Western European musical culture of the Renaissance. Report: Music of the Renaissance

28.06.2019

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Introduction

1.2 France

1.3 Italy

1.3.2 Venetian School

1.4 England

1.5 Germany

1.6 Spain

2. Musical aesthetics

2.4 Mesetzinger and their art

Conclusion

Bibliography

Introduction

Renaissance, or Renaissance (FR. Renaissance), - a turning point in the history of the culture of European peoples. The determining worldview of the Renaissance, as opposed to medieval theocentrism (the philosophical concept, which is based on the understanding of God, as an absolute, perfect, the highest being, the source of life and any good) and asceticism, became humanism (from Lat. Humanus - "Human", " humane"). The individual value of the human person was nominated for the fore, the interest in the awareness of the surrounding world and the realistic reflection of reality increased. The ideal of a harmonious man Humanists were looking for antiquity, and ancient Greek and Roman art served as a model for artistic creativity. The desire to "revive" the ancient culture and gave the name of this era, the period between the medieval and new time (from the middle of the XVII century to the present day).

The first half of the XV century is characterized as the beginning of the revival in the music. At this time, the Renaissance ideal of harmony and beauty, the norms of the so-called strict style are formed. Unlike other types of art, the main ideals and criteria of the revival music were not the ideals of antiquity, as the musical records of the ancient Greece and ancient Rome by the XIII-XVI century. have not yet been fully deciphered and analyzed. Therefore, most often the basics of musical works of this era were poetic, literary works of antiquity. So, for example, by the end of the XVI century. Opera works concluded antiquity canons. In music, as in other art types, the trend towards the image of the diversity of the world is increasing, and the idea of \u200b\u200bdiversity is combined with the desire for harmony and the proportionality of all elements of the whole. There is a rethinking of social status of music - a democratic audience appears, amateur music is widely applied - the execution of the plays is not only known composers, but also a personal essay. Thus, it was in the rebirth era that the prerequisites for the heyday of the household and professional secular musical creativity, which wore the nature of life affirmation, the joy of life, humanism and bright images.

At the same time, there were changes in the music letter: the Italian Mobile Mobile Mobile Mobile Mobile Mobile Mobile Mobile Mobile Mobile Mobile Mobile Mobile Mobile Mobile Metal Lisers came to replace the heavy wooden printed blocks. Published musical works quickly bought up, more and more people began to join the music.

The musical works of this period were distinguished by the big part, the song, which was inherent in folk music; A certain number of songs was written in the native, and not in Latin.

The main features of the music were melodiousness and a certain rhythm, which differed more flexibility, expression rather than in the era of the Middle Ages. The emergence of polyphony explained primarily by the fact that the musician, composer, performer, the singer had musical freedom of action, expressed their soul in the songs, an emotional attitude, the right to interpret, invent their variations in accordance with the feelings and internal state.

Important in this era had the allocation and approval of the major Lada (lighter, joyful, called compared to minor, sad, sad, sad), especially in the XV-XVI centuries.

Special development has received a song under the accompaniment of lute or the executable multi-voice.

In the era of the Renaissance, the development of instrumental music was developed. Often combined various tools in one topic. At the same time, dance forms and melodies were preserved and improved, which were united in suite. The first instrumental works that bearing independent character, variations, preludes, fantasies appeared.

As well as architecture, sculpture, painting, the musical art of the Renaissance was distinguished by a secular character, and to the XIV-XVI century. Refers the formation of national music schools.

1. Musical culture of the Renaissance

Renaissance Art Culture is a personal beginning with a support for science. The unusually complex skill of polyphonists of the XV-XVI centuries, their virtuoso technique got along with the bright art of household dances, the sophistication of secular genres. An increasing expression in the works is obtained by lyric drama. In addition, they are brighter than the author's personality, the creative individuality of the artist (this is characteristic not only for musical art), which allows us to talk about humanization as a leading principle of renaissance art. At the same time, church music, represented by such large genres, as Mass and Motet, continues to be a "gothic" line in the art of rebirth, directed, first of all, to recreate the already existing canon and through it for the glorification of the Divine.

By the XV century, the so-called "strict letter" polyphony, the rules (norms of vote, formation, etc.) were recorded in theoretical treatises of that time and were an immutable law of creating church music. The composers composed their posts using the borrowed melodies as the main thematism (Gregorian Choral and other canonical sources, as well as people's household music) - the so-called Cantus Firmus, while giving a huge importance to the technique of polyphonic letters, complex, sometimes sophisticated counterpoint. At the same time, there was a continuous process of updating and overcoming the established norms, in connection with which secular genres are gradually increasingly important.

So, as you can see that the period of the Renaissance is a difficult period in the history of the development of musical art, therefore it seems reasonable to consider it in more detail, while paying due attention to individual individuals and countries.

1.1 Netherlands Polyphonic School

The Netherlands - the historical region in the North-West of Europe (their territory covered the current Northeast France, South-West Holland, Belgium, Luxembourg). To the XV century The Netherlands reached a high economic and cultural level and turned into a prosperous European country with broader trading ties. The intensity of the economic development of the country was caused by the flourishing of science, culture, arts in the Netherlands. Along with the brilliant achievements of painting, music has achieved tremendous success. Professional composer creativity in the Netherlands developed in close connection with the folklore, which had long-standing, rich traditions. It was here that the Netherlands Polyphonic School was formed - one of the largest phenomena of revival music. The origins of the Netherlands polyphony can be found in English, French, German and Italian Sensions. At the same time, the Netherlands summarized the experience of many national schools and created an original vocal-choral polyphonic style, which became an important stage in the development of a strict letter. It also invented imitation - repetition of the melody in some vote directly after another voice. (Later, during the time of Bach, the imitation will be the foundation of the Foundation of the highest form of polyphony.) The Netherlands the same masterfully used imitation in the canons of 15-16 centuries. In the art of creating such canons, the Netherlands virtuosos showed a lot of ingenuity and technical fiction. The composer inscribed in the notes: "Kriki without ceasing." This meant that the play can be performed by skipping all the pauses. "Turn the night night" - performers should guess that black notes can be read as white and vice versa. A play will sound equally well in a normal record, and in the transformed. Composer Okhem composed 36-voice canon - a musical skyscraper of four nine-haired canons.

An outstanding representative and one of the Rhodeschalters of the Netherlands School - Guide Dufay (1400-1474) (Dufay) (about 1400 - 11/27/1474), Franco Flemish composer. It was he who laid the foundations of a polyphonic tradition in the Netherlands music (about 1400 - 1474). Guillaume Dufai was born in the city of Cambra in Flanders (province in the south of the Netherlands) and already sang in church choir from the small years. In parallel, the future musician took private composition lessons. In the youthful age Dufai went to Italy, where he wrote the first essays - ballads and motes. In 1428-1437 He served as a singer in a papal chapel in Rome; At the same years, it traveled in Italy and France. In 1437, the composer accepted the spiritual san. At the courtyard of Duke of Savoy (1437-1439), he composed music for solemn ceremonies and holidays. Dufai enjoyed great respect for noble Persons - among his admirers was, for example, Cheta Medici (ruler of the Italian city Florence). From 1445 Kanonik and the head of the musical activity of the Cathedral in Cambra. Master of Spiritual (3-, 4-voice masses, motges), as well as secular

(3-, 4-voice French chanson, Italian songs, ballads, Rondo) genres associated with popular polyphony and humanistic culture of revival. The art of Dufai, which absorbed the achievements of European musical art, had a great influence on the further development of European polyphonic music. There was also a reformer of a music letter (Dufai attributed to the introduction of notes with white heads). The complete collected works of Dufai published in Rome (6 TT., 1951-66). Dufai first among composers began to compose Mass as a whole musical composition. To create church music, an outstanding talent is required: the skill with the specific, material means to express distracted, intangible concepts. The difficulty is that such an essay, on the one hand, did not leave the listener indifferent, and on the other hand, did not distract from worship, helped to focus on prayer. Many Duza Mass are inspired, full of internal life; They seem to help the MiG to open the veil of Divine Revelation.

Often, creating Mass, Dufai 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 was based on a familiar melody, which could be easily recognized even in a polyphonic work. Often used the fragment of the Gregorian chanting; The secular works were not excluded. In addition to church music, Dufai composed motges to secular texts. In them, he also applied a complex polyphonic technique.

Representative of the Netherlands Polyphonic School of the second half of the XV century. There was a gosqued dew (about 1440-1521 or 1524), which had a great influence on the work of the next generation composers. In his youth, he served church singers in Cambray, took musical lessons from Okemem. At the age of twenty years, the young musician arrived in Italy, sang in Milan at the Dukes of Sforza and in Papal Chapel in Rome. In Italy, Depe, probably began to compose music. At the very beginning of the XVI century. He moved to Paris. By that time, Delera was already known, and he was invited to the position of a court musician French king Louis XII. From 1503, Delena again settled in Italy, in the city of Ferrara, with the court of Duke

d "Este. Dew compound a lot, and his music quickly won recognition in the widest circles: she was loved and know, and a simple people. The composer created not only church works, but also secular. In particular, he turned to the genre of the Italian folk song - FROTTOL (IT. Frottola, from Frotta - "Crowd"), for which a dance rhythm and fast paced is characterized. In church music, Dew brought the features of secular works: fresh, lively intonation violated strict extension and caused the feeling of joy and completeness of being. However, the sense of measure The composer never changed. The depth polyphonic technique is not distinguished by sophistication. Its works are elegantly simple, but they feel the powerful intellect of the author. This is the secret of the popularity of his creations.

Junior contemporaries Gioma Dufai were Johannes (Jean) went out (about 1425-1497) and Jacob Obrecht. Like Dufai, went from Flanders. All his life he worked diligently; In addition to the writing of the music, performed the responsibilities of the head of the chapel. The composer created fifteen messes, thirteen motes, more than twenty Chanson. For works of Okemem, we are characterized by rigor, concentration, long-term deployment of smooth melodic lines. He paid great attention to polyphonic technique, sought all parts of the Mass perceived as a whole. The creative hand writing of the composer is guessed in his songs - they are almost deprived of a secular lightness, more like motges, and sometimes fragments of Messe. Johannes Okhevyz used honorable both in his homeland and abroad (he was appointed adviser to the king of France). Jacob Orecht was singing in the cathedrals of various cities of the Netherlands, supervised Chapels; Several years served at the court of Duke d "Este in Ferraré (Italy). He is the author of twenty-five Mesz, twenty motets, thirty chanson. Using the achievements of predecessors, Obrecht made a lot of new ones in a polyphonic tradition. His music is full of contrasts, dare, even when the composer draws to traditional church genres.

The multifaceted and depth of creativity Orlando Lasso. Completes the history of the Netherlands Music Renaissance Orlando Lasso (real name and surname Roland de Lasso, about 1532-1594), called the contemporaries "Belgian Orfeit" and "Prince of Music". Lasso was born in the city of Mons (Flanders). From the ornament, he sang in the church choir, hitting the parishioners wonderful voice. Gonzaga, the duke of the Italian city of Mantua, accidentally hearing the young singer, invited him to his own chapel. After Mantua Lasso worked for a short time in Naples, and then moved to Rome - there he received the place of the head of the chapel of one of the cathedrals. By twenty-five years, Lasso was already known as the composer, and his writings were in demand for notoizders. In 1555, the first collection of works containing motges, Madrigals and Chanson came out. Lasso studied all the best that was created by his predecessors (Dutch, French, German and Italian composers), and used their experience in their work. Being an extraordinary personality, Lasso sought to overcome the distracted nature of church music, give her individuality. To this end, the composer sometimes used genre-domestic motifs (themes of folk songs, dances), therefore, an approximate church and secular traditions. The complexity of polyphonic techniques was combined with Lasso with great emotionality. He was especially able to Madrigalls, in the texts of which the mental state of the acting persons, for example, the tears of St. Peter "(1593) on the poems of the Italian poet Luigi Transillo. The composer often wrote for a large number of votes (five to seven), so his works are difficult for execution . From 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 Glory spread across Europe.

The Netherlands Polyphonic School has had a great influence on the development of the musical culture of Europe. The principles of polyphonies developed by the Dutch composers became universal, and many artistic techniques used composers in their work already XX centuries.

1.2 France

For France, the XV-XVI century became an era of important changes: the centenary of the war (1337-1453) with England, by the end of the XV century. The state union was completed; In the XVI century, the country survived religious wars between Catholics and Protestants. In a strong state with an absolute monarchy, the role of court celebrations and folk festivals has increased. This contributed to the development of art, in particular the music, accompanied such actions. The number of vocal and instrumental ensembles (chapel and consorts), consisted of a significant number of performers. During military trips to Italy, the French became acquainted with the achievements of Italian culture. They deeply felt and perceived the ideas of Italian revival - humanism, the desire for harmony with the world around, to enjoy life.

If in Italy, the musical Renaissance was associated primarily with Mesia, then French composers, along with church music, paid special attention to a secular polyphonic song - Chanson. Interest in her in France appeared in the first half of the XVI century, when the collection of musical places of Clender Zaequen was released (about 1485-1558). It is this composer that is considered one of the creators of the genre.

As a child, Zainen sang in the church choir in the hometown of Chatelleral (Central France). In the future, according to historians of music, he studied at the Netherlands Master of Zoshen Dew or from a composer from his environment. Having received a san priest, Zainen worked as a regent (Head of Choir) and an organist; Then he was invited to the Duke Giz. In 1555, the musician became the singer of the Royal Chapel, and in 1556-1557. - Royal court composer.

Clemen Zanecen created two hundred eighty chanson (published between 1530 and 1572); He wrote church music - Mass, Motettes, Psalms. His songs were often the graphic character. Before the thoughtful gaze of the listener, paintings by battle ("Battle of Marignano", "Battle of Rent"), scenes of hunting ("hunting"), images of nature ("bird singing", "nightingale"), household scenes ("Women's chatter") . A strikingly bright composer managed to convey the atmosphere of the everyday life of Paris in Chanson "Creek Paris": he made to the text of the sellers of sellers. Jequen almost did not use long and smooth topics for individual voices and complex polyphonic techniques, giving preference to roll calls, repeat, sound resolution.

Another direction of French music is associated with the pan-European movement of the Reformation. In church services, French Protestants (Huguenotes) refused Latin and Polyphony. Spiritual music acquired more open, democratic character. One of the bright representatives of this musical tradition was Claude Gudimel (between 1514 and 1520-1572) - the author of Psalms on the biblical texts and Protestant chorals.

One of the main music genres of the French Renaissance is Chanson (FR. Chanson - "Song"). The origins of it - in folk art (the rhymed poems of the epic tales shifted on music), in the art of medieval pipelists and pipes. By the content and mood, chanson could be the most diverse - there were love songs, household, humorial, satirical, etc. As texts, composers took folk poems, modern poetry.

1.3 Italy

With the occurrence of the Renaissance in Italy, household musitization on various tools was spread; There were mugs of music lovers. New forms of musical and public life appear - Music Academies and Professional Music Educational Institutions of the New Type - Conservatory. In the professional region, two strongest schools were formed: Roman and Venetian.

In the XVI century, the notophet was issued for the first time, in 1501, the Venetian bookprint of Ottaviano Petrucci published Harmonice Musices Odhecaton - the first major collection of secular music. It was a revolution in the dissemination of music, and also contributed to the fact that the Franco-Flemish style became the dominant music language of Europe in the next century, because by the Italian Petruchci in his collection, mainly included the music of Franco Flemish composers. Subsequently, he published many works and Italian composers, both secular and spiritual.

The role of secular genres increased in the Renaissance Epoch. In the XIV century In Italian music, Madrigal appeared (from Lat. Matricale - "Song in his native language"). It developed on the basis of folk (shephent) songs. Madrigals were songs for two-three votes, often without instrumental support. Madrigal reached the top of his development and became the most popular musical genre of the era. Unlike earlier and simple Madrigalls, Tryteno, Madrigals Renaissance were written for several (4-6) votes, there were often foreigners who served in the courts of influential northern families. Madrigalists sought to create high arts, often using the recycled poetry of the great Italian poets of the late Middle Ages: Francesco Petrorski, Giovanni Boccaccio and others. The lack of strict structural canons was characteristic of the Madrigala, the basic principle was the free expression of thoughts and feelings.

Composers such as the representative of the Venice School of Cyprian De Rore and the representative of the Franco Flamian school Roland de Lassus (Orlando di Lasso) - during its Italian creative life, experimented with increasing chromatism, harmony, rhythm, texture and other means of musical expressiveness. Their experience will continue and bring to the climax during the times of Manherism Carlo Jesualdo. During the 15th century, the composers almost appealed to this genre; The interest in it was revived only in the XVI century. The characteristic feature of the Madrigala XVI century is a close connection of music and poetry. The music flexibly followed the text, reflected the events described in the poetic source. Over time, there were peculiar melodic symbols, which denoted gentle sighs, tears, etc. In the works of some symbolism composers were philosophical, for example, in Madrigan Jesualdo di Venoza "I am dying, unfortunate" (1611). The heyday of the genre accounts for the turn of the XVI-XVII centuries. Sometimes simultaneously with the execution of the song was played by her plot. Madrigal became the basis of the Madrigal Comedy (choral composition on the text of the comedy play), which prepared the appearance of the opera.

1.3.1 Roman Polyphonic School

Giovanni de Palestrina (1525-1594). The head of the Roman school was Giovanni Pieruluji da Palestrina - one of the largest composers of the Renaissance. He was born in the Italian city of Palestrin, by the name of which he got surname. Since childhood, Palestrina sang in church choir, and at the achievement of mature age was invited to the post of Kapelmeister (Head of Choir) in the Cathedral of St. Peter in Rome; Later he served in the Sistine Chapel (the court chapel of Pope Roman).

Rome, Catholic Center, attracted many leading musicians. At different times, the Netherlands Masters of Polyphonists Guide Dufai and Zoshen Dere worked here. Their developed composer equipment sometimes interfered with the text of the worship: he was lost behind the sophisticated plexus of votes and words, in fact, were not heard. Therefore, the church authorities treated wary of such works and advocated the return of one-satelline based on Grigorian chants. The question of the admissibility of the polyphony in church music was discussed even at the Tried Catholic Cathedral of the Catholic Church (1545-1563). Approached to Pope Roman, Palestrina convinced the church figures in the possibility of creating works, where the composer equipment would not prevent the text of the text. In proof, he composed "Mass Pope Marcello" (1555), in which the complex polyphony is combined with the clear and expressive sound of each word. Thus, the musician "saved" professional polyphonic music from the persecution of church authorities. In 1577, the composer was invited to discuss the reform of the Gradual - the assembly of the sacred chants of the Catholic Church. In the 80s Palestrina accepted spiritual san, and in 1584 he entered the Society of Music Masters - Association of Musicians, submitted directly to Pope Roman.

Palestrina's creativity is imbued with a light globalism. The works created by them were hit contemporaries as the highest skill and quantity (more than a hundred messen, three hundred motettes, hundred Madrigals). The complexity of music never served an obstacle for her perception. The composer knew how to find a golden middleness between the sophistication of compositions and accessibility of them for the listener. The main creative task of Palestrina saw in developing a whole great work. Each voice in his chants is developing independently, but at the same time forms a single whole with the rest, and often the voices are in striking combination of chords. Often the tune of the upper voice as it would paraitic over the rest, outlining the "dome" polyphony; All voices are characterized by smoothness and development.

The art of Giovanni Da Palestrina The next generation musicians considered exemplary, classic. Many outstanding composers of XVIIXVIII centuries studied on his writings.

1.3.2 Venetian School

Another direction of renaissance music is associated with the work of composers of the Venetian school, the founder of which Adrian Villert became (about 1485-1562). His students were organis and composer Andrea Gabriel (between 1500 and 1520 - after 1586), Cyprian de Pope composer (1515 or 1516-1565) and other musicians. If the Palestrina works are characterized by clarity and strict restraint, the Vullart and his followers developed a lush choral style. To achieve volumetric sound, the game of the timbres, they used in the compositions of several choirs located in different places of the temple. The use of rolls between the choirs made it possible to fill the church space with unprecedented effects. Such an approach reflected the humanistic ideals of the Epoch as a whole - with its cheerfulness, freedom, and the actual Venetian artistic tradition - with her desire to all of the bright and unusual. In the work of Venetian masters, the musical language was complicated: it was filled with bold combinations of chords, unexpected harmonies.

The bright figure of the Renaissance was Carlo Jesualdo di Venosa (about 1560-1613), Prince of the city of Venose, is one of the largest masters of secular Madrigala. He acquired fame as a patron, performer on Little, composer. Prince Jesualdo was friends with the Italian poet Torquato Tasso; The most interesting letters remained, in which both artists discuss issues of literature, music, visual art. Many of the poems of Tasso Jesualdo di Venosa shifted to music - so a number of highly artistic Madrigals appeared. As a representative of the late Renaissance, the composer developed a new type of Madrigala, where the feelings were in the first place - violent and unpredictable. Therefore, it is characterized by volumes of volume, intonation, similar to the sighs and even sobs, sharp chords on the sound, contrasting the tempo shifts. These techniques gave the music of the Jesualdo expressive, somewhat fancy character, she was amazed and at the same time attracted contemporaries. The legacy of the Jesualdo di Venoza is seven collections of multi-voiced Madrigals; Among spiritual essays - "sacred chants". His music and today does not leave the listener indifferent.

1.4 England

The cultural life of England in the Renaissance Epoch was closely related to the Reformation. In the XVI century, Protestantism spread in the country. The Catholic Church has lost a dominant position, the Anglican Church, which refused to recognize some dogmas (the main provisions) of Catholicism; Most monasteries stopped their existence. These events influenced English culture, including music.

The English music art of the Renaissance has brilliantly stated itself in the first half of the XV century, having put forward the unique creative identity of John Dunstaybla, which made a strongest impression on the continent. The work of Dunstale is an important link between the Music of the Middle Ages and the Renaissance Epoch Polyphon. The generally accepted historical role of its works for the development of polyphony in Western Europe was also predetermined by a significant tradition of polyphony (established in medieval England), inherited and developed Dunstaibl. In addition to him, in the XV century, the names of many English composers who created motges, parts Messes, sometimes Chansons and ballads were known. Some of them worked on the continent, some of them came into the Kapella of the Duke of Burgundy. Their Lionel Power is owned by one of the first in England Messe - along with Mesa Dunstybla. The contemporaries were J. Bedingham, Forest, J. Benet, R. Morton. In the second half of the XV century, J. Banaster, W. Lambe, R. Davi, W. Fry. Most of them were singers in Chapels and wrote a lot of church music. Both in the choice of the main genres, and in the consistent development of polyphonic skills, they were largely closed with the Netherlands school, which in turn was considerable if the stylistic example of the dustybla is in their own emergence.

In the XVI century, the musical art of England reaches a significant manifold. Along with the traditional forms of Catholic music and spiritual motors on Latin texts from the middle of the century, one-haired psalms in English have already been created - a characteristic phenomenon of the Reformation. It is curious that the same John Merbek (about 1510-1585), who created the bishop of the Winchester Mass and Latin Motets in the service, released in 1549 the first collection of Psalms into English texts. Along with him, in the first half of the century, English polyphonists acted, the authors of the major forms of John Taverner, John Redford, Nicolae Lyudford; Creative life of Christopher Thaya, Thomas Tallisa, Robert White lasted a little longer.

At the same time, the humanistic foundations of the new era led in England of the XVI century to the first high flowering of secular musical art both in vocal and in instrumental forms. New generations of English composers who spoke in the last quarter of the XVI century and who seized the first decades of the XVII, created the school of English Madrigalists. And they also marked the beginning of a new area of \u200b\u200binstrumental music - the plays for Vyrinel (Rod of Clavsin), which were widely distributed in the XVII century.

English Authors Madrigalls William Berd (1543 or 1544 - 1623), Thomas Morley (1557-1603), John Wilby (1574-1638) and others originally relied on modern Italian samples (Madrigal, as you know, originated in Italy ), especially for Marreinsio, but then discovered the originality - if not in the interpretation of the genre, then in the nature of polyphony. Arriving at the later stage of the development of the polyphony, at the very fracture to the new style of the XVII century, English Madrigal is simpler in the multi-beamistic texture than Italian, more homophone, is not even deprived of even rhythmic dance features. Unlike the time of the Danstybla, the English polyphonic school by the end of the XVI century represents the benefit of a national interest (its traditions are transferred in the XVII century and reach Peressella), but by moving their own way, it no longer has a noticeable impact on the music art of Western Europe.

It is also necessary to note a significant role of music in the English Theater of the Renaissance. This role is specific in its time: in England, there were no prerequisites for the emergence of the opera for a long time, and nothing has yet prepared it. Music sounded in a dramatic theater for the benefit as a phenomenon of life (but not as an internally dramaturgical component), and in the genre of "masks" participated in lush performances at the royal court joined the spectacular effects, ballet scenes, vocal and instrumental fragments, poetic text.

In the Pieces of Shakespeare, often in the course of the action are called popular tunes on certain words or well-known dances, such as Galliard. Music became the background of action, some "medium", made some psychological shades, why Shakespeare did not need more than the household genres.

At the same time, musical departments opened in Oxford and Cambridge universities.

1.5 Germany

By the XVI century. In Germany, there was already a rich folklore, first of all vocal. The music sounded everywhere: on festivities, in the church, in secular events and in a military camp. The peasant war and the reformation caused a new rise of song folk art. There are many expressive luteran hymns whose authorship is unknown. Choral singing has become an integral form of Lutheran worship service. Protestant Choral influenced the late development of all European music. But first of all, on the musicality of the Germans themselves, who today, musical education are considered no less important than natural science - and otherwise how to participate in the multi-chain chore?

The manifold of musical forms in Germany XVI century. Amazes: ballets, operas put on the carnival. It is impossible not to call such names as K. Puman, P. Hofheimer. These are composers that wrote secular and church music, first of all for the organ. They are adjacent to an outstanding Franco Flemish composer, a representative of the Netherlands School O. Lasso. He worked in many European countries. He generalized and innovative developed the achievements of various European Music Schools of the Renaissance. Master of iconic and secular choral music (over 2000 writings.).

But Henry Schütz (1585-1672), a composer, a cappermaster, an organist, a teacher, are reversed in German music. The founder of the national composer school, the largest predecessor I.S. Baha. The first German opera "Daphne" (1627), Opera Ballet "Orpheus and Eurydika" (1638) was written with Schuyz Madrigals, spiritual cantal and oratorical writings ("passions", concerts, motges, psalms, etc.).

The founder of the reformation of Martin Luther (1483-1546) believed that the reform of church music was necessary. Music, firstly, should contribute to more active participation of parishioners in worship (in the performance of polyphonic compositions it was impossible), and secondly, to give birth to the empathy of biblical events (which hurt the service in Latin). Thus, the following requirements were presented to church singing: simplicity and clarity of melodies, even rhythm, clear form of chants. On this basis, the Protestant Choral originated - the main genre of church music of the German Renaissance. In 1522, Luther translated the New Testament on German, now it became possible to make worship in his native language.

In the selection of ringtones for choralov, Luther himself was actively involved, as well as his friend, a German music theorist Johann Walter (1490-1570). The main sources of such melodies were folk spiritual and secular songs - well-known and easy for perception. Melodies to some of the Khoralov Luther composed himself. One of them, the "Lord - Support Outlook, became a symbol of the reformation during the period of the XVI Religious Wars.

1.6 Spain

For a long time, the music of Spain was under the influence of the church, in which the feudal-catholic response was rampated. No matter how noring was the onslaught of counter-processing to music, still failed to return the previous positions. Installation bourgeois relations dictated new orders.

In Spain, signs of revival were quite clearly manifested in the XVI century, and the prerequisites for this appear to appear even earlier. It is known that already in the XV century, there were long-standing and strong musical ties between Spain and Italy, between Spanish chapels and part of them composer singers - and papal chapel in Rome, as well as the Duke of Duke of Burgundy and Duke Sforza in Milan, not to mention others European music centers. From the end of the 15th century, Spain, as is well known, due to the totality of historical conditions (the end of the reconquists, the opening of America, new dynastic ties within Europe), found a very greater force in Western Europe, remaining a conservative Catholic state at the same time and showing considerable aggressiveness in Capturing other people's territories (which fully experienced Italy on him). The largest Spanish musicians of the XVI century, as before, were in the Church service. They could not then not to experience the impact of the Netherlands Polyphonic School with its prevailing traditions. It has already been said that the outstanding representatives of this school were more than once in Spain. On the other hand, Spanish masters, for few exceptions, constantly met with Italian and Dutch composers, when left from Spain and worked in Rome.

Almost all the major Spanish musicians sooner or later fell into a papal chapel and participated in its activity, thereby still strongerly mastered the root tradition of strict style polyphony in her orthodox expression. The largest Spanish composer Cristobal de Morales (1500 or 1512-1553), glorified outside of his country, in 1535-1545 was part of the papal chapel in Rome, after which he headed the metric in Toledo, and then Cathedral Chapel in Malaga.

Morales was a large polyphonist, the author of Messe, motttes, hymns and other vocal, most importantly choral works. The direction of his creativity was based on the synthesis of the native Spanish traditions and the polyphonic skill of the Netherlands and the Italians of the time. For many years (1565-1594), there was a top representative of the next generation of Spanish masters Thomas Luis de Victoria (approx. 1548-1611) (approx. 1548-1611), which is not very accurate to the Palestrinov school. Composer, singer, organist, dropmester, Victoria created Mass, Motettes, Psalms and other spiritual writings in the strict style of polyphony A Cappella, closer to Palestrine than the Netherlands, but still not coincided with Palestrinsky - the Spanish Master had less strict restraint and more Expression. In the late works of Victoria, Victoria appears and the desire to disrupt the Palestrinovian tradition in favor of polyhoreism, concertness, timbre contrasts and other innovations leading their origin rather from the Venetian school.

Another Spanish composers who worked mainly in the field of spiritual music was also brought to the singers of papal chapel in Rome. In 1513-1523, A. De Ribera was part of Capella, from 1536 there was a singer B. Escobedo, in 1507-1539 - X. Escribano, somewhat later - M. Robbledo. All of them wrote polyphonic spiritual music in a strict style. Only Francisco Gouserro (1528-1599) always lived and worked in Spain. Nevertheless, his graces, motges, the songs were successful and outside the country, often attracting the attention of the butterfesters and viuels as a material for instrumental treatments.

From the secular vocal genres the most common. It was the Wiliansiko-genus of a polyphonic song in Spain, then a somewhat more polyphonic, then, more often, with homophone, the origins associated with life, but past professional development. However, the essence of this genre should be said, without tearing it from instrumental music. Wiliansiko XVI century - most often the song under Viuela or under Lutno, the creation of a large artist and a composer for the instrument chosen by them.

And in countless Wiliansikos, and in general, Spain in household music is extremely rich and characterized by the national melodism - a kind, preserving their differences from Italian, French and all the more German, melodics. The Spanish melody has carried this characterity through the century, attracting attention to not alone national, but also foreign composers up to our time. Not only its intonation system is peculiar, but deeply introuded rhythm, original ornamentalism and improvisational manner, very strong connections, with dance moves. In the above-mentioned extensive work of Francisco de Salinas "Seven music books" (1577), many Castilian melodies are given, who attracted the attention of a scientist musician primarily from their rhythmic side. These brief melodic fragments that sometimes cover only the range of the policy are surprisingly interesting in their rhythms: frequent syncopes in various context, sharp rhythm interruptions, the complete absence of elementary motion, in general the permanent activity of the rhythmic feeling, no inertia! The same qualities were perceived from the folk tradition with secular vocal genres, most of all Wiliansiko and other varieties of the song near Viuela.

The instrumental genres in Spain is widely and independently represented by the work of organist composers led by the largest Antonio de Cabestoons (1510-1566), as well as the whole of Pleiad's brilliant vouchelists with a reasonable number of their works, partly related to vocal melon of various origin (from folk songs and dance to spiritual writings). We will specifically return to them in the chapter on the instrumental music of the Renaissance era to determine their place in the general development.

By the XVI century, early stages in the history of the Spanish Music Theater also originated on the outcome of the previous century at the initiative of the poet and composer Juan del Essin and existed for a long time as a dramatic theater with a large participation of music in particular places of action.

Finally, the scientific activities of Spanish musicians, of which have already been appreciated by Ramis di Pareh, for the progressiveness of theoretical views and Francisco Salinas for the unique consideration of Spanish folklore for the unique time for that time. We also mention several Spanish theorists who have devoted their work on the issues of the performance on various tools. Composer, performer (on VOLONE - Basovoy Violea da Gamba), Diego Ortis, Diego Ortis published his "Treatise on Gloss" 1553 in Rome), in which the rules substantiated improvised varying in the ensemble (VOLONE and CLAVASIN). Organist and composer Thomas de Sante Maria published in Valladolid a treatise "Art Play Fantasy" (1565) - an attempt to methodically summarize the experience of improvisation on the body: Juan Bermoudo, who released his "Declaration of Musical Instruments" in Grenada (1555), covered in it, in addition to information about instruments and game They, some questions of music letters (objected, in particular, against the overload of the polyphony).

Thus, the Spanish musical art as a whole (along with his theory), no doubt, survived his Renaissance in the 16th century, discovering and certain articles with other countries at this stage, and significant differences caused by the historical traditions and social contemporary of Spain itself.

2. Musical aesthetics

2.1 Development of genres and forms of instrumental music

renaissance Music Mason Mussetserger

We are obliged to form instrumental music as an independent type of art. At this time, a number of instrumental plays, variations, preludes, fantasies, Rondo, Toccat appear. Violin, Clausius, organ gradually turned into solo tools. Music written for them made it possible to show talent not only to the composer, but also by the Contractor. First of all, the virtuosity is valued (the ability to cope with technical difficulties), which gradually became for many musicians in itself in itself and artistic value. Composers of the XVII-XVIII centuries usually not only composed music, but also played tools, engaged in pedagogical activities. The welfare of the artist largely depended on the specific customer. As a rule, each serious musician sought to get a place either at the courtyard of the monarch or a rich aristocrat (many representatives have had their own orchestras or opera theaters), or in the temple. Moreover, the majority of composers easily combined church musication with the service of a secular patron.

The nature of many vocal works of the XIV-XV centuries in the Italian and French composers is rather instrumental than the vocal (in the range, the nature of the vote, the ratio with the verbal text or the absence of signed words). This is fully applied to the Italian asset ARS NOVA, to a number of writings of the "transitional" period in France (the beginning of the XV century). There are no direct instructions for the use of certain tools in a note record. Apparently, it was provided to the will of performers depending on their capabilities, especially since the author himself was usually among them.

In principle, every vocal work is part of Mass, Motet, Chanson, Fottol, Madrigal (with the exception of Mesz, intended for the Sistine Chapel, where instruments were not allowed) - in practice it could be performed either with the doubling of vocal parties tools, or partially (one or Two voices) only tools or entirely on the organ or group of instruments. It was essentially a steady type of performance, namely, the process of introducing tools into vocal on the origin of polyphony. So arose, for example, "Organ Mass" - an intermediate phenomenon, transitional. In those writings where the upper voice stand out in their meaning (as it was often in Dufai or Benshua), the use of tools was most likely connected with the "accompanying" melody with voices or with a harmonic bass. But with the "alignment" of parties in a particularly developed multi-champion of the Netherlands school, it can be assumed (for example, in Chanson) any ratio of vocal and instrumental forces up to the fulfillment of the entire product of the tool group. It should be borne in mind and some more private features that are not recorded in a note record. It is known that on the body, for example, already in the XV century, experienced performers during the processing of the song "colors" (supplied with decorations) of its melody. Perhaps the instrumentalist, with a different participation in the performance of vocal music, too, could also make improvised decorations in his party, which was especially natural, if the author himself sat down for the body. After all this, it is not surprising that in the XVI century, when instrumental genres have already been folded, and there are still polyphonic works with the designation "Per Cantare about Sonare" ("for singing or game"). That was finally the complete recognition of the existing practice!

In household music, especially in dancing, if they did not go under the song (in Spain, the connection of the song and dance), the tools remained, so to speak, are free from vocal samples, but are connected by the genre base of each dance, rhythm, movement type. Syncretism of this kind of art was still in force.

From this total mass of absent phenomena, from the practice that is not reflected in the music record, from the long-reaching process of assimilation of vocal and instrumental began over time, the development of the actual instrumental genres began. It only barely outlined in the XV century, has become tangible throughout the XVI, on the path to independence, there was still a minor, and only in some forms (improvisational), the actual instrumentalism of the musical letter was observed. At the very first stages of the path of instrumental music to self-determination, two genre areas of its characteristic trends were designated. One of them is advantage of the benefit from a polyphonic, "academic" tradition, with large forms. The other is based on the tradition of household music, songs and dance. The first is mainly represented by the compositions for the organ, the second - first of all the repertoire of the lute. There is no impassable face between them. It can only be about the predominance of certain traditions, but at obvious points of contact. Thus, polyphonic techniques are not excluded in the works for lute, and variations on songs will soon appear in organ music. And on that and on another instrument, the development of improvisational forms begins, in which it is the specifics of this tool with the most clearly - with almost complete freedom from vocal samples. These modest, it would seem that the success of instrumentalism was achieved after long-term preparation, which went to the era of the Renaissance and was rooted in the most musical practice of that time.

2.2 Musical Tools of the Renaissance

In the era of the rebirth, the composition of musical instruments has significantly expanded, new varieties added to the already existing string and wind. Among them, a special place is occupied by VIOLAS - a family of strings of brook, affecting the beauty and nobility of sound. In shape, they resemble the tools of a modern violin family (violin, alt, cello) and are even considered their immediate predecessors (they coexisted in musical practice until the middle of the XVIII century). However, the difference, and significant, yet there are. Viols have a system of resonant strings; As a rule, there are as many of them as the main (six to seven). The fluctuations of the resonant strings make the sound of a viola soft, velvety, but the tool is difficult to use in the orchestra, since because of a large number of strings, it is quickly upset. For a long time, the sound of Viola was considered in music with a sample of sophistication. In the viola family, three main types are distinguished. Viola da Gamba is a big tool that the performer put vertically and clamped with his legs (the Italian word Gamba means "knee"). Two other varieties - Viola da Braccho (from IT. Braccio - "forearm") and VioL d "Amur (FR. Viole d" Amour - "Viola Love") were oriented horizontally, and when they were pressed against the game. Viola Yes Gamba in the range of sounds is close to the cello, Viola da Braccho - to the violin, and VioL D "Amur - to Alto. Among the tweezing tools of Renaissance, the main place occupies a lute (Polish. Lutnia, from Arab." Aloud "-" tree ") . In Europe, she came from the Middle East at the end of the XIV century, and by the beginning of the XVI century, for this tool, there was a huge repertoire; first of all, Suchni performed on the accompaniment. In the lute short case; the upper part is flat, and the bottom reminds the hemisphere. To A wide neck was attached to the neck separated by freaks, and the tool head is rented back almost at right angles. If you wish, you can see the similarity from the bowl in the appearance of the lute. Twelve strings are grouped by pairs, and the sound is removed both with your fingers and a special record - the mediator. In the XV The XVI centuries have different types of keyboards. The main types of such tools are harpsichin, a keycorder, chamblock, Vyrhzhyel - were actively used in the music of revival, but their real flourishing came later.

2.3 Birth Opera (Florentine Camera)

The end of the revival era was marked by the most important event in the musical history - the birth of the opera.

In Florence, a group of humanists, musicians, poets under the patronage of their leader of Graph Jovani de Bardi (1534 - 1612) were gathered. The group was called "Camera", its main members were Julio Kachchini, Pietro Strozzi, Vincenzo Galilee (Father Astronoma Galileo Galilean), Giloramo Mei, Emilio de Kavalii and Ottavio Rhinucchini in young years.

The first documented assembly of the group took place in 1573, and the most active years of work "Florentine Camerats" were 1577-1582.

...

A little about the era of the revival in general

The era of the revival is characterized by the recultivation of the classical (meaning Greco-Roman classicism) of culture. Many researchers believe that Renaissance ideas have their origin at the end of the 13th century in Florence in literature and visual arts, and are associated, in particular, with the works of Dante Aligiery, Francesco Petrarchi and the frescoes of Jotto di Bondon.

Despite the fact that poets, artists, the rebirth epoch philosophers were and no less religious than their predecessors

They sought to reconcile theological practices with new spiritual research (philosophy called by humanism, permeates the whole epoch). It was the time to activate the teachings, scientific achievements, great geographical discoveries. In music that will become an integral part of religious, civil and court life, cardinal changes were marked, starting from the 15th century.

Periodization and Evolution of Revival Music

Most musical historians believe that the evolution of Renaissance music covers the period in 200 years. Traditionally, it is divided into:

music of the early Renaissance period, from 1400 to 1467th years;
music of the middle period of the Renaissance, from July 146 to 1534;
music of late (or high) Renaissance, from 1534 to the 1600s.

Such periodization in turn is associated with the flourishing and dominance of various composer schools in Western Europe. Stylistic characteristics that determine the music of the Renaissance is a polyphonic texture that obeys the laws of counterpoint and regulated inherited from the Middle Ages by the modal system of Gregorian Khorala.

The musical culture of revival is sometimes positioned as the "golden age of choral music." In fact, the horizons of music were significantly expanded.

If, during the Middle Ages, composers and musicians worked mainly to the church, then due to the religious and secular split, which occurred in Western Europe in the Renaissance Epoch, the music found several patrons: Catholic and Protestant churches, royal yards, rich aristocrats, a new bourgeois class. All of them have become sources of income for composers, including, of course, and Melnotype: The Renaissance Musical Culture is closely related to the new technologies (invention of the typography of moving lines of Johann Guttenberg).

Aesthetic features of the revival of music

Like other arts, music was largely under the influence of events determining the era of the revival as a whole: the growth of humanistic thought, restoration of the Greco-Roman classical heritage, innovative discoveries. Ancient texts have been revised, again speaking as an object for study, and they were edited, but only in accordance with the developing sciences.

While all the arts and sciences were considered interconnected in ancient Greek culture, the humanists of the Renaissance Epoch them were divided, highlighting and studying their individual qualities. Music, in particular, was considered as expressive art capable of affecting emotions and feelings, what was unheard for medieval time.

Efforts to organize knowledge in music included the ordering of the outerness so that it would be possible to establish the relationship between notes and human emotions.

It is also important that the musical culture of revival is characterized by the concept of humanism. Due to it, the displacement of intellectual accents occurred - from the widespread dominance of religious thought to the possibilities and achievements of a secular person. Individual creative genius of man was in a much higher position. This meant that many composers were recognized.

However, mostly Renaissance music was nevertheless spiritual, as in the medieval time, but the "humanistic" changes affected the search for a brighter expressiveness in it - to achieve perfection.

The main music of the early rebirth period, written for important churches and the royal chapels, is polyphonic masses and chants (motes) in Latin. But in the light of religious reformations, new types of spiritual music arose, moreover, such a grand shocks on the church scene led to the fact that secular music was gaining real power and could already compete with his "sacred" colleague.

Composite schools of the Renaissance

At the beginning of the 15th century, the English school of polyphonists led by John Dunstaibl is put forward. A new English style based on the use of a sober, dictated by a musical rhythm (with each vocal line moving together in the "vertical" style) greatly influenced the Burgundy composer school.

The most important among composers of the Burgundian school was Guillaume Dufai, whose musical creativity included chants, Mass, secular works characterized by melodic lyrism.

The movement marked as a Franco Flemish school is characterized by the strong development of a polyphonic vocal musical composition that laid the basis of modern harmony. The most famous representatives - "Composer of the Three French Kings": Johannes Okhem and Jacob Obrecht.

The musical culture of the revival of the first half of the 16th century is characterized by the fact that the Franco Flemish composers continue to dominate it, among which the most famous was a goskien dere, whose style copied many composers. In polyphonic music, the canons that have previously existed compositional structures have been used, but smoothly combined with melodies that emphasize poetic lines, and not masking them.

For that epoch, it was quite common that the leading composers traveled a lot, worked on different patrons in Italy, Spain, Germany, France. The exchange of musical ideas formed, if you can count this, the first international style, since the times of the Grigorian Choral in the 9th century.

From the second half of the 16th century of unsurpassed mastery in music art, Italian composers seek. Among the icon figures - Giovanni Pierluja da Palestrina.

Renaissance music genres

Spiritual vocal genres is Mesia and Motet. The secular genres - Madrigal (in Italy and England), Chanson (in France), Leed (in Germany).

Despite the fact that the music over the era preferably depended on vocals, the tools are increasingly used. Performers on the tools sometimes accompanied the singers, from time to time they replaced some votes if there were no singers.

The tools ranged from large, such as body and harpsichine, Viola de Gamba, to a small - harp (later lute), recorder (blockball). Gradually, composers begin to write works only for tools without vocalists.

The music has greatly influenced the court dances, introducing a wide range of tools for their maintenance. The tools were used in the church, during the festive and public events, in theatrical productions, in private homes.

The XV century turned out to be decisive for the development of music both in the artistic sense and in the evolution of the technique of execution. The cultural conflict arising between the Christian Church and the secular world predetermined the subsequent rapid development of musical directions that are not related to church rites and services.
The society of that time is somewhat "tired" from the same type, albeit mathematically correct medieval canons and needed creating easier, worldly music. The creative search for several generations of musicians and composers led to the development of many new musical genres, dance and theater.
The first ideas of the reformation of the polyphony arose at the beginning of the 15th century and belonged to Burgundy, English, Flandershic, as well as Italian music schools. John Dunstabeble, the representative of the English school, outlined the foundations of the Foburdon technique (literally, fake bass). In multi-voice works, only the average voice was noted, and the upper and lower voices were added during the execution.
Further development of this technique was reflected in the writings of Guillaume Dufai (1400-1474), which not only systematized cyclic masses, but also added elements of secular music. He was followed by Joan Okkhem and Jacob Oberech, and the most famous musician of that time was Zoshen Depe (1440-1521).
The Masters of the Italian school, including Giovanni Palestrina (1525-1594), Tomazo de Victoria (1548-1611), also worked out on the attachment of the polyphony of lighter and high style, and the new texts appeared to equalize music and word in Italian musical art.

Renaissance. Madrigal

One of the most common genres of secular music of the Renaissance was Madrigal, a literally denoting song in his native (maternal) language. The basis of the new musical genre was the Italian shepherd songs.
Initially, in the XIV century, Madrigals were composed for two or three votes under the accompaniment of a musical instrument that repeated the tower of the upper voice. Madrigals often sounded at secular holidays, weddings. By the middle of the XVI, Madrigals are already performed by five votes, the relationship between the parties increases, the music of the genre becomes more expressive.
Along with the "Lightness", merry, Madrigal absorbed the centuries-old traditions of Christian music. This combination was used by prominent Madrigalists of that time Sipriano de Roor and Giuseppe Palestrina. At the end of the XVI century, Madrigal is increasingly influenced by Affetti: love pleasure, notes of melancholy and submission to fate.
The largest masters of the genre of the steel of Luca Marreinsio (1553-1599), Jesualdo da Venose (1561-1613) and. Created by them numerous collections of Madrigalls, amazing melodium, a variety of rhythmic forms and numerous innovative musical solutions played a crucial role in the development of the music of the Renaissance.

Intermedia. Birth Opera

Further development of musical art predetermined the emergence of the intermediate. The flourishing of this genre fell on the first half of the XVI century, when several intermented bartolomeo thrombonecho sounded at the wedding of Alfonso D'Est and Lucretia of Borgia, representatives of the Great Italian Clan.
Subsequently, the InterMedia began to sound with the largest aristocratic European yards. The music of the intermedius is practically not preserved, but the collected evidence tells us about the extraordinary scope of the Opera Predecessor: some orchestras speaking at weddings of large nobles, there are more than twenty strings, wind and shock musical instruments. The rumor of contemporaries of the intermedia was pleased with Viola da Gamba, Lute, Piccolo flutes, swirls, lira, oboe and double bass.
Innovative ideas of composers of the Renaissance, as well as the emergence of new musical instruments led to a fundamental change in musical art - the appearance of the opera. The first steps in this direction were carried out by philosophers, musicians and poets, united in a kind of cultural academy - the Florentine Camera.
Count Giovanni Del Vernio (1534-1612), the author of several treatises about the history and theory of music, composers of Jacopo Peri (1561-1633), Vincenzo Galilee (1520-1591), Father of the famous astronomer, and Also Julio Kachchini, Luca Marreinsio and Claudio Monteverdi.
The first works created on the basis of the musical concepts of the Florentine Camerats, became the Opera "Daphne" and "Evridika" of composers of Peri and Kachchini, and the most bright principles of the Camerats were embodied in the Opera Montoverdi operations, Upheva Return and "Coronation Poppie."

Renaissance. Keywords:

The invention in the second half of the XV century system of special signs for keyboard tools and lute (tabulatures), the appearance of collections for the organ and lute served as the foundation for the development of tool music of the Renaissance Epoch.
The oldest fragment of the composition for the organ found by historians is dating from 1425 (an unknown author from the Silesian monastery of Sagan). In 1448, the first essays appeared for the body in which the pedal was used (five prelude-preams of Adam Ileborgo). The most famous performer of organ music of the XV century is the German musician Konrad Poifan (1410-1473). His Peru belongs to the collection "Buxheimer Orgelbuch", which has 250 works for the organ of its own essay and other musical arrangements.
Spanish musicians and composers also accounted for a significant part of the Renaissance Epoch Music Heritage. Published in 1557 by Louis Endrose "New Musical Size for Keyboard, Viol and Harp", included many songs, fantasies, dancing and hymns of famous Spanish composers. The work of Antonio de Kabestov, one of the most famous musicians of Europe, is also vividly distinguished. His works collected in "Writings for keyboards, viols and harp" (1578), became known far beyond Spain.

Renaissance. Music for lute and viola

The musical art of the XVI century is characterized by a wide distribution in European music of new musical instruments - lute and viola. These tools were ideal for both accompaniment and soling in certain moments of musical works. The first compilation containing not only polyphonic works, but also the early samples of lute music, became the labor of the Italian publisher Ottaviano Petruchci "Intabulatura de Lauto", dated 1507.
Luty has several settings and tabs. Many composers and musical theorists, including Hans Görle, Juan Bermudo, Vincenzo Galilee, diverged in opinions regarding the optimal number of lads. But, despite the disagreements, all experts converged in the main thing: a lute, like keyboards, made it possible to perform multi-voice works without the use of other tools.
Lute was the greatest spread in Italy, France, Germany, and subsequently in England. Among the famous composers that wrinkled thousand music should not be noted Vicyzo Kapirla, Petrucci, Matthais Weiselle, Matias Reiman, John Dowland and Thomas Morney.
Among the Spanish musicians, a lute was not gained great popularity. The performers preferred Viol, which was like Little, but had a peculiar, similar to a modern guitar, a hull. Two types of Viol da Gamba are known: "Manual Viola" and "foot Viola". Louis de Milan, Alonso Midarra, Enriches de Valderrabano became the most famous masters that were written for "manual viola", Alrikes de Valderrabano, and Thomas de Santa Mary.

Renaissance. Revolution of musical seal

The invention of the John Gutenberg of the new printing technology, held in the XV century, was reflected in all spheres of the cultural life of Europe. Not left aside and musical art. Already in the second half of the 20th century, the first printing houses specializing in musical publications appear in Holland and Germany. The process of creating books dedicated to music was quite laborious. Each page was printed three times: the first seal - for a new mill, the second seal - and the third - for the text and page numbers.
Collectorium Super Magnificat, created by Hersson from Esslinna in 1473, and Missale Romanum, printed in 1476 in the Roman Workshop Ulrich Khan, are considered the first music compilation of music.
Initially, the centers of musical publications became culturally developed Italian cities in Venice, Milan, Florence and Naples, where local rich aristocrats in every way supported publishers. The most famous Italian printers were Ottaviano Petrucci, Andrea Antiko, and later Antonio Gardano.
The most famous Renaissance Paris Primer - Pierre Atthannat (1494-1551), a musician who has dedicated life to the publication of songs, church Messe and chants. The most popular Othannata edition is the Chansons Nouvelles collection, published in 1527. The rapid development of the press of musical publications was possible thanks to the activities and other great printers: Jacques Mozhell (Lyon), Tillman Sustato (Amberres), Thomas Tallisa and Villama Bird (London).

Ministry of Education of the Russian Federation

Moscow State Outdoor Pedagogical University

them. M.A.Sholokhova

Department of Aesthetic Education

ESSAY

"Music of the Renaissance"

Students 5 (count)

Full time - absentee compartment

Sleepy love Pavlovna

Teacher:

Zatsepina Maria Borisovna

Moscow 2005

Revival - the era of the heyday of the culture of Western and Central Europe during the transition from the Middle Ages to the New Time (XV-XVII centuries). The culture of revival is not narrowing and often reflects the mood of the wide masses, in musical culture presents several new influential creative schools. The main ideological rod of the entire culture of this period was humanism - a new, unprecedented idea of \u200b\u200ba person as a free and comprehensively developed creature capable of unlimited progress. Man is the main subject of art and literature, the creative of the greatest representatives of the Renaissance culture - F. Petrarki and D. Boccacio, Leonardo da Vinci and Michelangelo, Raphael and Titian. Most cultural figures of this era themselves were versatilely gifted people. So, Leonardo da Vinci was not only an outstanding artist, but also a sculptor, scientist, writer, architect, composer; Michelangelo is known not only as a sculptor, but also as a painter, poet, musician.

The development of the worldview and the entire culture of this period imposed a fingerprint following the ancient samples. In music, along with new content, new forms and genres are also developing (songs, madrigals, ballads, operas, cantata, oratory).

With all the integrity and the finishes of the Renaissance culture in the main thing, it is characterized by the features of contradictory associated with the weakening of the elements of the new culture with the old. Religious themes in the art of this period continues not only to exist, but also to develop. At the same time, it is so transformed that the work based on it is perceived as genre scenes from the life of noble and ordinary people.

Italian culture of the Renaissance took place certain stages of development: having emerged at the end of the XIV century, it reached his heyday in the middle of the XV early XVI century. In the second half of the XVI century. There is a long feudal reaction due to the country's economic and political decline. Humanism is experiencing a crisis. However, the decline in art is not denoted by not immediately: Another decades are Italian artists and poets, sculptors and architects created works of the highest artistic importance, the development of links between various creative schools, the exchange of experience between musicians, moving from the country to the country worked in different chapels, becomes a sign time and allows us to talk about trends common to the whole era.

The Renaissance - one of the brilliant pages of the history of European musical culture. The constellation of the great names of the goskene, Ombrecht, Palestrina, O.Lomo, Jesualdo, who opened new horizons to the musical creativity in the means of expressiveness, richness of polyphony, the scale of forms; flourishing and high-quality update of traditional genres - mott, mass; Approval of new patterns, new intonations in the sphere of multi-voiced compositions, rapid development of instrumental music, published on the forefront after an almost five-minded subordinate position: other forms of musitizing, the growth of professionalism in all areas of musical creativity: a change in the views on the role and opportunity of musical art, the formation of new Beauty criteria: Humanism as a really manifest trend in all fields of art - all this is due to our ideas about the Renaissance. Renaissance Art Culture is a personal beginning with a support for science. The unusually complex skill of polyphonists of the XV - XVI centuries, their virtuoso technique got along with the bright art of household dances, the sophistication of secular genres. An increasing expression in the works is obtained by lyric drama. In addition, the person's personality, the creative individuality of the artist appears in brighter (this is characteristic not only for musical art), which allows us to talk about gummanization as a leading principle of renaissance art. At the same time, church music, represented by such large genres, as Mass and Motet, continues to be a "gothic" line in the art of rebirth, directed, first of all, to recreate the already existing canon and through it for the glorification of the Divine.

The works of almost all the main genres of both secular and spiritual are built on the basis of any pre-well-known musical material. It could be a single-haired source in mottas and various secular genres, instrumental processing; These could be two voices borrowed from three-voice composition and included in a new product of the same or other genre and, finally, full of three - or four-glazes (Motet, Madrigal, acting on a preliminary "model" of the work of a larger form (Massa).

The primary source acts equally and the popular, well-known entanglement (Choral or secular song) and some kind of copyright essay (or votes from it), processed by other composers and, accordingly, endowed with other features of sound, other artistic idea.

In the Motta genre, for example, there are almost no works that do not have any source original. Most of the Mass Composers of the XV - XVI centuries also has first-sources: so, the paletseris of the total number of over one hundred messes we find only six-written based on borrowing based on the basis. O. Lasso did not write any Mass (out of 58) on the author's material.

It can be noticed that it is quite clearly indicated by a circle of primary sources, which are based on the authors. Dufai, I. Okhem, Ya. Oberecht, Palestrina, O. Lasso and others. As if they compete with each other, again and again referring to one melodies, drawing from them every time, new artistic impulses for their works, in a new way comprehending Tunes as initial intonational primordination for polyphonic forms.

In the performance of the work, the reception was used - polyphony. Polyphony is a polyphony in which all the voices are equal. All voices repeat one melody, but at different times, like echo. This technique is called imitation polyphony.

Another connection when the executing uttered at the same time different melodies and different texts are called contrasting polyphony. In general, the "strict" style necessarily implies a polyphony of one of two types: simulation or contrasting. It is a simulation and contrasting polyphony that allowed composing multi-voice motges and Mesis for church services.

The motet is a small choral song, which was usually composed on any popular melody, most often on one of the old church tunes ("Grigorian chorals" and other canonical sources, as well as high-class music).

Since the beginning of the century of the 15th century, in the musical culture of a number of European countries, the traits inherent in the Epoch of the Renaissance appear. The visible among early polyphonists of the Netherlands Renaissance, Guillae Dufa (Dufai) was born in Flanders around 1400. His works, in essence, are more than half a century stage in the history of the Netherlands school of music, which has established in the second quarter of the XV century.

Dufai led several chapels, including Pakaya in Rome, worked in Florence and Bologna, and last years of life spent in his native Cambre. The heritage of Dufai is rich and plentiful: it includes about 80 songs (chamber genres - viros, ballads, Rondo), about 30 motels (both spiritual content and secular, "song"), 9 full Messes and their individual parts.

An excellent melody that reached the lyrical heat and the expression of small-ski, rare in the era of a strict style, he willingly appealed to popular melodies, exposing them to a glittering processing. Dufai introduces a lot of new things in Mass: wider turns the composition of the whole composition, freely uses contrasts of choral sound. One of its best works are the Mass "Pale Person", "Armed Man", in which the borrowed named melodies of song origin are used. These songs in a variety of versions constitute an intonational-thematic extensive extended base that fastens the unity of large choral cycles. In the polyphonic development of a wonderful counterpalkist, they reveal the devastating in their depths, unknown beauty and expressive opportunities. The melody of Dufai harmoniously combines the tart freshness of the Netherlands songs with a softening Italian singer and French grace. The simulation polyphony is deprived of artificiality and jets. Sometimes weaving becomes excessive, emptiness occurs. It affects not only the youth of the art, which has not yet found the ideal balance of the structure, but also characteristic of the Cambrian master, the desire to achieve an artistic and expressive result with the most humble means.

The work of the younger contemporaries Dufai - Iohannes Okhemema and Jacob Oberachta are already referred to the so-called second Netherlands school. Both composers are the largest figures of their time that determined the development of the Netherlands polyphony in the second half of the XV century.

Johannes Okhem (1425 - 1497) Most of the life worked at the chapel of the French kings. In the face of Okhemema in front of Europe, fascinated by soft, singer's lyrism of Dufai, the naive-meek and archaically brightly browse his Mesa and Motetov, was a completely different artist - "rationalist with impassive eye" and a sophisticated technical pen, sometimes avoided Lyrianism and stirred soon to capture In music, some extremely general patterns of objective existence. He discovered the amazing mastery of the development of melodic lines in polyphonic ensembles. His music is inherent in some gothic features: imagery, out-in-peripulous nature of expressiveness, etc. He created 11 full MESS (and a number of their parts), including the topic "Armed Man", 13 motes and 22 songs. It is the large polyphonic genres that stand in the first place. Some Songs have gained popularity in contemporaries and have repeatedly served primary for polyphonic treatments in larger forms.

The creative example of Okhemema as the largest master and pure polyphonist was of great importance for contemporaries and followers: his uncompromising concentration on the special problems of polyphony inspired respect, if not a worship, she gave rise to the legend and surrounded his name to the halo.

Among those who have tied the XV century with the following not only chronologically, but also essentially creative development, first place, no doubt, belongs to Jacob Obrech. He was born in 1450 in Bergen-op-zoom. Obracht worked in Antwerp Chapels, Cambre, Brunet, etc., served in Italy.

In the creative heritage of Obrecht - 25 MES, about 20 motels, 30 polyphonic songs. From its predecessors and senior contemporaries, he inherited highly developed, even virtuoso polyphonic techniques, imitation and canonical techniques of polyphony. In the oracle music, fully polyphonic, we hear sometimes a special fortress of at least implicit emotions, the courage of contrasts in large and low limits, quite the "earth", almost household connections in the nature of the sound and parties of the formation. His worldview ceases to be gothic. He moves towards the goskien dew - a genuine representative of the Renaissance in musical art.

It is characterized by individual features, including a waste from gothic absence, causing opposition, the power of emotions, communication with household genres.

The first third of the XVI century in Italy is a period of high renessssance, the time of creative lifting and unprecedented perfection, which was embodied in the great works of Leonardo da Vinci, Raphael, Michelangelo. A certain public layer is developing, the forms of which theatrical performances are arranged, musical holidays. The activities of various academies of art developing.

A little later, the high bloom occurs in music art, not only Italy, but also Germany, France, other countries. Imprinting is imperative to spread musical works.

The traditions of the polyphonic school remain still strong (in particular, there is the same value of the support for the sample), but the attitude to the choice of topics is changed, the emotional-shaped saturation of works increases, the personal, copyright is increasing. All these features appear already in the work of the Italian composer Zosken Dew, who was born around 1450 in Burgundy and the former one of the greatest composers of the Netherlands school of the end of the XV - early XVI century. Gifted with excellent voice and hearing, he served as a heaven in church choirs in his homeland and in other countries. It is early and close contact with high choral arts, the actively practical learning of the great artistic treasures of iconic music largely determined the direction in which the individuality of the future of the brilliant master, his style and genre interests were then developed.

In the young years, Dew learned the art of the composition at I. Okhemema, whom he also sat satisfied in the game on various musical instruments.

In the future, Zoskien Dew tried his forces in all those who existed at the time of the musical genres, creating psalms, motges, mass, music on the passion of the Lord, essays in honor of St. Mary and secular songs.

The first thing that rushes into the eyes in the compositions of Depe is a striking counterpunctic technique, which allows the author to be considered a real counterpart-virtuoso. However, despite full possession of the material, Dew wrote very slowly, very critical examining his works. During the trial execution of the writings, he brought a lot of change in them, seeking to achieve an impeccable pruncision, which never brought to the victim to counter-protective plexuses.

Using only polyphonic forms, the composer in some cases gives the upper voice unusually beautifully pouring melody, due to which its work is different not only with the colawing, but also melodic.

Not wanting to go beyond the rigorous counterpunction, Dew to mitigate dissonances, how would it prepare them by using a dissony note in the previous consonance as a conservation. Very fortune as a means for strengthening the musical expression of Delets uses dissonances.

It is necessary to overeat that J. Delera with full right can be considered not only a talented counterpalkyist and a sensitive musician, but also a magnificent artist who can convey in its works the thinnest shades of feelings and various moods.

Zoskien was technically and aesthetically stronger than the Italian and French polyphonists of the XV century. That is why in the area of \u200b\u200ba pure musical, he has significantly influenced them, rather than experienced their influence. Before his death, Dele was led by the best chapels in Rome, Florence, Paris. Always was equally devoted to his work, contributing to the spread and recognition of music. He remained Netherlands, "Master from Conde." And no matter the brother achievements and honors were brilliant, while the Lord of Music "was vital (so called his contemporaries), he, obeying the insurmount of the" call of the earth, ", already on the slope of his years returned to the shores of Shelda and modestly graduated from his life path with the canon .

In Italy, in the era of high Renaissance, the flourishing of secular genres is observed. Vocal genres develop in two main areas - one of them is close to the household song and dance (Fotols, Villaners, etc.), the other is associated with a polyphonic tradition (Madrigal).

Madrigal as a special musical and poetic form gave extraordinary opportunities for the manifestation of composer personality. The main content of his lyrics, genre scenes. In the Venetian school, the genres of scenic music was blooming (an attempt to revive the ancient tragedy). Obtained independence instrumental forms (plays for lute, viuela, organ and other tools).

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