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Compare and contrast renaissance and baroque music
Compare and contrast renaissance and baroque music
Baroque music compared to Renaissance
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Claudio Monteverdi was a late Renaissance composer who was born in Cremona on May 15th 1567 and died in Venice on November 29th 1643. His emergent writing style had significant influence on the musical transitions from the Renaissance to the Baroque era. He was an employed musician most of his life who spent much of his work challenging the popular artists of his time to venture out into new variations of the traditional styles. Alongside many of his contemporaries such as Giaches de Wert and Prince Gesualdo di Venosa, he was a part of subtle change throughout the culture he lived in which made a large impact for the future.
In his early years Monteverdi was taught to play the piano and also taught about musical composition by Marc’Antonio Ingegneri, who was the Cathedral choir director in his town. It was not long before Monteverdi began to catch on to what was being taught. In fact, his first piece was written at the young age of 15, foreshadowing his passion that would be a life lived in dedication and enjoyment of writing music.
Although he was not recorded to have been involved in the public worship choir, Monteverdi was surrounded by musical performance and worship on a regular basis. His lessons, taught by Ingegneri, were stepping-stones to what he would be learning throughout his time. In Cremona, he was taught to be controlled and traditional, as was noted by George J. Beulow in Chapter three of his book, A History of Baroque Music. He said, “Monteverdi’s art was nurtured in a musical environment that was more conservative than experimental.”(P.57)
While Monteverdi was learning the basic principles of composition and music theory, one such concept was particularly important and that was counterpoint. Throughout the ...
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...stic portrayal of the characters, and warmer melodies than had previously been heard. It requires a smaller orchestra, and has a less prominent role for the choir.
Monteverdi’s work will be remembered as revolutionary as well as somewhat radical for his time. He continued to stay true to many of the previous methods such as counterpoint, but changed many things and searched for ways to express the lyrical content better than before. His attraction to the Madrigal is a good example of his ability to do this, displayed in his nine books. Word phrases and expressive moods were also shown in his Operas where he told longer stories of love and ancient tales. In every style that Monteverdi wrote it, he will be remembered as a composer who was true to foundational principles of the old styles, but took daring steps to form new sounds that would influence future artwork.
During the performance I attended, two pieces were performed. The first was a Mozart piece by the name of Symphony No. 41 or Jupiter. The second and final was the Lord Nelson Mass composed by Joseph Haydn. In this concert, the two performances differed greatly unlike the last performance that I went to. The previous one that I attended had music that all sounded very similar to me. That could just be my lack of experience with American music, especially music that was composed hundreds of years ago. This time, there was vocal accompaniment with the second piece which clearly made it much different than the other works that I listened to. The Lord Nelson Mass was one that I enjoyed more and I feel that is because of the choir that performed. Although it is not the type of music that I usually listen to, it is still has some more similarities than the symphony by Mozart.
As a boy Johannes worked and studied with his father and learnt lessons from books with his mother, with whom he would play ?four-hands? at the piano, ?just for fun.? There were never any doubts as to his becoming a musician. From early childhood he learn everything his father could teach him, read everything he could lay hands on, practiced with undeviating enthusiasm, and filled reams of paper with exercises and variations. The soul of the child went out in music. He played scales long before he knew the notes, and great was his joy when at the age of six he discovered the possibility of making a melody visible by placing black dots on lines at different intervals, inventing a system of notation of his own before he had been made acquainted with the method which the musical world had been using for some centuries.
At the age of 17, Balanchine entered the Conservatory of Music. He studied piano, composition and th...
It was an early age when Monteverdi’s career began, he then published his first pieces, and this was based on as a collection of three-voice motets, at the age of fifteen. It was by 1591, when he went to Mantua as a musician for the Gonzaga court, by then he had already published books of “spiritual madrigals” in 1583, then another canzonettas in 1584, by 1587 and 1590 he published his first two books of “madrigals.” It was in Mantua he continued writing madrigals, and then in 1607 he produced his first work in the new genre of opera, the setting was of Orfeo. 1613, he was then appointed maestro di cappella at ST. Mark’s Cathedral which was held in Venice. Monteverdi had remained in Venice for the rest of his life, writing music in all different kinds of genres, including his final opera, “incoronaszione di Poppea in 1642.
The madrigal is a distinctive type of secular song that originated in Italy. It was an aristocratic form of poetry and music that flourished at small Italian courts. In the piece, Cruda Amarilli, Monteverdi uses many musical devices that are typical of a madrigal. The lyrics in this song are repeated, the music accompanies the text in interesting ways, and there is a wide range of vocal notes. After listening to the piece just once you can immediately feel the unrequited love Monteverdi is displaying through his words and music. The music and instrumentation in this piece aid the voices to establish form and mood through word painting. He uses word painting and cadences to develop a theme of unrequited love.
This is the second volume of Richard Taruskin's historical work, and it highlights composers of the seventeenth and eighteenth centuries. He examines the progression of different styles and eras of music.
Vivaldi's music is particularly innovative as he gave brightness to the formal and the rhythmic structure of concertos. He repeatedly looked for harmonic contrasts, creating innovative melodies and themes. Vivaldi’ main goal was to create a musical piece meant to be appreciated by the wide public, and not only by an intellectual minority. The joyful appearance of his music reveals a transmittable joy of composing. These are among the causes of the vast popularity of his music. This popularity soon made him famous also in countries like France, at the time very closed into its national schemes. He is considered one of the authors that brought Baroque music to evolve into an impressionist style.
In order to understand the changes which occurred in music and which affected the Liturgy in the Renaissance period, it is necessary to give a brief sketch of music in earlier times. The first notable aspect of Renaissance music and musical thought is the pace at which it developed. This rapidity stands in contrast to all previous music history. The history of Western art music properly begins with the music of the Christian Church at the end of the ancient world (circa 400AD). This was a world in which music alwa...
As his career continued, Bellini became known for his landscapes and naturalistic depiction of light. Giovanni founded the Venetian school of painting, and lived to see his students succeed and even some of them become more famous than he himself was. His life ended in Venice in 1516, but his contributions to Renaissance art would live forever. Bellini brought a new level of realism and nature to art, innovative subject matter, and a new sensuousness in both form and color. Giovanni’s personal attitudes and styles predetermined the special nature of Venic...
...ts of fever and general ill-health. And in his last ten years in Vienna, the constant need to write commissioned work - for he was the first of the composing freelances, with no regular patrons or court salaries - had worn him down to the point where one bout of fever was sure to finish him off. In July he'd had the anonymous commission to write a Requiem for the Dead; but that had been progressing slowly, because he'd been busy with two operas - La Clemenza di Tito and The Magic Flute - and two cantatas at the same time. Thirty-five years of artistic, social and personal pressure was taking its toll.
Mathematics, Architecture, and the Works of Iannis Xenakis It is undeniable that Iannis Xenakis made use of many different mathematical theories such as the golden section, the Fibinacci series, and stochastic laws, in his music. In this essay, I will show the reader how extensively these principles governed much of his compositional process. I will also present the reader with examples where these different principles and theories are evident in his music. Xenakis was hired at the studio of Le Corbusier in 1947. While under the tutelage of Le Corbusier, Xenakis composed during his free time, and took lessons from many different composers.
...s to keep its beautiful array of melody, intensity and control by reminding the audience that it’s still a contemporary and classical piece of work.
Over the past several years, some amateur musicians have developed specific ideas about 'correct' performance practice of Baroque music. In an essay concerning the issues of Baroque music performance, Michael Sartorius notes that:
According to Michael Talbot, of Grove Music, as well as the liner notes from the Analekta Classical Music CD, Antonio Vivaldi was born to Giovanni Battista and Camilla Calicchio in Venice in 1678. Giovanni made a profitable living as an accomplished violinist, and became Vivaldi’s main instructor from an early age. The oldest of nine children, Vivaldi led the way in studying music, and became the most musical of his siblings. Vivaldi spent much time learning about and preparing to be ordained to the office of a priest. In 1703, he was ordained a priest, but resigned after just a year due to his acclaimed medical limits (Heller 38-40). For his entire life, Vivaldi struggled with the effects of bronchial asthma and was unable to play wind instruments. Though his asthma was a real issue, there is some question about the actual reason of his resignation. He was often rumored to leave a Mass when inspired with new musical ideas. After serving as a priest, Vivaldi was hired by the Ospedale della Pieta, one of four learning institutions intended for orphaned, abando...
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.