- Music of the Renaissance
Revival of art and science in the XIV-XVI centuries. was an era of great change, marking the transition from a medieval way of life to modernity. Composing and performing music acquired special significance during this period. Humanists who studied the ancient cultures of Greece and Rome declared composing music to be a useful and noble activity. It was believed that every child should learn to sing and master playing musical instruments. For this reason, eminent families welcomed musicians into their homes to give lessons to their children and entertain guests.
The musical aesthetics of the Renaissance was developed by composers and theorists as intensively as in other forms of art. After all, just as Giovanni Boccaccio believed that Dante, with his work, contributed to the return of the muses and breathed life into dead poetry, just as Giorgio Vasari spoke about the revival of the arts, so Josepho Zarlino wrote in his treatise “Establishments of Harmony” (1588):
“However, whether it is due to insidious time or human negligence, people began to place little value not only on music, but also on other sciences. And exalted to the greatest heights, she fell to the extreme low; and, after unheard-of honor was given to her, they began to consider her pitiful, insignificant and so little revered that even learned people barely recognized her and did not want to give her her due.”
At the turn of the 13th-14th centuries, the treatise “Music” by the master of music John de Grohe was published in Paris, in which he critically revised medieval ideas about music. He wrote: “Those who are inclined to tell fairy tales said that music was invented by the muses who lived near water. Others said that it was invented by saints and prophets. But Boethius, a significant and noble man, holds different views... He says in his book that the beginning of music was discovered by Pythagoras. People sang, as it were, from the very beginning, since music was innate to them by nature, as Plato and Boethius claim, but the foundations of singing and music were unknown until the time of Pythagoras...”
However, John de Groheo does not agree with the division of music into three types of Boethius and his followers: world music, human music, instrumental music, because the harmony caused by movement celestial bodies, no one even heard the singing of angels; In general, “it is not the business of a musician to interpret angelic singing, unless he is a theologian or prophet.”
“Let us say, then, that the music current among the Parisians can apparently be reduced to three main divisions. One section is simple, or civil (civilis) music, which we also call folk; the other is complex music (composed - composita), or correct (learned - regularis), or canonical, which is called mensural. And the third section, which follows from the two above and in which they both are combined into something better, is church music, intended to praise the creator."
John de Grohe was ahead of his time and had no followers. Music, like poetry and painting, acquired new qualities only in the 15th and especially in the 16th centuries, which was accompanied by the appearance of more and more new treatises on music.
Glarean (1488 - 1563), author of the essay on music “The Twelve-Stringed Man” (1547), was born in Switzerland, studied at the University of Cologne at the artistic faculty. The Master of Liberal Arts is engaged in teaching poetry, music, mathematics, Greek and Latin in Basel, which speaks of the pressing interests of the era. Here he became friends with Erasmus of Rotterdam.
Glarean approaches music, in particular church music, like the artists who continued to paint paintings and frescoes in churches, that is, music, like painting, should, outside of religious didactics and reflection, first of all give pleasure, be the “mother of pleasure.”
Glarean substantiates the advantages of monodic music versus polyphony, while he talks about two types of musicians: phonos and symphonists: the former have a natural inclination to compose a melody, the latter - to develop a melody for two, three or more voices.
Glarean, in addition to developing the theory of music, also considers the history of music, its development, as it turns out, within the framework of the Renaissance, completely ignoring the music of the Middle Ages. He substantiates the idea of the unity of music and poetry, instrumental performance and text. In the development of music theory, Glarean legitimized, with the use of twelve tones, the Aeolian and Ionian modes, thereby theoretically substantiating the concepts of major and minor.
Glarean does not limit himself to the development of music theory, but examines the work of modern composers Josquin Despres, Obrecht, Pierre de la Rue. He talks about Josquin Despres with love and delight, like Vasari about Michelangelo.
Gioseffo Zarlino (1517 - 1590), whose statement we are already familiar with, joined the Franciscan order for 20 years in Venice with its musical concerts and the flowering of painting, which awakened his vocation as a musician, composer and music theorist. In 1565 he headed the chapel of St. Brand. It is believed that in the essay “Establishment of Harmony” Zarlino expressed the basic principles in classical form musical aesthetics Renaissance.
Zarlino, who spoke of the decline of music, of course, in the Middle Ages, relies on ancient aesthetics in developing his doctrine of the nature of musical harmony. “How much music was glorified and revered as sacred is clearly evidenced by the writings of philosophers and especially the Pythagoreans, since they believed that the world was created according to musical laws, that the movement of the spheres is the cause of harmony and that our soul is built according to the same laws, awakens from songs and sounds, and they seem to have a life-giving effect on its properties.”
Zarlino is inclined to consider music the main one among the liberal arts, as Leonardo da Vinci exalted painting. But this passion for certain types of art should not confuse us, because we are talking about harmony as a comprehensive aesthetic category.
“And if the soul of the world (as some think) is harmony, can our soul not be the cause of all harmony in us and our body not be united with the soul in harmony, especially when God created man in the likeness of the greater world, called by the Greeks cosmos , that is, an ornament or adorned, and when he created a semblance of a smaller volume, in contrast to that called mikrokosmos, that is small world? It is clear that such an assumption is not without foundation.”
At Tsarlino's Christian theology turns into antique aesthetics. The idea of the unity of the micro- and macrocosmos gives rise to another idea in him - about the proportionality of the objective harmony of the world and the subjective harmony inherent in the human soul. Highlighting music as the main liberal arts, Zarlino speaks of the unity of music and poetry, the unity of music and text, melody and words. To this is added “history,” which anticipates or justifies the origin of opera. And if there is dance, as will happen in Paris, we will see the birth of ballet.
It is believed that it was Zarlino who gave the aesthetic characteristics of major and minor, defining the major triad as joyful and bright, and the minor triad as sad and melancholic. He also defines counterpoint as “a harmonic whole containing various changes in sounds or singing voices in a certain pattern of correlation and with a certain measure of time, or that it is an artificial combination of different sounds brought to consistency.”
Josephfo Zarlino, like Titian, with whom he was associated, gained wide fame and was elected a member of the Venetian Academy of Fame. Aesthetics clarifies the state of affairs in music during the Renaissance. Founder Venetian school music was Adrian Willaert (between 1480/90 - 1568), Dutch by birth. Tsarlino studied music with him. Venetian music, like painting, was distinguished by a rich sound palette, which soon acquired Baroque features.
Besides the Venetian school, the largest and most influential were the Roman and Florentine. The head of the Roman school was Giovanni Palestrina (1525 - 1594).
The community of poets, humanist scientists, musicians and music lovers in Florence is called the Camerata. It was led by Vincenzo Galilei (1533 - 1591). Thinking about the unity of music and poetry, and at the same time with the theater, with action on stage, the members of the Camerata created a new genre - opera.
The first operas are considered to be “Daphne” by J. Peri (1597) and “Eurydice” based on texts by Rinuccini (1600). Here a transition was made from a polyphonic style to a homophonic one. The oratorio and cantata were performed here for the first time.
The music of the Netherlands of the 15th - 16th centuries is rich in the names of great composers, among them Josquin Despres (1440 - 1524), about whom Zarlino wrote and who served at the French court, where the Franco-Flemish school developed. It is believed that the highest achievement of Dutch musicians was the a capella choral mass, corresponding to the upward thrust of Gothic cathedrals.
Organ art is developing in Germany. In France, chapels were created at the court and musical festivals were held. In 1581, Henry III established the position of "Chief Intendant of Music" at court. The first "chief intendant of music" was the Italian violinist Baltazarini de Belgioso, who staged "The Queen's Comedy Ballet", a performance in which music and dance were presented as stage action for the first time. This is how court ballet arose.
Clément Janequin (c. 1475 - c. 1560), an outstanding composer of the French Renaissance, is one of the creators of the polyphonic song genre. These are 4-5-voice works, like fantasy songs. The secular polyphonic song - chanson - became widespread outside France.
During the Renaissance, instrumental music developed widely. Among the main musical instruments are the lute, harp, flute, oboe, trumpet, organs of various types (positives, portables), varieties of harpsichord; the violin was a folk instrument, but with the development of new strings bowed instruments Like the viol, it is the violin that becomes one of the leading musical instruments.
If the mentality of the new era first awakens in poetry and receives brilliant development in architecture and painting, then music, starting from folk song, permeates all areas of life. Even church music is now perceived to a greater extent, like paintings by artists on biblical themes, not as something sacred, but something that brings joy and pleasure, which the composers, musicians and choirs themselves cared about.
In a word, as in poetry, in painting, in architecture, a turning point occurred in the development of music, with the development of musical aesthetics and theory, with the creation of new genres, especially synthetic forms of art, such as opera and ballet, which should be perceived as Renaissance, transmitted centuries. The music of the Renaissance sounds in architecture as a harmony of parts and the whole, inscribed in nature, and in the interiors of palaces, and in paintings, in which we always see a performance, a stopped episode, when the voices fell silent, and the characters all listened to the faded melody, which we as if I could hear...
- Musical instruments
For a long time, the sound of the viol was considered a model of sophistication in music. There are three main types in the viola family. The viola da gamba is a large instrument that the performer placed vertically and pressed from the sides with his feet (the Italian word gamba means “knee”). Two other varieties - viola da braccio (from Italian braccio - “forearm”) and viol d’amour (French viole d’amour - “viola of love”) were oriented horizontally, and when played they were pressed to the shoulder. The viola da gamba is close in sound range to the cello, the viola da braccio is close to the violin, and the viol d'amour is close to the viola.
Among the plucked instruments of the Renaissance, the main place is occupied by the lute (Polish lutnia, from the Arabic “alud” - “tree”). It came to Europe from the Middle East at the end of the 14th century, and by the beginning of the 16th century there was a huge repertoire for this instrument; First of all, songs were sung to the accompaniment of a lute. The lute has a short body; the upper part is flat, and the lower part resembles a hemisphere. A neck is attached to the wide neck, divided by frets, and the head of the instrument is bent back almost at a right angle. If you wish, you can see the resemblance to a bowl in the appearance of the lute. Twelve strings are grouped in pairs, and the sound is produced both with the fingers and with a special plate - a mediator.
In the 15th-16th centuries, various types of keyboards emerged. The main types of such instruments - harpsichord, clavichord, cymbal, virginel - were actively used in the music of the Renaissance, but their real flourishing came later.
- Popular tools
At that time, many people loved to play the recorder, flutes and horns. The most complex music was written for the newly created harpsichord, virginel (an English harpsichord, distinguished by its small size) and organ. At the same time, the musicians did not forget to compose simpler music that did not require high performing skills. At the same time, changes occurred in musical writing: heavy wooden printing blocks were replaced by movable metal types invented by the Italian Ottaviano Petrucci. Published musical works quickly sold out, all more people began to get involved in music.
In the 16th century new musical instruments appeared. The most popular were those that were easy and simple for music lovers to play, without requiring any special skills.
The most common were violas and related plucked flowers. The viola was the forerunner of the violin, and it was easy to play thanks to the frets (wooden strips across the neck) that helped to hit the right notes. The sound of the viola was quiet, but it sounded good in small halls. To the accompaniment of another fretted plucked instrument - the lute - they sang, as they do now with a guitar.
At that time, many people loved to play the recorder, flutes and horns. The most complex music was written for the newly created harpsichord, virginel (an English harpsichord, distinguished by its small size) and organ. At the same time, the musicians did not forget to compose simpler music that did not require high performing skills. At the same time, changes occurred in musical writing: heavy wooden printing blocks were replaced by movable metal types invented by the Italian Ottaviano Petrucci. Published musical works quickly sold out, and more and more people began to get involved in music.
- Brief description of the era by country
The Netherlands is a historical region in northwestern Europe that includes areas of modern Belgium, Holland, Luxembourg and northeastern France. By the 15th century The Netherlands has reached a high economic and cultural level and has become a prosperous European country.
It was here that the Dutch polyphonic school emerged - one of the largest phenomena in the music of the Renaissance. For the development of art in the 15th century, communication between musicians from different countries, mutual influence of creative schools. The Dutch school absorbed the traditions of Italy, France, England and the Netherlands themselves.
Its outstanding representatives: Guillaume Dufay (1400-1474) (Dufay) (about 1400 - 11/27/1474, Cambrai), French-Flemish composer, one of the founders of the Dutch school. The foundations of the polyphonic tradition in Dutch music were laid by Guillaume Dufay (circa 1400 - 1474). He was born in the city of Cambrai in Flanders (a province in the south of the Netherlands) and sang in a church choir from an early age. At the same time, the future musician took private composition lessons. At a young age, Dufay went to Italy, where he wrote his first compositions - ballads and motets. In 1428-1437 he served as a singer in the papal chapel in Rome; During the same years he traveled to Italy and France. In 1437 the composer was ordained. At the court of the Duke of Savoy (1437-1439), he composed music for ceremonies and holidays. Dufay enjoyed great respect from nobles - among his admirers were, for example, the Medici couple (rulers of the Italian city of Florence). [Worked in Italy and France. In 1428-37 he was a singer of papal chapels in Rome and other Italian cities, and in 1437-44 he served with the Duke of Savoy. Since 1445, canon and director of musical activities at the cathedral in Cambrai. Master of sacred (3-, 4-voice masses, motets), as well as secular (3-, 4-voice French chansons, Italian songs, ballads, rondos) genres associated with folk polyphony and the humanistic culture of the Renaissance. Danish art, which absorbed the achievements of European musical art, had a great influence on the further development of European polyphonic music. He was also a reformer of musical notation (D. is credited with introducing notes with white heads). The complete works of D. were published in Rome (6 vols., 1951-66).] Dufay was the first among composers to begin composing the mass as an integral musical composition. To create church music requires an extraordinary talent: the ability to express abstract, intangible concepts through concrete, material means. The difficulty is that such a composition, on the one hand, does not leave the listener indifferent, and on the other hand, does not distract from the service and helps to concentrate more deeply on prayer. Many of Dufay's masses are inspired, full of inner life; they seem to help for a moment to lift the veil of Divine revelation.
Often, when creating a mass, Dufay took a well-known melody to which he added his own. Such borrowings are characteristic of the Renaissance. It was considered very important that the mass be based on a familiar melody that worshipers could easily recognize even in a polyphonic work. A fragment of Gregorian chant was often used; Secular works were not excluded either.
In addition to church music, Dufay composed motets based on secular texts. In them he also used complex polyphonic techniques.
Josquin Despres (1440-1521). Representative of the Dutch polyphonic school of the second half of the 15th century. There was Josquin Despres (c. 1440-1521 or 1524), who had a great influence on the work of composers of the next generation. In his youth he served as a church choirmaster in Cambrai; took music lessons at Okegem. At the age of twenty, the young musician came to Italy, sang in Milan with the Sforza Dukes (later the great Italian artist Leonardo da Vinci served here) and in the papal chapel in Rome. In Italy, Despres probably began composing music. At the very beginning of the 16th century. he moved to Paris. By that time, Despres was already famous, and he was invited to the position of court musician by the French king Louis XII. From 1503, Despres settled again in Italy, in the city of Ferrara, at the court of the Duke d'Este. Despres composed a lot, and his music quickly gained recognition in the widest circles: it was loved by both the nobility and the common people. The composer created not only church works, but also secular ones. In particular, he turned to the genre of Italian folk song - frottola (Italian frottola, from frotta - “crowd”), which is characterized by a dance rhythm and fast tempo. Despres introduced features of secular works into church music: fresh. , lively intonation broke the strict detachment and evoked a feeling of joy and fullness of life. However, the composer’s sense of proportion never failed. His works are not elegantly simple, but this is the secret of the popularity of his creations. .
Johannes Okegem (1430-1495), Jacob Obrecht (1450-1505). Guillaume Dufay's younger contemporaries were Johannes (Jean) Okeghem (circa 1425-1497) and Jacob Obrecht. Like Dufay, Okegem was from Flanders. He worked hard all his life; In addition to composing music, he served as the head of the chapel. The composer created fifteen masses, thirteen motets, and more than twenty chansons. Okegöm's works are characterized by rigor, concentration, and a long development of smooth melodic lines. He paid great attention to polyphonic technique, striving for all parts of the mass to be perceived as a single whole. The composer's creative style can also be discerned in his songs - they are almost devoid of secular lightness, in character they are more reminiscent of motets, and sometimes fragments of masses. Johannes Okegem was respected both in his homeland and abroad (he was appointed advisor to the king of France). Jacob Obrecht was a choirmaster in the cathedrals of various cities in the Netherlands, and led chapels; He served for several years at the court of Duke d'Este in Ferrara (Italy). He is the author of twenty-five masses, twenty motets, thirty chansons. Using the achievements of his predecessors, Obrecht introduced a lot of new things into the polyphonic tradition. His music is full of contrasts, bold, even when the composer turns to traditional church genres.
The versatility and depth of Orlando Lasso's creativity. The history of Dutch Renaissance music ends with the work of Orlando Lasso (real name Roland de Lasso, circa 1532-1594), called by his contemporaries the “Belgian Orpheus” and the “Prince of Music.” Lasso was born in Mons (Flanders). From childhood, he sang in the church choir, amazing parishioners with his wonderful voice. Gonzaga, Duke of the Italian city of Mantua, accidentally heard the young singer and invited him to his own chapel. After Mantua, Lasso worked briefly in Naples, and then moved to Rome - there he received the position of director of the chapel of one of the cathedrals. By the age of twenty-five, Lasso was already known as a composer, and his works were in demand among music publishers. In 1555, the first collection of works was published, containing motets, madrigals and chansons. Lasso studied all the best that was created by his predecessors (Dutch, French, German and Italian composers), and used their experience in his work. Being an extraordinary person, Lasso sought to overcome the abstract nature of church music and give it individuality. For this purpose, the composer sometimes used genre and everyday motifs (themes of folk songs, dances), thus bringing together church and secular traditions. Lasso combined the complexity of polyphonic technique with great emotionality. He was especially successful in madrigals, the texts of which revealed the mental state of the characters, for example, “Tears of St. Peter” (1593) based on poems by the Italian poet Luigi Tranzillo. The composer often wrote for a large number of voices (five to seven), so his works are difficult to perform .
Since 1556, Orlando Lasso lived in Munich (Germany), where he headed the chapel. By the end of his life, his authority in musical and artistic circles was very high, and his fame spread throughout Europe. The Dutch polyphonic school had a great influence on the development of European musical culture. The principles of polyphony developed by Dutch composers became universal, and many artistic techniques were used in their work by composers already in the 20th century.
France.
For France, the 15th-16th centuries became an era of important changes: the Hundred Years' War(1337-1453) with England, by the end of the 15th century. the unification of the state was completed; in the 16th century the country experienced religious wars between Catholics and Protestants. In a strong state with absolute monarchy The role of court celebrations and folk festivals increased. This contributed to the development of art, in particular the music that accompanied such events. The number of vocal and instrumental ensembles (chapels and consorts), consisting of a significant number of performers, increased. During military campaigns in Italy, the French became acquainted with the achievements of Italian culture. They deeply felt and accepted the ideas of the Italian Renaissance - humanism, the desire for harmony with the surrounding world, for enjoying life.
If in Italy the musical Renaissance was associated primarily with the mass, then French composers, along with church music Special attention devoted to secular polyphonic song - chanson. Interest in it in France arose in the first half of the 16th century, when a collection of musical plays by Clément Janequin (circa 1485-1558) was published. This composer is considered one of the creators of the genre.
Major choral program works by Clément Janequin (1475-1560). As a child, Janequin sang in a church choir in his hometown of Chatellerault (Central France). Subsequently, as music historians suggest, he studied with the Dutch master Josquin Despres or with a composer from his circle. After receiving the priesthood, Janequin worked as a regent (choir director) and organist; then he was invited to serve by the Duke of Guise. In 1555, the musician became a singer of the Royal Chapel, and in 1556-1557. - royal court composer. Clément Janequin created two hundred and eighty chansons (published between 1530 and 1572); wrote church music - masses, motets, psalms. His songs were often figurative in nature. Before the listener's mind's eye there pass pictures of battles ("Battle of Marignano", "Battle of Renta", "Battle of Metz"), scenes of hunting ("The Hunt"), images of nature ("Birdsong", "Nightingale", "Lark" ), everyday scenes (“Women’s Chat”). With amazing clarity, the composer managed to convey the atmosphere of everyday life in Paris in the chanson “Cries of Paris”: he introduced into the text the exclamations of sellers (“Milk!” - “Pies!” - “Artichokes!” - “Fish!” - “Matches!” - “Pigeons”) !" - "Old shoes!" - "Wine!"). Janequin almost did not use long and smooth themes for individual voices and complex polyphonic techniques, preferring roll calls, repetitions, and onomatopoeia.
Another direction of French music is associated with the pan-European Reformation movement.
In church services, French Protestants (Huguenots) abandoned Latin and polyphony. Sacred music has acquired a more open, democratic character. One of the brightest representatives of this musical tradition was Claude Gudimel (between 1514 and 1520-1572), the author of psalms based on biblical texts and Protestant chorales.
Chanson. One of the main musical genres of the French Renaissance is chanson (French chanson - “song”). Its origins are in folk art (rhymed verses of epic tales were set to music), in the art of medieval troubadours and trouvères. In terms of content and mood, chanson could be very diverse - there were love songs, everyday songs, humorous songs, satirical songs, etc. Composers took folk poems and modern poetry as texts.
Italy.
With the advent of the Renaissance, everyday music playing on various instruments spread in Italy; circles of music lovers arose. In the professional field, two of the strongest schools emerged: Roman and Venetian.
Madrigal. During the Renaissance, the role of secular genres increased. In the XIV century. the madrigal appeared in Italian music (from the Old Lat. matricale - “song in the native language”). It was formed on the basis of folk (shepherd) songs. Madrigals were songs for two or three voices, often without instrumental accompaniment. They were written on poems by modern Italian poets, which talked about love; there were songs on everyday and mythological subjects.
During the 15th century, composers hardly turned to this genre; interest in it was revived only in the 16th century. A characteristic feature of the 16th century madrigal is the close connection between music and poetry. The music flexibly followed the text and reflected the events described in the poetic source. Over time, unique melodic symbols developed, denoting gentle sighs, tears, etc. In the works of some composers, the symbolism was philosophical, for example, in Gesualdo di Venosa’s madrigal “I Am Dying, Unfortunate” (1611).
The genre flourished at the turn of the 16th-17th centuries. Sometimes, simultaneously with the performance of a song, its plot was played out. The madrigal became the basis of the madrigal comedy (choral composition based on the text of a comedy play), which prepared the appearance of the opera.
Roman polyphonic school. Giovanni de Palestrina (1525-1594). The head of the Roman school was Giovanni Pierluigi da Palestrina, one of the greatest composers of the Renaissance. He was born in the Italian city of Palestrina, from which he received his surname. Since childhood, Palestrina sang in the church choir, and upon reaching adulthood he was invited to the post of conductor (choir leader) at St. Peter's Basilica in Rome; later he served in the Sistine Chapel (the court chapel of the Pope).
Rome, the center of Catholicism, attracted many leading musicians. IN different time The Dutch master polyphonists Guillaume Dufay and Josquin Despres worked here. Their developed compositional technique sometimes made it difficult to perceive the text of the service: it was lost behind the exquisite interweaving of voices and the words, in fact, were not audible. Therefore, church authorities were wary of such works and advocated the return of monophony based on Gregorian chants. The issue of the admissibility of polyphony in church music was discussed even at the Council of Trent of the Catholic Church (1545-1563). Close to the Pope, Palestrina convinced Church leaders of the possibility of creating works in which the compositional technique would not interfere with the understanding of the text. As proof, he composed the "Mass of Pope Marcello" (1555), which combines complex polyphony with a clear and expressive sound of each word. Thus, the musician “saved” professional polyphonic music from persecution by church authorities. In 1577, the composer was invited to discuss the reform of the graduala - a collection of sacred hymns of the Catholic Church. In the 80s Palestrina took holy orders, and in 1584 he became a member of the Society of Masters of Music, an association of musicians that reported directly to the Pope.
Palestrina's work is imbued with a bright worldview. The works he created amazed his contemporaries with both their highest skill and quantity (more than one hundred masses, three hundred motets, one hundred madrigals). The complexity of music has never served as an obstacle to its perception. The composer knew how to find a middle ground between the sophistication of his compositions and their accessibility to the listener. Palestrina saw his main creative task as developing a complete great work. Each voice in his chants develops independently, but at the same time forms a single whole with the others, and often the voices form striking combinations of chords. Often the melody of the top voice seems to float above the rest, outlining a “dome” of polyphony; All voices are distinguished by smoothness and development.
The next generation of musicians considered the art of Giovanni da Palestrina exemplary and classical. Many outstanding composers of the 19th-8th centuries studied from his works.
Another direction of Renaissance music is associated with the work of composers of the Venetian school, the founder of which was Adrian Willart (about 1485-1562). His students were the organist and composer Andrea Gabrieli (between 1500 and 1520 - after 1586), the composer Cyprian de Pope (1515 or 1516-1565) and other musicians. While Palestrina's works are characterized by clarity and strict restraint, Willaert and his followers developed a lush choral style. To achieve surround sound and play of timbres, they used several choirs in the compositions, located in different places of the temple. The use of roll calls between choirs made it possible to fill the church space with unprecedented effects. This approach reflected the humanistic ideals of the era as a whole - with its cheerfulness, freedom, and the Venetian artistic tradition itself - with its desire for everything bright and unusual. In the work of the Venetian masters, the musical language also became more complex: it was filled with bold combinations of chords and unexpected harmonies.
A prominent figure of the Renaissance was Carlo Gesualdo di Venosa (circa 1560-1613), prince of the city of Venosa, one of the greatest masters of secular madrigal. He gained fame as a philanthropist, lute player, and composer. Prince Gesualdo was friends with the Italian poet Torquato Tasso; There are some interesting letters left in which both artists discuss issues of literature, music, and fine arts. Gesualdo di Venosa set many of Tasso's poems to music - this is how a number of highly artistic madrigals appeared. As a representative of the late Renaissance, the composer developed new type madrigal, where feelings came first - stormy and unpredictable. Therefore, his works are characterized by changes in volume, intonation similar to sighs and even sobs, sharp-sounding chords, and contrasting changes in tempo. These techniques gave Gesualdo’s music an expressive, somewhat bizarre character; it amazed and at the same time attracted his contemporaries. The legacy of Gesualdo di Venosa consists of seven collections of polyphonic madrigals; Among the spiritual works - "Sacred Hymns". His music even today does not leave the listener indifferent.
Development of genres and forms of instrumental music. Instrumental music is also marked by the emergence of new genres, most notably the instrumental concerto. The violin, harpsichord, and organ gradually turned into solo instruments. The music written for them provided an opportunity to demonstrate the talent of not only the composer, but also the performer. What was valued above all was virtuosity (the ability to cope with technical difficulties), which gradually became an end in itself and an artistic value for many musicians. Composers of the 17th-18th centuries usually not only composed music, but also played instruments masterfully and were engaged in teaching activities. The artist’s well-being largely depended on the specific customer. As a rule, every serious musician sought to obtain a place either at the court of a monarch or a wealthy aristocrat (many members of the nobility had their own orchestras or opera houses) or in a temple. Moreover, most composers easily combined church music with service for a secular patron.
England.
The cultural life of England during the Renaissance was closely connected with the Reformation. In the 16th century, Protestantism spread in the country. The Catholic Church lost its dominant position, the Anglican Church became the state church, which refused to recognize some of the dogmas (fundamental provisions) of Catholicism; Most of the monasteries ceased to exist. These events influenced English culture, including music. Music departments were opened at Oxford and Cambridge universities. Keyboard instruments were played in noble salons: virginel (a type of harpsichord), portable (small) organ, etc. Small compositions intended for home music playing were popular. The most prominent representative of the musical culture of that time was William Bird (1543 or 1544-1623), a sheet music publisher, organist and composer. Bird became the founder of the English madrigal. His works are distinguished by simplicity (he avoided complex polyphonic techniques), originality of form that follows the text, and harmonic freedom. All musical means are designed to affirm the beauty and joy of life, as opposed to medieval severity and restraint. The composer had many followers in the madrigal genre.
Bird also created spiritual works (mass, psalms) and instrumental music. In his compositions for virginal, he used motifs of folk songs and dances.
The composer really wanted the music he wrote to “happily carry at least a little tenderness, relaxation and entertainment,” as William Byrd wrote in the preface to one of his music collections.
etc.................
, madrigal, virginal, viola, volt, pavana, galliard, Florentine Camerata, Gesualdo di Venosa, Jacopo Peri
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The lesson is conducted for 5th grade students in the 2nd year of studying musical literature.
Purpose of the lesson: education aesthetic culture students through exposure to music Renaissance.
Lesson objectives:
- To give an idea of the role of music and music-making in the life of people of the Renaissance;
- Acquaintance with musical instruments, genres, composers of the Renaissance;
- Introduction to musical works of the European Renaissance;
- Development of basic auditory music analysis skills;
- Developing an understanding of the relationship different types arts;
- Nurturing emotional perception of works of art;
- Development of students' thinking and speech;
- Expanding your horizons.
Lesson type: lesson on learning a new topic.
Lesson equipment: multimedia presentation, computer.
Musical material:
- W. Bird's play for virginal "Volta";
- F. da Milano “Fantasia” No. 6 for lute;
- Scene from the film "Elizabeth": The Queen dances the volta (video);
- I. Alberti “Pavane and galliard” (video);
- English folk song "Greensleeves";
- J.P. Palestrina "Mass of Pope Marcello", part of "Agnus Dei";
- O. Lasso “Echo”;
- G. di Venosa madrigal “Moro, lasso, al mio duolo”;
- J. Peri Scene from the opera “Eurydice”.
During the classes
I. Organizational moment
II. Updating knowledge
In the last lesson we talked about the culture and painting of the Renaissance.
– What is another name for this era (“Renaissance” in French)?
– What centuries does the Renaissance cover? What era did it replace?
– Where does this era name come from? What did they want to “revive”?
– In which country did the Renaissance begin earlier than in others?
- Which Italian city called "the cradle of the Renaissance"? Why?
– What great artists lived in Florence? Remember their work.
– How do their creations differ from medieval art?
III. Learning a new topic
Today we are again going to the Renaissance. We will find out what music was like at this time. Let's get acquainted with the musical instruments of the Renaissance, see them and hear their authentic sound. We also have a meeting with outstanding composers the Renaissance and their masterpieces.
IV. Working with a presentation
Slide 1. Title page.
Slide 2. The topic of our lesson is “Music of the Renaissance.” Time frame: XIV–XVI centuries.
Slide 3. Epigraph of the lesson. How do you understand these words?
... There is no living creature on earth
So tough, cool, hellishly evil,
So that I couldn’t even for one hour
In it, music makes a revolution.
(William Shakespeare)
Slide 4. During the Renaissance, the role of art in cultural life society. Artistic education is recognized as an important aspect of the development of a noble person, a condition for a good upbringing.
Church control over society is weakened, musicians receive greater freedom. The author's personality and creative individuality are becoming more and more evident in his writings. During the Renaissance, the very concept of “ composer».
It became very important for the development of music invention of music printing at the end of the 15th century. In 1501, the Italian publisher Ottaviano Petrucci published the first collection for home music playing. New works were published and distributed very quickly. Now any middle-income city dweller could buy sheet music. As a result, urban music making begins to develop rapidly, reaching more and more people.
Slide 5. Musical instruments Renaissance. Winds, strings, keyboards.
Slide 6. Lute- the most beloved instrument of the Renaissance. Refers to stringed plucked instruments. At first the lute was played with a plectrum, but by the 15th century they began to play with their fingers.
Slide 7. Its body looks like a pear cut in half. The lute has a short neck with frets, bent at a right angle.
Slide 8. The lute came from Arabic instrument called Al-ud (Arabic for “tree”). In the 8th century, oud entered Europe from North Africa during the Arab conquest of Spain and took root at the court of many Spanish nobles. Over time, Europeans added frets (divisions on the fretboard) to the oud and called it “lute.”
Slide 9. Both men and women played the lute.
Slide 10. The lute was compact, lightweight, and could be taken with you everywhere.
Slide 11. Lute music was recorded not with notes, but with the help of tablature. Look: lute tablature consists of 6 lines indicating strings. The numbers indicate the frets, the durations are at the top.
Slide 12. Bowed string instruments. If the lute was played by people of different classes, then only a very rich person could afford an instrument from the viol family. Violas were expensive; they were made from precious wood and decorated with elegant designs and jewelry. Violas were different sizes. In this painting, angels play the most popular types of viols - da gamba and da braccia.
Slide 13. Viola in Italian - “violet”. The sound of the viola was very pleasant: soft, gentle and quiet.
Slides 14, 15. The name viola da braccia is translated from Italian as “hand, shoulder”. This was the name given to small viols that were held at the shoulder when played.
Slide 16. Viola da gamba - “foot”. It was large in size and had to be held between the knees or placed on the thigh when playing. These viols were usually played by men.
Slide 17. Have you noticed what classical instruments viols are very similar to? Violin, cello. Let's compare the viola da gamba with the cello.
We will hear the sound of viols a little later.
Slide 18.Virginel. A rectangular keyboard instrument, usually without legs. According to the principle of the device, it was one of the predecessors of the piano. But in terms of sound quality it was closer to the harp and lute. His timbre was distinguished by softness and tenderness.
Slide 19. Who knows what the English word means? virgin? Virgo, girl. Guess why this instrument was called “girlish”? Most often, the virginel was played by young girls of noble birth. It is known that even Queen Elizabeth I of England was very fond of the virginel and played it well.
Slide 20. William Bird– the largest English composer, organist and harpsichordist of Elizabeth's time. Born in 1543, died in 1623. Served as court organist. He composed many sacred works, madrigals and pieces for virginal.
Let's listen: W. Bird piece for virginal "Volta"
Slide 21-24. Renaissance artists often depicted angels playing music in their paintings. Why? What does this mean? Why do angels need music? What about people?
Slide 25. Look what big company musicians. What are they playing? How do they feel? Are they good together? Do W. Shakespeare's words fit this picture? What is the key word in these verses? Unity, agreement.
Listen to how friendly the strings are
They get into formation and give their voice, -
As if mother, father and young boy
They sing in happy unity.
The agreement of the strings in a concert tells us,
That the lonely path is like death.
Slide 26. Instrumental genres The Renaissance was divided into 3 types: transcriptions of vocal works, virtuoso plays of an improvisational nature (ricercar, prelude, fantasy), dance plays (pavana, galliard, volta, moresca, saltarella).
Slide 27. Francesco da Milano- famous Italian lutenist and composer of the 16th century, whom his contemporaries called “The Divine”. He owns numerous pieces for lute, combined into three collections.
Let's listen: F. da Milano “Fantasia” for lute
Slide 28. Dances of the Renaissance. During the Renaissance, the very attitude towards dance changed. From a sinful, unworthy activity, dance turns into an obligatory accessory. social life and becomes one of the most necessary skills of a noble man. Balls are firmly established in the life of the European aristocracy. What kind of dances were in fashion?
Slide 29. Volta– Popular dance of the 16th century of Italian origin. The name volta comes from the Italian word voltare, which means “turn.” The tempo of the volta is fast, the size is three-beat. The main movement of the dance: the gentleman sharply lifts high and turns the lady dancing with him in the air. Moreover, this movement must be performed clearly and gracefully. And only trained men could cope with this dance.
Let's look: fragment of the video film “Elizabeth”
Slide 30. Pavana– solemn a slow dance of Spanish origin. The name pavana comes from the Latin pavo - peacock. The size of the pavan is two-beat, the tempo is slow. They danced it to demonstrate to others their greatness and luxurious costume. The people and the bourgeoisie did not perform this dance.
Slide 31.Galliard(from Italian - cheerful, cheerful) - active dance. The character of the galliard preserves the memory of the folk origin of the dance. She is characterized by jumping and sudden movements.
Pavane and galliard were often performed one after another, forming a kind of suite.
Now you will see a fragment of a concert by the ancient music ensemble “Hesperion XXI”. Its leader is Jordi Savall- Spanish cellist, gamblist and conductor, one of the most authoritative musicians today performing ancient music authentically (as it sounded at the time of its creation).
Slide 32. Look: I. Alberti "Pavane and galliard".
Performed by the ancient music ensemble “Hespèrion XXI”, directed by. J. Saval.
Slide 33. Vocal genres The Renaissance was divided into ecclesiastical and secular. What does "secular" mean? There was a mass and a motet in the church. Outside the church - caccia, ballata, frottola, villanelle, chanson, madrigal.
Slide 34. Church singing reaches the peak of its development. This is the time of polyphony of “strict writing”.
The most outstanding composer-polyphonist of the Renaissance was the Italian Giovanni Pierluigi da Palestrina. He received his nickname - Palestrina - from the name of the city in which he was born. He worked in the Vatican, held high musical positions under the papal throne.
Mass – musical composition, consisting of prayers in Latin, heard during services in the Catholic Church.
Let's listen: J.P. da Palestrina "Mass of Pope Marcello", part of the "Agnus Dei"
Slide 35. Secular songs. English ballad "Green Sleeves"– very popular today. The words of this song are attributed to the English king Henry VIII. He addressed these verses to his beloved Anne Boleyn, who later became his second wife. Do you know what this song is about?
Slide 36. Lyrics of the song “Green Sleeves” translated by S.Ya. Marshak.
Let's listen: English ballad "Greensleeves"
Slide 37. Orlando Lasso- one of the most outstanding representatives of the Dutch polyphonic school. Born in Belgium, lived in Italy, England and France. For the last 37 years of his life, when his name was already known throughout Europe, he directed the court chapel in Munich. He created more than 2,000 vocal works of both religious and secular nature.
Slide 38. Chanson “Echo” was written for two four-voice choirs. The first choir asks questions, the second choir answers him like an echo.
Let's listen: O. Lasso Chanson “Echo”
Slide 39. Madrigal(from the Italian word madre - “mother”) - a song in the native, maternal language. Madrigal is a polyphonic (for 4 or 5 voices) song with lyrical content and a sublime character. The heyday of this vocal genre comes in the 16th century.
Slide 40.Gesualdo di Venosa – Italian composer XVI century, one of the greatest masters of secular madrigal. He was mysterious person. A rich prince, ruler of the city of Venosa. Having caught his beautiful wife cheating, Gesualdo, in a fit of jealousy, took her life. Periodically he fell into melancholy and hid from everyone in his castle. He died at the age of 47, in a clouded mind...
During his lifetime he published 6 collections of five-voice madrigals. A feature of G. di Venosa's style is the saturation of music, unique for his time, with chromaticisms and colorful juxtapositions of dissonant chords. So Gesualdo translated his terrible heartache and pangs of conscience.
His contemporaries did not understand his music; they considered it terrible and harsh. Musicians of the 20th century appreciated him, a film was made about G. di Venosa, books are written, and composer A. Schnittke dedicated the opera “Gesualdo” to him.
Slide 41. Madrigal “Moro, lasso, al mio duolo” is one of the latest creations by G. di Venoz. He owns both the music and the lyrics:
Oh! I'm dying of grief
The one who promised happiness
He kills me with his power!
Oh, evil whirlwind of sorrow!
The one that promised life
Death gave me.
Let's listen: G. di Venosa “Moro, lasso, al mio duolo”
Slide 42. At the end of the 16th century, arose in Florence Florentine Camerata- a circle of musicians and poets who wanted to revive ancient Greek tragedy with her inherent special manner of pronouncing the text (something between speech and singing).
Slide 43. The birth of opera. As a result of these experiments, opera was born. On October 6, 1600, the first opera that has survived to this day, Eurydice, premiered in Florence. Its author is composer and singer Jacopo Peri.
Let's listen: J. Peri Scene from the opera “Eurydice”
V. Lesson summary
– What new did you learn today about the Renaissance?
– Which instrument did you like the sound of? How?
– Which ones? modern instruments Are lute, viola, and virgin similar?
– What did people sing during the Renaissance? Where? How?
– Why did Renaissance artists so often depict musicians?
– What music played in class today did you like and remember?
VI. Homework (optional):
- Sing the song “Green Sleeves” from the notes; those who wish can choose an accompaniment for it;
- Find musical paintings by Renaissance artists and talk about them.
Several defining innovative features can be identified in the musical culture of the Renaissance.
Firstly, the rapid development of secular art, expressed in the widespread spread of many secular song and dance genres. These are Italianfrottola (“folk songs, from words frottola - crowd), villanelles (“village songs”),Caccia , canzone (literally - songs) and madrigals, SpanishVillancico (from villa - village), French chanson songs, GermanLied , English ballads and others. All these genres, glorifying the joy of being, interested in inner world people striving for the truth of life directly reflected a purely Renaissance worldview. Their means of expression are characterized by the widespread use of intonations and rhythms of folk music.
The culmination of the secular line in the art of the Renaissance -madrigal . The name of the genre means “song in the mother (that is, Italian) language.” It emphasizes the difference between the madrigal and sacred music performed in Latin. The development of the genre went from a simple one-voice shepherd's song to a 5-6-voice vocal-instrumental piece with a sophisticated lyrical text. Among the poets who turned to the madrigal genre are Petrarch, Boccaccio, Tasso. Remarkable masters of the madrigal were composers A. Willart, J. Arkadelt, Palestrina, O. Lasso, L. Marenzio, C. Gesualdo, C. Monteverdi. Originating in Italy, the madrigal quickly spread to other Western European countries.
The French variety of polyphonic song is calledchanson . It is distinguished from the madrigal by its greater proximity to the real, everyday life, that is, its genre nature. Among the creators of chanson -Clément Jeannequin , one of the most famous French composers Renaissance.
Secondly, the highest flowering of choral polyphony, which became the leading musical style era. Majestic and sonorous, it perfectly matched the solemnity of the church service. At the same time, polyphonic polyphony was the dominant form of expression not only in spiritual genres, but also in secular ones.
The development of choral polyphony was associated, first of all, with the work of composers of the Dutch (French-Flemish) school: Guillaume Dufay, Johannes Ockeghem, Jacob Obrecht, Josquin Despres, Orlando Lasso.
Orlando Lasso (about 1532-1594) worked in many European countries. His talent, truly phenomenal, captivated and delighted everyone. Everyone is represented in the vast creativity of Orlando Lasso musical genres Renaissance (with the predominance of secular music over sacred). His most popular works include “Echo,” written in the genre of an Italian everyday song. The work is based on a colorful juxtaposition of two choirs, creating an echo effect. Its text belongs to the composer himself.
Along with Orlando Lasso, the largest representative High Renaissance there was an Italian in musicPalestrina (full name Giovanni Pierlui da Palestrina, circa 1525-1594). Most of Palestrina's life was spent in Rome, where he was constantly associated with work in the church, in particular, he headed the chapel of the Cathedral of St. Petra. The bulk of his music is sacred works, primarily masses (there are more than a hundred of them, among which the famous “Mass of Pope Marcello” stands out) and motets. However, Palestrina also willingly composed secular music - madrigals, canzonettas. Palestrina's works for choir a sarrellabecame a classic example of Renaissance polyphony.
The work of polyphonic composers played a leading role in the development of the main genre of music of the Renaissance -masses . Originating in the Middle Ages, the genre of the mass inXIV- XVIcenturies, it is rapidly transforming, moving from samples presented in separate, disparate parts to works of a harmonious cyclic form.
Depending on the church calendar in the music of the mass some parts were omitted and other parts were inserted. The obligatory parts that are constantly present in church service, five. INI And V - « Kyrieeleison» (“Lord have mercy”) and« AgnusDei» (« Lamb of God") - a plea for forgiveness and pardon was expressed. InII And IV - « Gloria"("Glory") and " Sanctus» (« Holy") - praise and gratitude. In the central part, "Credo» (« I believe"), set out the basic tenets of Christian doctrine.
Thirdly, the increasing role of instrumental music (with a clear predominance of vocal genres). If the European Middle Ages knew almost no professional instrumentalism, then in the Renaissance many works were created for the lute (the most common musical instrument of that time), organ, viol, vihuela, virginal, and longitudinal flutes. They still follow vocal patterns, but their interest in instrumental playing has already been determined.
Fourthly, during the Renaissance there was an active formation of national music schools (Dutch polyphonists, English virginalists, Spanish vihuelists and others), whose creativity was based on the folklore of their country.
Finally, music theory has stepped far forward, putting forward whole line wonderful theorists. This is FrenchPhilippe de Vitry , author of the treatise " Arsnova» (« New art”, where a theoretical justification for the new polyphonic style is given); ItalianJosephfo Zarlino , one of the creators of the science of harmony; SwissGlarean , founder of the doctrine of melody.
Renaissance, or Renaissance, is a period in the cultural history of Western and Central Europe, spanning approximately the XIV-XVI centuries. This period received its name in connection with the revival of interest in ancient art, which became an ideal for cultural figures of modern times. Composers and music theorists - J. Tinctoris, G. Tsarlino and others - studied ancient Greek musical treatises; in the works of Josquin Despres, who was compared to Michelangelo, according to contemporaries, “the lost perfection of the music of the ancient Greeks was revived”: which appeared at the end of the 16th and beginning of the 17th centuries. the opera was guided by the laws of ancient drama.
Music theory classes. From a 16th century engraving.
J. P. Palestrina.
The development of Renaissance culture is associated with the rise of all aspects of society. A new worldview was born - humanism (from the Latin humanus - “humane”). The emancipation of creative forces led to the rapid development of science, trade, crafts, and new, capitalist relations took shape in the economy. The invention of printing contributed to the spread of education. Great geographical discoveries and the heliocentric system of the world of N. Copernicus changed ideas about the Earth and the Universe.
Reached unprecedented prosperity art, architecture, literature. The new attitude was reflected in the music and transformed its appearance. She gradually departs from the norms of the medieval canon, style is individualized, and the very concept of “composer” appears for the first time. The texture of the works changes, the number of voices increases to four, six or more (for example, the 36-voice canon attributed to the largest representative Dutch school J. Okegem). In harmony, consonant consonances dominate; the use of dissonances is strictly limited by special rules (see Consonance and Dissonance). Major and minor modes and a clock system of rhythm, characteristic of later music, are formed.
All these new means were used by composers to convey the special structure of feelings of the Renaissance man - sublime, harmonious, calm and majestic. The connection between text and music becomes closer, music begins to convey the mood, or, as they said then, the affects of the text; individual words, such as “life”, “death”, “love”, etc., are often illustrated with special musical means.
The music of the Renaissance developed in two directions - church and secular. The main genres of church music are mass and motet - polyphonic polyphonic works for a choir, unaccompanied or accompanied by an instrumental ensemble (see Choral music, Polyphony). Among the instruments, preference was given to the organ.
The development of secular music was facilitated by the growth of amateur music-making. Music sounded everywhere: on the streets, in the houses of citizens, in the palaces of noble nobles. The first concert virtuoso performers appeared on the lute, harpsichord, organ, viol, and various types of longitudinal flutes. In polyphonic songs (madrigal in Italy, chanson in France), composers talked about love and everything that happens in life. Here are the titles of some of the songs: “Stag Hunt”, “Echo”, “Battle of Marignano”.
In the XV-XVI centuries. The importance of the art of dance increases, numerous treatises and practical manuals on choreography, collections of dance music appear, which include popular dances of that time - bass dance, branle, pavane, galliard.
During the Renaissance, national music schools were formed. The largest of them is the Dutch (French-Flemish) polyphonic school. Its representatives are G. Dufay, C. Janequin, J. Okegem, J. Obrecht, Josquin Depres, O. Lasso. Other national schools include Italian (J.P. Palestrina), Spanish (T.L. de Victoria), English (W. Bird), and German (L. Senfl).
The question of the musical side of the Renaissance is quite complex. In the music of that time it is more difficult to identify new, fundamentally different elements and trends compared to the Middle Ages than in other areas of art - in painting, sculpture, architecture, artistic crafts, and so on. The fact is that music, both in the Middle Ages and throughout the Renaissance, retained its diverse character. There was a clear division between church-spiritual music and secular compositions, songs and dances. However, Renaissance music has its own original character, although closely related to previous achievements.
Musical culture Renaissance
A feature of the music of the Renaissance, which includes the musical era of the 15th-16th centuries, is the combination of various national schools, which at the same time had a common development trend. Experts identify the first elements characteristic of the mood era in the Italian style of music. Moreover, in the homeland of the Renaissance “ new music"began to appear at the end of the 14th century. The features of the Renaissance style were most clearly manifested in the Dutch music school, starting from the middle of the 15th century. A feature of Dutch music was increased attention to vocal compositions with appropriate instrumental accompaniment. Moreover, vocal polyphonic compositions were characteristic of both church music of the Dutch school and its secular direction.
So, already in the 16th century it spread to France, Germany, and England. Moreover, vocal secular compositions in the Dutch style were performed on different languages: for example, music historians see the origins of traditional French chanson in these songs. All European music of the Renaissance is characterized by two seemingly multidirectional trends. One of them led to a clear individualization of compositions: in secular works the author’s origin is increasingly visible, more personal lyrics, experiences and emotions of a particular composer appear.
Another trend was reflected in the increasing systematization of music theory. Works, both church and secular, became more and more complex, musical polyphony improved and developed. First of all, in church music, clear rules for formation, harmonic sequences, voice guidance, and the like were drawn up.
Theorists or composers of the Renaissance?
Related to this complex nature of the development of music during the Renaissance is the fact that there is currently debate over whether the leading musical figures of that time should be considered composers, theorists or scientists. Then there was no clear “division of labor”, so the musicians combined various functions. Thus, the Swiss Glarean, who lived and worked in the first half of the 16th century, was more of a theorist. He made significant contributions to music theory, creating the basis for the introduction of concepts such as major and minor. At the same time, he viewed music as a source of pleasure, that is, he advocated its secular nature, actually rejecting the development of music in the religious aspect of the Middle Ages. In addition, Glarean saw music only in inextricable connection with poetry, therefore great attention devoted to song genres.
The Italian Josephfo Zarlino, whose creative activity occurred in the second quarter - the end of the 16th century, largely developed and supplemented the theoretical developments presented above. In particular, he first proposed to associate the already formulated concepts of major and minor with the emotional mood of a person, associating minor with melancholy and sadness, and major with joy and sublime feelings. In addition, Zarlino continued the ancient tradition of interpreting music: for him, music was a tangible expression of the harmony in which the universe should exist. Consequently, music, in his opinion, was the highest manifestation creative genius and the most important of the arts.
Where did Renaissance music come from?
Theory is theory, but in practice music is unthinkable without musical instruments - of course, with their help it was brought to life musical art Renaissance. The main instrument that “migrated” to the Renaissance from the previous, medieval musical period was the organ. This keyboard-wind instrument was actively used in church music, and given the most important place of sacred compositions in the music of the Renaissance, the importance of the organ remained. Although, in general, the “specific weight” of this instrument has perhaps decreased – bowed and plucked string instruments have taken the lead. However, the organ marked the beginning of a separate direction of keyboard instruments that had a higher and more secular sound. The most common of them was the harpsichord.
Bowed string instruments have developed a whole separate family - viols. Viols were instruments that were similar in form and function to modern violin instruments (violin, viola, cello). There are most likely family ties between the viols and the violin family, but viols have characteristics. They have a much more pronounced individual “voice”, which has a velvety tint. Viols have an equal number of main and resonating strings, which is why they are very finicky and difficult to tune. Therefore, viols are almost always a solo instrument; it is rarely possible to achieve their harmonious use in an orchestra.
As for plucked string instruments, the main place among them during the Renaissance was occupied by the lute, which appeared in Europe around the 15th century. The lute was of Eastern origin and had a specific structure. The instrument, sounds from which could be produced both with fingers and with the help of a special plate (analogous to a modern mediator), very quickly gained popularity in the Old World.
Alexander Babitsky