Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Middle ages and renaissance music
Middle ages and renaissance music
Middle ages and renaissance music
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Middle ages and renaissance music
From Madrigals to Now Ever since the Renaissance period in the 14th century, the madrigal has been alive and still continues to live on today through modern-day music. A madrigal is a multi-voice song based off of poetry that’s sung a cappella is the simplified definition from “Songs”. The madrigal was first born 1520 in Italy as a pastoral song. According to Brewer, “The Italian madrigal is written in lines of either seven or 11 syllables and is comprised of two or three tercets, followed by one or two rhyming couplets.” From Italy the madrigal diffused to England and gained the characteristics we know as Elizabethan. The poem portion of the English madrigal is in iambic pentameter. It’s described by Brewer that it’s made up of “three stanzas: a tercet, quatrain, and sestet. All three of the lines in the opening tercet are refrains.” All modern-music comes from …show more content…
The ability and knowledge of how to sing was just as important as reading literature. This value with the rise of wealthy aristocrats lead to music patronage shifting from the church to royalty. Along with this move, vocal parts changed. Back in the Elizabethan era choral music was sung a cappella, without accompaniment. Music also, was almost always sung in multiple parts. The most common form of vocal parts in this time period was SATB. “SATB is a quick and short way for referring to the four vocal parts making up a choir: soprano, alto, tenor, and bass”(Williams). Throughout the Elizabethan era with composers Jacques Arcadelt and Cipriano de Rore, texts received more emotion with more meaning to the lyrics. Along with that, one or two more vocal parts were added to the choir creating formats like SSATB or SSATTB. Even with these added parts, choirs were small with only a few singers to a part. The number of singers depended upon the talent and skill of each individual
There was a dance called the court dance I mentioned in the dance it required a partner like I said once before you were lucky enough to even meet your partner at one point of the dance. All social levels could communicate through dance, but it also was said that upper class and lower classes dance were very different. Upper classes enjoyed more of new and formal dances, rather than lower classes dance to all types of music but not too much formal more of a loud party. With all these different types of music instruments and dances it was a fact that mostly everyone loved this time period. I hope most of my information helped you and other readers about my project on the Elizabethan Era during the 1500’s and 1600’s. Thank You I hope you enjoyed my project.
The choir represents the voice of the people, the voice of the masses. People often conform to this uniform truth, they want to be like other people. This conformation leads to a uniform voice from the public. This voice is often ignorant to the truth, seemingly to the point that it creates its own truth.
In modern theatres today we do not have a chorus, as it would obscure the view of the play and maybe set the wrong atmosphere as modern audiences are less willing to suspend their disbelief and want things to be as realistic.
The first composition, "Miserere Mei, Deus", was produced by Gregorio Allegri in 1638. I learned this, as I read along with the well-thought-out program that was given. As we, the audience, looked up to the vocalists, we were entranced by the consuming sound. The room filled with a vibrant melody, in which the harmonization and tone color was spectacular. The emotion conveyed throughout the room was one of absorption and delight. During this piece, the sopranos hit such high notes, that I was astounded. Being a person who participates in concert choir, I understand the level of commitment and talent it takes to reach those notes and stay in tune. This ...
The begging of middle school our choir consisted of Sopranos, Altos. This was mainly due to the fact that we didn’t hit puberty yet. That year I found my niche. This was exciting for me because I wasn’t like my brothers who are athletic. My 7th and 8th grade year were the years I made a difference. To add on to the Sopranos and Altos the guys were now baritones and that was a big deal. During my 7th grade year we sang Phantom of The Opera. My friend Jon and I sang a duet and received a standing ovation. The following year was just as good due to the fact we sang Broadway medley. I sang Part in the South Pacific song aint nothing like a dame. Later in that piece I had a whistling solo for the king and I. this was so cool to do because people thought I was going to sing and I shocked the by whistling. High school was a big change because we now had 4 parts: Soprano, Alto, Bass, and Tenor. Our choir consisted of 50-60 students and 40 of them were girls. I was very intimidated by this but didn’t let this stop me. I sang tenor and our section was about five people but we were the strongest section. We hosted State Large group which is where judges rate your choir you can receive division 1, 2,3,4,5. One would be the best that you could receive. We also had honor choirs you could go to. I went to one in Waverly, Iowa at Wartburg College called the Meistersingers Honor choir. While I was there I sang tenor 2. This Honor choir was about 600 high school students plus the Wartburg choir. This particular honor choir was special because we sang with Simone Estes, the famous opera
“Ten years later he had consolidated his position by obtaining sole rights over all dramatic performances with singing.”(Sadie 2000 pg. 166) “Any production not affiliated with The Academie Royale was limited to two singers and six players.” (Jean Baptiste Lully)
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...
As time passed and music continued to evolve what is known as the Renaissance period emerged from 1475-1600. Music during this period was still written with worship as its intentions. Where the Medieval period had no harmony the Renaissance period introduced the use of a constant chord to form the building block of the different pieces. A good example of this period of music is “Ave Maria” by Josquin written in 1485. The many different voices the repeat the same words create a process called imitation. This particular chant is capella, meaning that it is performed by voices alone and has no musical accompaniment and with all the voices entering at different times but in harmony counterpoint i...
McGowan largely takes an analogical approach to structuring his translation of Baudelaire, seeking to recreate the form of the poem in such a way that English-speaking audiences experience a poem similar to the way in which francophone audiences experienced the original. For example, Baudelaire’s use of alexandrines (a syllabic poetic metre of twelve syllables with a caesura dividing the line into two half-lines of six syllables each) is far less common among English texts and would therefore seem more foreign to anglophone audiences. McGowan therefore uses iambic pentameter, a poetic metre far more common of English sonnets such as those of Shakespeare, enabling anglophone audiences to better understand the sentiment of the poem by using a style often associated with imagery and deep emotion. Another example of McGowan translating in an analogical manner is through his decision to omit perfect rhymes in favour of half rhymes. Baudelaire’s sonnet uses employs two quatrains, both using a rhyming pattern of A-B-B-A and two tercets of C-C-D-E-D-E. McGowan also uses a pair of
Many of the songs we have today of the Middle Ages were in Latin, and are by anonymous composers. Many were written by wandering people, many of them men and churchmen without permanent residences of their own. Men who could not obtain a position in the Church and had to drop out were called goliards. These goliards wandered around the land, composing and performing for people. Their music was mostly comprised of the "’eat, drink, and be merry’ type, appropriate to the wanton kind of life the goliards lived" (Stolba, 99). Carl Orff, the composer of the Carmina Burana, used the poems found in the largest surviving records of Latin secular music that we have today. The Codex latinus 4660 was held in the Benedictine monastery at Benediktbeurn. Many of the songs speak of love, many of them lascivious. Others speak of drinking, satires of the religious life and even liturgical plays. A few of them are even written in the vernacular of the region in that time (Stolba, 99).
Classical music has a big impact in today’s music; modern music is influenced by music from the Classical, Baroque and Romantic eras. Many of today’s modern songs are inspired or even copied from music of this periods, and even when we don’t realized by listening to modern popular songs we are actually listening in some way to music composed by famous composers of the classical periods of music, that’s why I believe that without the creative intellect of famous composers such as Bach, Chopin, Shubert, Beethoven and many others modern music that we know today it would not exist because many songs are a result of the evolution of music, and their fundamental roots come from classical composers.
In a 20th Century production the chorus perform a seemingly less essential role. As there would be ample amplification of sound the chorus could be projected to the role of town folk who would fit into the structure of the play neatly.
Once a motivic idea is presented in one voice it would be imitated in all the other voices. There would be a different motive along with a new point of imitation for each section of text. Each point of imitation would begin before the previous point of imitation would end so that at any given time there would always be overlapping or continuous imitation. One particular example of continuous imitation is Josquin’s Ave Maria…Virgo Serena. The text “Ave Maria” begins in the soprano and is imitated through each voice down to the bass, but the next section of imitation on the text “gratia plena” begins before the bass has finished the motivic idea of “Ave
They had been preciously used in Morality Plays so Marloew was arguably using a structure that had proved to be a success. However, by having a chorus directly speaking to the audience there is increased communication between the audience and the actors on stage and is simply a simple yet effective way to connect the scenes together and eliminate any confusion the audience may have.
Aristotle’s fifth point was that of Melody. The Chorus should “be regarded as one of the actors; it should be an integral part of the whole, and share in the action”. In Shakespeare’s works there is often singing in the beginning, or interludes during the performance.