Chapter 6 The Renaissance The High Renaissance Style

Compare and Contrast

Miserere mei, Deus Gregorio Allegri (1630s) -forbidden to be transcribed -punishable by excommunication -Mozart (14 yrd old) transcribed after hearing, was summoned by Pope to Rome, praised not condemned Sicut Cervus Palestrina (1584)

Key Terms
High Renaissance Imitative counterpoint Homophony a cappella Point of imitation Mass

The Mass
Longest, most important worship service of the Catholic church In Middle Ages, Mass sung in plainchant Invention of organum added some polyphonic music to Mass Renaissance composers added even more polyphonic music
Favored sung portions of Ordinary (unchanging texts)

They also sought to unify Mass musically

Liturgy of the Word

Introit
Proper, sung

Alleluia or Tract
Proper, sung

Kyrie
Ordinary, sung

Sequence
Proper, sung

Gloria
Ordinary, sung

Gospel
Proper, recited

Collect
Proper, recited

Homily
Spoken

Epistle
Proper, recited

Credo
Ordinary, sung

Gradual
Proper, sung

Liturgy of the Eucharist

Offertory
Proper, sung

Agnus Dei
Ordinary, sung

Secret
Proper, recited

Communion
Proper, sung

Preface
Proper, recited

Sanctus
Ordinary, sung

Postcommunion Prayer
Proper, recited

Canon
Ordinary, recited

Ite, missa est

Ordinary, recited

Pater noster
Ordinary, recited

Response
Ordinary, recited

High Renaissance Style

Imitation
Type of polyphonic texture Voices enter one after another Each voice genuinely melodic Same motive and words for each voice (but on different pitches)
Voices take turns vying for attention Creates beautiful balance between parts

High Renaissance Style

Homophony
A simpler texture that reflects influence of secular music Top voice dominates Lower voices follow rhythm of top voice, supporting melody with rich chords Creates block chord feel Provides effective contrast to imitation

High Renaissance Style

Tone colora cappella sound Scale, key & modemedieval modes Pitch & melodymedium register, smooth motion, ups and downs carefully balanced Harmonyconsonant chords with occasional, mild dissonance Texturealternation between imitation and homophony Rhythmfluid; metric, but without strong accents

Josquin, Pange lingua Mass

Unified Masseach movement based on same plainsong hymn, Pange lingua Recurring use of familiar, beloved hymn tune turned Mass into profound artistic experience Used the five standard movements for Renaissance Mass
Kyrie, Gloria, Credo, Sanctus, Agnus Dei

Josquin, Pange lingua Mass

Kyrie I
This section is a point of imitationa short passage of imitative polyphony based on a single motive The Kyrie I motive is a paraphrase of the chant hymns first phrase

Josquin, Pange lingua Mass

Kyrie I
Voices enter one by one
Tenor, bass soprano, alto bass, tenor, soprano

Final soprano entrance paraphrases second phrase of chant hymn Crescendo of activity approaching cadence

Josquin, Pange lingua Mass

Christe
Two successive points of imitation
First one based on phrase 3 of the plainchant hymn

Kyrie II
Begins with point of imitation Ends with free materialsdescending sequence, powerful oscillating passage, and extended final cadence

Josquin, Pange lingua Mass

From the Gloria
Alternates between imitation and homophony
Eight points of imitation Four homophonic sections

Josquin mostly uses imitation, reserves homophony for emphasis Music offers urgent, almost dramatic plea for mercy (miserere nobis)

Pange lingua Mass, Gloria

Qui tollis peccata mundi, MISERERE NOBIS. Qui tollis peccata mundi, SUSCIPE DEPRECATIONEM NOSTRAM. Qui sedes ad dexteram Patris, miserere nobis. You who take away the sins of the world, Have mercy upon us You who take away the sins of the world, Hear our prayer.

You who sit at the right hand of the Father, Have mercy upon us.

Pange lingua Mass, Gloria

Quoniam tu solus sanctus, tu solus Dominus, TU SOLUS ALTISSIMUS, JESU CHRISTE, Cum sancto spiritu, in gloria Dei Patris. AMEN. For you alone are holy, you alone are the Lord, You alone are the most high, Jesus Christ, With the Holy Spirit, in the glory of God the Father. Amen.

(Capital letters indicate

phrases sung in homophony.)

More Sacred Vocal Music

Composers began writing challenging motets in English Thus, the Anthem is born Two types: Full and Verse Full: chorus throughout Verse: alternating choral passages with solos or instrumental accomp.

The Anthem
Thomas Tallis (If Ye Love Me and Verily, verily I Say Unto You) William Byrd (Sing Joyfully and Ave Verum Corpus) Palestrina (Sicut Cervus and Missa Papae Marcelli) Some of the finest choral works of the Renaissance