to let ws now if you approve of this or not To me he seems well suited to serve ‘Your Lordship, more so than Josquin, beause he is of better disposcion among his com= anions, and he will compose new works more often. I is true that Josquin composes better, tut he composes when he want to, and not ‘when one wants itn to, and he is asking 200 ‘ducts in slay while sane will ome for 120— ‘bot Your Lordship will decide." is Lonship evenly decided in fivor ofthe more Aiialtand expensive—Josqun PRINCIPAL WORKS Josguin wrote in virealy every voc! genre of his time. Te composed some 18 Masses and 6 individual Mas smorements almost [00 motes, ad abot 70 chansons, ‘most of which are in French, some in Iallan, and oth- ei eS Te cs me bheatse ofthe uncertain statue oF some of the works aruibuted eo hi, Poa soe DES PREZ ‘8,480 Born in whats now northern France ‘9 Begivm, posi in Saint Quentin, 1475-c2. 480 Member of the chapel of King Rane Of Anjou in Abeer Provence (southern Franc 1404-1485 Inthe arvce of Cardinal Asceno Storzain Milan and Rome. "M489-ca, 1485 Serves inthe Papal Chapel in Rome. 1802-1508 Serves in the chapal of Erole Esto infa 1OSQVINVS PRATENSIS, 1504-1621 Provost of the col Notre-Dame in Cond-surEscat in ong es re ing pies lis ow aortharn France. err ered fine 1 etry Snes mone In Cond-sur scout. beret) seule man breathing at a normal speed—that roughly 60 to 70 beats per minute Dance mai, of necessity was organived around a Bxed and regular meter with a ‘elaively strong downbeat. ut composers of weal msc for the mont part avoided ‘trong rhythmic accents within any given lin, creating a ind of Budiy tha allows ‘ich individual voie eo “float” Syneopacon emerges largely from the interplay of ‘the various ines within polyphonic texte. Ave Mari rgo seen is thus typical ‘ofits tie, for ao any strong sense of meter oF consistently patterned ehythmn Each section ofthe work establishes ie own characteristic rhythmie profile. Also ‘ppical of Renisance muse the manner in which each ection becomes somewhat more animated asi progres, then slows down again toward its lose, This same tlythunie pattern holds forthe composition asa whole, ith the final stophe the rhythmically fastest ofall and the petition a the very end the slowest, emphasizing ins function of osu, “inctoris concludeshis Lier dears conmapanc Treatise ‘on the Ar of Counterpoine” 1477) with "Fight Rules to Te Ofserved in All Counterpoint."‘These cn be sum= marized fallow 1. All counterpoint ought co egin and end with perfect consonance (ih or oct) 2, Avi paral fis and oxtaves 4 Suocessineeonsonanes ofthe sme Kind are pe ‘med i ee tenor remains on these nots 4, Indvidal lines mst be as conjunc as possible, with leaps used in moderation 5. Cadences should never fll outside of the mode of ‘the work a hand 6. Ladd lines should noc repeat the sme notes ‘over and over unless for spi fl, asin iat ing the sound of els r trumpets, 7. Avid suocessive cadences onthe sae pitches, ity mst he ough in all oamterpoint ESS Primary Evidence Conceptions of he compostional proces changed ondrmartly verte cour ofthe Reise Inthe ‘madi en, compose were olen abe 0 layer voices one ontop ofthe othe as in ogoa, clause, and rhythmic motets. Cantus emus compostionscntinued his tation {cesivecompostion 0 sme eters. ul te more Iromogenenu eure evden a work ke Josquin's Ave Mara. igo serena sugges a differen opproach to writing This ind ofteure,bsed on intelacing points of Initation, required composts o werk ou the implications ny ger idea fro the veces moe or less ef once. Here. the thor Peto Arn (1489-54) deserbes this proces of Simultaneous conception ian acount fist publshed in 1529, fis and then the tenor, once the renor was male dere ves sometimes no rom forthe bass and once the boss tras made, there was no place for many notes in he ato. ‘Therefore, im considering only pat by par, tha is when the tenor is being composed, if you pay attention oly to harmoniing this tenor [withthe soprano, and the same withthe bss, itis inevitable that each part wil uf fer where they come together. Therefore the moder ‘composers had beter isle, which x apparent fom their ‘composition in four, Sve, stand more voices, in which tach part has 4 comforable, easy and agreeable pace, esate they take al the pat into consideration a once and ao at described above, And if you prefer to compose the soprano, tenor, or bass ist, you are fre to fallow that method and rule, as some a present do, who often Many composers were of the opinion that the sopreno hein with the bas sometimes wit the reno, and some- should be composed firs, then the tenoe and afer the tne wit the alt, Bu because this wil be award and tenor the bas. This happened because they lacked the or- uncomfortable for you a fist, you wll evi prt by par derand undersanding of what was neesary to compose nevertheless, once you have ened some experience, you the alt. Thus they had many avkvard places in their wil follow the onder and method described before. compositions beease hey hat inser 005, PMS, aun ongnsns hasnt Ctr by Swit Su scening and descending leap that were aiicultbsem ror oun Or resent museoat. forthe singer or performer, so that those works had ine SOE? sum: Braue 8 Cort 0b teas tsps Soc Monts Pam ae sweets and harmony For in composing the soprano Unreaty2ioma Prax adic sonorides and caeflly controlled dissonance, harmony in the Renaissance ‘cnkinued tobe perceived asa by-product of voice leading, nota an end ints own right It is therefore anachronistic to speak of Renaissance compositions in terms of later concepts of tonal harmony—to analyze them, sn, terms of the effecs of ‘progression frm V chord to an ehoed, inthe closing measares of Josquin’ ve ‘Maria. rg serena, Yee composers and listeners ofthe time were certainly aware fl ofthe effects of successive vertical sonortes. As early a8 147, Johannes Tinetors ‘ould delineate “rules fr good counterpoin™that would apply to all music wo she ‘end ofthe Renssance (se Focus: Tietoriss Fight Rules for Good Counterpoin’). CConsonance tables began to appear regulary in compositional reaies during the 14905, an important indication that composers were thinking about ther art~and teaching it—more and more in terms of what we tolay’ call harmony. In a wea se published in 1516, Pietro Aaron expicily discussed the means of moving from ‘one chord to another” Privately the theorist Giowan Spataro complained a erly 151529 that “even without studying the precepts of counterpoint everyone fea master | Harmony Although she wots of Du Fay an his conemporaris resorted increasingly to i= of eomposing harmony | MEDIEVAL Layer, with voees moving genres RENAISSANCE | More homogeneous texture, with al vices of zeny equal Importance parvecing imteton dominetes rom the later decades | tthe 15th conary onward Sharp diferentision among ‘atlous voice incerta. fgonres (mote, canson) Dominance of hemythmic modes hon anguler wthout a Genorally balanced and evenly towing. A stedy pulse (ho tatu {governs prformence, and ehough ths may change within the ourseofe work itremainsstaady far long sets ot te. Generally yea! "voea") Reavy ess use of melodie materia This an sits now considered consonant, fourths les 0, particularly in practce, Ralatvaly limited and cartuly eontoled tae ofcasonence, Teomorge only gradually 6 Conus firmus sistas, Isornyth, formes fixes Cantus frmus,sorhyhm, formas fx al continue unt ca. 450: Sskerward chansons ond motets re more ikl tobe parataco 1A, B.C,D, et), wth inclviaual subunits of © work more o tse ‘harly demorested rom one another tthe a cappella (von onl) ideal with ns doubling voices Voce! and instrament al interchangeable, with oly a imitod number ‘of works wien spefcaly and excusvaly for latrament Extremal lite repertory {or instuments done: gro foxbiity In doutling ore White Nota “Though nocauble the notation of Jasin’ mote the manasrptsofitstime rece the new pracce of whit we now cll “white notion.” a development that had en take hold around ehe mide of the 1Sts century In white norton, sand longs and breves—instead of beng fled in, or Mack—are left ufiled, or “whit” The inperss far this change was lgely praca lminated he time required to lin the note heads and ic caused les wear and tear on paper, which was rapidly replacing parc ment a5 the standard medium for osks and manvsepts. (A welled oper indosery had esablshed iselfn Franc, soutbern Germany au Switzeriand by the end ‘ofthe 14th century) The essential elenens of mensisl notation emined atherise unchanged (Ge Chapters? and 3). SUMMARY “Al The characteristic style of Resasanee musi emerged gradually over the course of| the 15th century and continsed to evolve throughout the 6th, None oft fears appeared overnighe cach asserted is only incrementally often sins ressance ‘Asi often the casein the history af any ar, these syle transformations were ‘often generational. At any given time older musicians might be maintaining tah Yigal practices while thet younger leagues were embracing new atitulcs and Jy (Study and Review nd approaches: ‘on [Link]

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