In this essay I will discuss the origins of patronage and musical institutions, and their purpose in the expanse of music culture of the Renaissance, and in order to gain a greater understanding of both patronage and institutions I shall also discuss in depth the Venetian School, St. Mark’s.
The Renaissance, spanning from about the fourteenth century to the seventeenth century, was an age of great change for Europe in terms of culture, literature, art, and music.
In terms of music, it became important as part of the community, religious and courtly life in the Renaissance. The elegant exchange of ideas, led to large changes in styles of composing, methods of distributing music, new genres, and the advancement of musical instruments. The most crucial music of the early Renaissance was composed for the church. Polyphonic masses and motets in Latin for churches, courts and chapels.
Patronage, at the end of the sixteenth century, divided between the Catholic Church, Protestant churches and courts, wealthy families were all ways of earning for musicians.
The role of patronage during the Renaissance had a tremendous impact on the arts. Patrons’ reasoning behind this varied from having control when commissioning art, to religious reasoning. Patrons of art included the Church, government, aristocracy, guilds and wealthy merchants, such as the Medici family in Florence.
Since the Middle Ages the early Christian church and the state were the centres of power, and most music that survived from that time were religious or sacred due to the patronage of the church.
In an appreciation of music during the start of the Renaissance, that a work was seen as an object that could be created, sold, discussed and owned. “Economically, this deve...
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In conclusion, the musical institutions in the Renaissance in the systematic use of benefices and sinecures to supplement a singer's income. Recruitment was done in a competent fashion, although there was competition to get the best composers. The musicians came from all over Europe, travelling from one place to another in order to learn and work in school institutions and for patrons, whether they were religious or aristocrats and rulers. The economic situation of the members of the chapel were comparable to small merchants, skilled artisans and lower-level government officials, and a step above that of ordinary clergy. But it can be stated that economic opportunities, enlightened patronage, and a reputation for musical standards contributed to attract and keep skilled singers, helping to ensure the remarkable stability of its choir from 1400 to 1600.
TitleAuthor/ EditorPublisherDate James Galways’ Music in TimeWilliam MannMichael Beazley Publishers1982 The Concise Oxford History of MusicGerald AbrahamOxford University Press1979 Music in Western CivilizationPaul Henry LangW. W. Norton and Company1941 The Ultimate Encyclopaedia of Classical MusicRobert AinsleyCarlton Books Limited1995 The Cambridge Music GuideStanley SadieCambridge University Press1985 School text: Western European Orchestral MusicMary AllenHamilton Girls’ High School1999 History of MusicRoy BennettCambridge University Press1982 Classical Music for DummiesDavid PogueIDG Books Worldwide,Inc1997
Harman, Alec, and Anthony Milner. Late Renaissance and Baroque Music. London: Barrie Books LTD., 1959. ML193.H37
Buelow, George J., “Music and Society in the Late Baroque Era.” Music and Society in the Late Baroque Era. Englewood Cliffs: Prentice-Hall, 1994. p. 1-38
Music in the Renaissance differed from medieval music because Renaissance music tended to be more complex and polyphonic, while medieval music was often monophonic with one melody. Most music in the medieval era was written for religious services because the catholic church prohibited any other music. With the rise of the renaissance era, music was used for many other reasons. Composers created complex music by using notation and musical forms. During the medieval era, music often contained one tone and one or no instruments. Instruments were more widely accepted in music during the Renaissance.
In this paper I'm focusing mainly on Renaissance art work, since that was the assignment, but I feel it's important to also mention the other important parts of the Renaissance, architecture, science, politics and religion.
From the Early Renaissance to the High Renaissance, there was a movement from vocal music to a combination of vocal and instrumental music (Brown, 1976). There are seven categories of instrumental music: 1) vocal music played by instruments, 2) settings of pre-existing melodies, 3) variation sets, 4) ricercars, fantasias, and canzonas, 5) preludes, preambles, and toccatas for solo instruments, 6) dance music, and 7) songs composed specifically for lute and solo voice (Brown, 1976). Italy dominated the stage for instrumental music at this time, and it was not until the last decades of the sixteenth century that English instrumental music became popular (Brow...
The Renaissance means the rebirth of ancient learning. The renaissance can be divided into two parts Early Renaissance (1420-1500) and High Renaissance (1500-1520). The Renaissance era was one of the most productive time periods in history as far as the advancement of music goes. At first it was rigid, structu...
In the article “Conditions of Trade,” Michael Baxandall explains that fifteenth-century Italian art is a “deposit” resulting from the commercial interaction between the artist and the purchaser, who he refers to as a client. These works, as such, are “fossils of economic life,” and money, and they play an important role in the history of art. In our current perception of the relationship between the artist and art, “painters paint what they think is best, and then look around for a buyer” . However in the past, especially during the Renaissance period, the customers determined the content and form of paintings, as it was them who commissioned the work before it was created. He states that the artists and clients were interconnected and a legal agreement was drawn up specifying subject matter, payment scheme and the quality and quantity of colors, which would influence the artist’s painting style. Baxandall not only looks at the explanation of the style of painting that reflects a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the situations between the painter and client within the commercial, religious, perceptual, and social institutions, centrally focusing on markets, materials, visual practices, and the concept of the Renaissance period, which saw art as an institution. Baxandall notes that Renaissance paintings also relate to the clients’ motives through such ways as possession, self-commemoration, civic consciousness, and self-advertisement. The author considers works of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies fiftee...
During the classical era the social function of music began to change from earlier aristocratic and religious connections toward more public and secular activities associated with the middle class. The rise of public concerts, the spread of commercial opera houses, the growth of music publishing, the increased number of musical pieces composed and played were all direct effects of the changing musical times.
Artists in the Renaissance aided the continuation of Renaissance ideals. Renaissance art, including paintings, sculptures, and architecture,...
At the age of the Enlightenment, Antonio Salieri becomes the most triumphant musician in the city of Vienna, however, without any warning his harmonious universe comes to an utter halt. Salieri’s absolute faith in the world, in himself, and in God is all at once diminished by this spontaneous child composer. When the two opposite ends meet, there emerges a fury, a rage, and a passion in Salieri to sabotage the boy that has secured Salieri’s deserved God given talent; to destroy the one pubescent child that has made him so mute and naked now in a world of discordance. Salieri’s entire reputation and boyhood prayer to attain fame thus rests on his ability to annihilate that child prodigy, Wolfgang Amadeus Mozart.In analyzing the two composers, Salieri and Mozart, there is a distinct line that clearly divides them. Salieri’s operas receive astounding receptions, making them the “talk of the city,'; shaking the roofs, buzzing the cafes, and even the name Salieri “sounds throughout all of Europe'; (2,3). The reason for Salieri’s success, as well as many musicians of the eighteenth century, is because they have become enslaved by the well-to-do and hence are “no better than servants'; (1,3). This applies especially to the king. For example, in Amadeus, His Majesty forbid any ballet in his operas. Imperial commands such as this are not to be interpreted in any way, in other words, they are to be merely obeyed without any dispute. Since operas tend to the needs of the high society in order to obtain recognition, the operas must communicate through the language of the nobility, that is, Italian. In addition, since the majority of the audience is made up of the upper class, the subject matter of the operas must consist of elevated themes. Such as, mythological heroes, kings, and queens, and so forth. According to the eighteenth century view, operas are supposed to be a sublime and an aggrandizing art. The elevated subject matter is then chosen in order to venerate and honor the nobility. It’s purpose is to “celebrate the eternal in man'; says Van Swieten (2,4). Meaning that there is an element in a noble person that lasts without any end, like God who is immortal. God represents the everlasting and the eternality of existence, thus God gives inspiration to operas that...
Musician in the Middle Ages." In Women Making Music: The Western Art Tradition, 1150-1950. Jane Bowers and Judith Tick, eds. Urbana and Chicago: University of Illinois Press, 1986, pp. 15-38.
There are two pieces in our Renaissance Era musical feature this evening, the first by Pierre Phalèse called Passamezzo d'Italye - Reprise – Gaillarde. Phalèse began as a bookseller in 1545 and not long after he set up a publishing house. By 1575 he had around 189 music books. Much of his work was devoted to sacred music but there was a small amount of Flemish songs and instrumental works. Phalèse borrowed work from many composers and did not hesitate to include other composer’s music in his works. The sec...
The Renaissance period is known primarily for its changes in educating musicians. Composers and musicians alike were trained in choir schools that were held in churches. They were taught music theory, singing and academic courses like grammar and mathematics. Several famous composers were educated in these institutions. One of those who profited from such training was Guillaume Dufay.
Most of the early music that we have today still in print is primarily sacred music. This music, for the most part, is in the form of sections of the Mass, such as the Gloria, Kyrie and Agnus Dei. Most people of the Middle Ages were poor peasants who worked all day for meager wages and had no idle time lounging the way the upper classes did. Therefore, there are few extant secular compositions of music from this era. The rise of a new middle class, however, gave financial freedom for some people to spend time and money on entertainment in the form of music and dance. Thus, the rise of the middle classes also gave way to the rise in composition and performance of secular music, which became the music of choice for composers of that day.