Renaissance music
Renaissance music is traditionally understood to cover European music of the 15th and 16th centuries, later than the Renaissance era as it is understood in other disciplines. Rather than starting from the early 14th-century ars nova, the Trecento music was treated by musicology as a coda to Medieval music and the new era dated from the rise of triadic harmony and the spread of the ' contenance angloise ' style from Britain to the Burgundian School. A convenient watershed for its end is the adoption of basso continuo at the beginning of the Baroque period.
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- enRenaissance music is traditionally understood to cover European music of the 15th and 16th centuries, later than the Renaissance era as it is understood in other disciplines. Rather than starting from the early 14th-century ars nova, the Trecento music was treated by musicology as a coda to Medieval music and the new era dated from the rise of triadic harmony and the spread of the ' contenance angloise ' style from Britain to the Burgundian School. A convenient watershed for its end is the adoption of basso continuo at the beginning of the Baroque period.
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- enRenaissance music is traditionally understood to cover European music of the 15th and 16th centuries, later than the Renaissance era as it is understood in other disciplines. Rather than starting from the early 14th-century ars nova, the Trecento music was treated by musicology as a coda to Medieval music and the new era dated from the rise of triadic harmony and the spread of the ' contenance angloise ' style from Britain to the Burgundian School. A convenient watershed for its end is the adoption of basso continuo at the beginning of the Baroque period. The period may be roughly subdivided, with an early period corresponding to the career of Guillaume Du Fay (c. 1397–1474) and the cultivation of cantilena style, a middle dominated by Franco-Flemish School and the four-part textures favored by Johannes Ockeghem (1410's or 20's – 1497) and Josquin des Prez (late 1450's – 1521), and culminating during the Counter-Reformation in the florid counterpoint of Palestrina (c. 1525 – 1594) and the Roman School. Music was increasingly freed from medieval constraints, and more variety was permitted in range, rhythm, harmony, form, and notation. On the other hand, rules of counterpoint became more constrained, particularly with regard to treatment of dissonances. In the Renaissance, music became a vehicle for personal expression. Composers found ways to make vocal music more expressive of the texts they were setting. Secular music absorbed techniques from sacred music, and vice versa. Popular secular forms such as the chanson and madrigal spread throughout Europe. Courts employed virtuoso performers, both singers and instrumentalists. Music also became more self-sufficient with its availability in printed form, existing for its own sake. Precursor versions of many familiar modern instruments (including the violin, guitar, lute and keyboard instruments) developed into new forms during the Renaissance. These instruments were modified to respond to the evolution of musical ideas, and they presented new possibilities for composers and musicians to explore. Early forms of modern woodwind and brass instruments like the bassoon and trombone also appeared, extending the range of sonic color and increasing the sound of instrumental ensembles. During the 15th century, the sound of full triads became common, and towards the end of the 16th century the system of church modes began to break down entirely, giving way to functional tonality (the system in which songs and pieces are based on musical "keys"), which would dominate Western art music for the next three centuries. From the Renaissance era, notated secular and sacred music survives in quantity, including vocal and instrumental works and mixed vocal/instrumental works. A wide range of musical styles and genres flourished during the Renaissance, including masses, motets, madrigals, chansons, accompanied songs, instrumental dances, and many others. Beginning in the late 20th century, numerous early music ensembles were formed. Ensembles specializing in music of the Renaissance era give concert tours and make recordings, using modern reproductions of historical instruments and using singing and performing styles which musicologists believe were used during the era.
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- enRenaissance music
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- www.rpfuller.com/gcse/music/renaissance.html
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- Allemande
- Alma Redemptoris Mater
- American Institute of Musicology
- Ancient Greece
- Ancient Rome
- Antiphon
- Antonio de Salazar (composer)
- Ars nova
- Ars Nova
- Ars subtilior
- Ave maris stella
- Bagpipe
- Baldassare Castiglione
- Ballade (forme fixe)
- Ballata
- Bandora (instrument)
- Bar (music)
- Baroque music
- Basse danse
- Basso continuo
- Bassoon
- Beat (music)
- Bergerette
- Bocal
- Bourgeois
- Bransle
- Burgundian School
- Caccia (music)
- Canarie (dance)
- Cantus firmus
- Canzona
- Canzonetta
- Carlo Gesualdo
- Category:Renaissance music
- Chanson
- Chivalry
- Chord progression
- Church mode
- Circle of fifths
- Cittern
- Clavichord
- Concertato
- Consonance and dissonance
- Consort of instruments
- Contenance angloise
- Contenance Angloise
- Cornett
- Counterpoint
- Counter-Reformation
- Courante
- Cyclic mass
- Cymbal
- David Munrow
- Double whole note
- Duchy of Burgundy
- Dyadic counterpoint
- Early Irish harp
- Early Modern
- Early music
- English Madrigal School
- Fauxbourdon
- File:Avemarisstella.png
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- File:Josquin des Prez.jpg
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- Florence
- Florentine Camerata
- Formes fixes
- Franchinus Gaffurius
- Franco-Flemish school
- Franco-Flemish School
- French Renaissance
- Frottola
- Functional tonality
- Galliard
- Gilles Binchois
- Gioseffo Zarlino
- Giovanni Artusi
- Giovanni Pierluigi da Palestrina
- Gittern
- Grove Music Online
- Guillaume Dufay
- Guillaume Du Fay
- Guinness
- Harpsichord
- Heinrich Glarean
- Hernando Franco
- History of music
- Hornpipe (musical instrument)
- Humanism
- Hurdy-gurdy
- Hymn
- Intabulation
- Intermedio
- Interval (music)
- Isorhythm
- Jessie Ann Owens
- Jew's harp
- Johannes Nucius
- Johannes Ockeghem
- Johannes Tinctoris
- John Dunstaple
- Josquin des Prez
- Landini cadence
- Laude
- Lavolta
- Leonel Power
- Lied
- Lira da braccio
- List of Renaissance composers
- Low Countries
- Luca Marenzio
- Lute
- Lute song
- Luzzasco Luzzaschi
- Lyre
- Madrigal
- Madrigal (music)
- Madrigal comedy
- Madrigale spirituale
- Magnificat
- Major third
- Mandore (instrument)
- Mannerism
- Manuel de Zumaya
- Margaret Bent
- Marian antiphon
- Martin le Franc
- Martin Luther
- Mass (music)
- Medieval music
- Middle Ages
- Mode (music)
- Monody
- Monophony
- Motet
- Motet-chanson
- Musica ficta
- Musica reservata
- Music education
- Music in the Elizabethan era
- Music notation
- Music of the Trecento
- Musicologist
- Musicology
- Musique mesurée
- Nicola Vicentino
- Note value
- Octave
- Old Hall Manuscript
- Ordinary of the mass
- Organ (music)
- Orlande de Lassus
- Orpharion
- Oswald von Wolkenstein
- Overtone series
- Oxford University Press
- Panpipe
- Paraphrase mass
- Parody mass
- Pavane
- Perfect fifth
- Perfect fourth
- Pietro Aron
- Pietro Cerone
- Piva (dance)
- Polyphony
- Portative organ
- Prelude (music)
- Printing press
- Protestant Reformation
- Quarter note
- Recorder (instrument)
- Recorder (musical instrument)
- Reed pipe
- Regal (instrument)
- Religious music
- Renaissance
- Ricercar
- Roman School
- Rondeau (forme fixe)
- Rondeau (music)
- Root (chord)
- Sackbut
- Saltarello
- Salve Regina
- San Marco di Venezia
- Seconda pratica
- Secular music
- Semibreve
- Sexual intercourse
- Shawm
- Slide trumpet
- Strophic form
- Tablature
- Tambourine
- Thomas Tallis
- Toccata
- Tomás de Santa María
- Tomás Luis de Victoria
- Tonality
- Tourdion
- Transverse flute
- Triad (music)
- Triangle (musical instrument)
- Trombone
- Unison
- Vellum
- Venetian School (music)
- Venice
- Vicente Lusitano
- Vihuela
- Villancico
- Villanella
- Villotta
- Vincenzo Galilei
- Viol
- Violin family
- Virelai
- Virginal
- W. W. Norton & Company
- White mensural notation
- Whole note
- William Byrd
- Reference
- enAnon. "Seconda prattica". Merriam-Webster.com, 2017 .
- enAnon. "What's with the Name?". Sackbut.com website, n.d. .
- enAtlas, Allan W. Renaissance Music. New York: W.W. Norton, 1998.
- enBaines, Anthony, ed. Musical Instruments Through the Ages. New York: Walker and Company, 1975.
- enBent, Margaret. "Power, Leonel". Grove Music Online, edited by Deane Root. S.l.: Oxford Music Online, n.d. .
- enBent, Margaret. "The Grammar of Early Music: Preconditions for Analysis". In Tonal Structures of Early Music, [second edition], edited by Cristle Collins Judd. Criticism and Analysis of Early Music 1. New York and London: Garland, 2000. Reissued as ebook 2014.
- enBessaraboff, Nicholas. Ancient European Musical Instruments, first edition. Cambridge, MA: Harvard University Press, 1941.
- enBesseler, Heinrich. 1950. "Die Entstehung der Posaune". Acta Musicologica, 22, fasc. 1–2 : 8–35.
- enBowles, Edmund A. 1954. "Haut and Bas: The Grouping of Musical Instruments in the Middle Ages". Musica Disciplina 8:115–40.
- enBrown, Howard M. Music in the Renaissance. Englewood Cliffs, NJ: Prentice Hall, 1976.
- enClassen, Albrecht. "The Irrepressibility of Sex Yesterday and Today". In Sexuality in the Middle Ages and Early Modern Times, edited by Albrecht Classen, 44–47. S.l.: Walter de Gruyter, 2008.
- enEmmerson, Richard Kenneth, and Sandra Clayton-Emmerson. Key Figures in Medieval Europe: An Encyclopedia. [New York?]: Routledge, 2006.
- enFuller, Richard. 2010. Renaissance Music (1450–1600). GCSE Music Notes, at rpfuller.com .
- enGleason, Harold and Becker, Warren. Music in the Middle Ages and Renaissance . Bloomington, IN: Frangipani Press, 1986.
- enJudd, Cristle Collins, ed. Tonal Structures of Early Music. New York: Garland Publishing, 1998.
- enMunrow, David. Instruments of the Middle Ages and Renaissance. London: Oxford University Press, 1976.
- enMunrow, David. Notes for the recording of Dufay: Misss "Se la face ay pale". Early Music Consort of London.
- enOED.
- enOngaro, Giulio. Music of the Renaissance. Westport, Connecticut: Greenwood Press, 2003.
- enPryer A. 1983. "Dufay". In The New Oxford Companion to Music, edited by Arnold.
- enStrunk, Oliver. Source Readings in Music History. New York: W.W. Norton, 1950.
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- Âm nhạc thời kỳ Phục Hưng
- Cerddoriaeth y Dadeni
- m.06fz4
- Música del Renacimiento
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- מוזיקת רנסאנס
- موسيقى عصر النهضة
- موسیقی رنسانس
- ルネサンス音楽
- 文艺复兴音乐
- 르네상스 음악
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- Instrumental music
- Transition from Renaissance to Baroque
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- Category:Renaissance music
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