Music in the Renaissance available in Paperback
Music in the Renaissance
- ISBN-10:
- 0393929167
- ISBN-13:
- 9780393929164
- Pub. Date:
- 10/23/2012
- Publisher:
- Norton, W. W. & Company, Inc.
- ISBN-10:
- 0393929167
- ISBN-13:
- 9780393929164
- Pub. Date:
- 10/23/2012
- Publisher:
- Norton, W. W. & Company, Inc.
Music in the Renaissance
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Overview
Renaissance music in its cultural, social, and intellectual contexts.
Richard Freedman's Music in the Renaissance shows how music and other forms of expression were adapted to changing tastes and ideals in Renaissance courts and churches. Giving due weight to sacred, secular, and instrumental genres, Freedman invites readers to consider who made music, who sponsored and listened to it, who preserved and owned it, and what social and aesthetic purposes it served. While focusing on broad themes such as music and the literary imagination and the art of improvisation, he also describes Europeans' musical encounters with other cultures and places.Western Music in Context: A Norton History comprises six volumes of moderate length, each written in an engaging style by a recognized expert. Authoritative and current, the series examines music in the broadest sense—as sounds notated, performed, and heard—focusing not only on composers and works, but also on broader social and intellectual currents.Product Details
ISBN-13: | 9780393929164 |
---|---|
Publisher: | Norton, W. W. & Company, Inc. |
Publication date: | 10/23/2012 |
Series: | Western Music in Context: A Norton History |
Edition description: | New Edition |
Pages: | 320 |
Product dimensions: | 6.10(w) x 9.10(h) x 0.90(d) |
About the Author
Walter Frisch is H. Harold Gumm/Harry and Albert von Tilzer Professor of Music at Columbia University. He is the author of numerous books and articles, including Brahms: The Four Symphonies, The Early Works of Arnold Schoenberg 1903–1908, and German Modernism: Music and the Arts. He is the recipient of two ASCAP-Deems Taylor Awards and fellowships from the National Endowment for the Humanities, the Alexander von Humboldt Foundation, and the Center for Scholars and Writers at the New York Public Library.
Table of Contents
Anthology Repertoire xiii
Series Editor's Preface xv
Author's Preface xvii
Part I Beginnings
Chapter 1 Music and the Cultures of the Renaissance 4
The Craft of Composition: Two Views 4
Changing Styles and Contexts 8
Music and the Renaissance: Some Problems 10
Humanism in Thought, Word, and Belief 12
Music and the Spirit of Religious Reform 13
Music and the Cultures of Print 13
Music and the Renaissance Gentleman 14
A Dialogue with the Past 14
For Further Reading 15
Chapter 2 Learning to Be a Musician 17
A Plain and Easy Introduction 18
The Duet as Testing Ground 23
Learning about the Modes 25
The Lost Art of Unwritten Counterpoint 28
Teaching Methods 30
Sixteenth-Century Trends 32
For Further Reading 34
Part II Before 1500
Chapter 3 Music at Court and a Songbook for Beatrice 38
The Chapelle, Chambre, and Ecurie 39
A Wedding at Savoy 40
Musical Patronage as Aristotle's "Magnificence" 43
Tinctoris's "New Art" 45
Music in Motion 47
A Songbook for a Princess 47
Performing Chansons at Court 54
For Further Reading 57
Chapter 4 Piety, Devotion, and Ceremony 58
Music in Church 59
Du Fay and a New Marian Service for Cambrai 62
Polyphony at the Margins of the Liturgy 64
A Memorial Mass by Obrecht 66
Dunstable, the Song of Songs, and Musical Devotion 67
The Sound of Sacred Processions 68
Music for Corpus Christi Processions 71
A Ceremonial Carol 72
Music for Ceremonies of State 73
Du Fay's Motet for Pope and Emperor 74
For Further Reading 77
Chapter 5 Structures arid Symbols in Cantus Firmus and Canon 78
Cantus Firmus and the Ceremonial Motet 79
The Caput Masses 80
The L'homme armé Tradition 82
Ockeghem's Musical Puzzles 88
Old Structures, New Listeners 89
For Further Reading 90
Part III Around 1500
Chapter 6 Number, Medicine, and Magic 96
Music, Number, Proportion 96
Theory versus Practice 99
Music and Medicine 101
Dowland, Du Fay, and the Sounds of Melancholia 104
Music and Neoplatonic Magic 106
Ficino and the Cosmic Dimension 108
For Further Reading 112
Chapter 7 Music and the Ideal Courtier 113
Castiglione's Book of the Courtier 113
Federico da Montefeltro: The Ideal Prince 115
The Courtier and the Theater of Appearances 116
Songs Fit for a Courtier 118
Seranno Aquilano, Singer and Poet 119
Marchetto Cara and the Frottola 120
A Frottola in Detail: Tromboncino's Ostinato vo' seguire 122
Music, the Court Lady, and the Courtesan 124
Fortunes of the Courtier Aesthetic 127
For Further Reading 129
Chapter 8 Josquin des Prez and the "Perfect Art" 131
Perfection in Practice: Josquin's Ave Maria… virgo serena 132
Renaissance Images of Josquin des Prez 133
Isaac's Competing Claim 134
The Josquin "Brand" 136
Josquin, Petrucci, and Music Printing 137
By Josquin or Not? 139
Mille regrets and the Problem of Authorship 142
Josquin des Prez or Not? 143
Josquin's Pupils, Real or Imagined? 145
Reconsidering Josquin's Genius 146
For Further Reading 148
Chapter 9 Scribes, Printers, and Owners 150
Handmade Books 151
Music in Print 158
Owners and Collectors: Princes, Priests, and Bankers 163
Composers, Printers, and Publics: Who Owned Music? 167
For Further Reading 169
Part IV After 1500
Chapter 10 Music and the Literary Imagination 174
Pierre Attaingnant's Songbooks 174
Madrigals and the Art of Pleasing Variety 179
In a Lighter Vein 183
Madrigal Parodies 185
Luca Marenzio and the Madrigal of the Late Sixteenth Century 189
Marenzio and the Avant-Garde Poets 190
For Further Reading 192
Chapter 11 Music and the Crisis of Belief 193
Sacred Sounds for a Nation of Divided Faiths 194
From the Cantiones to Byrd's Gradualia 195
The Reevaluation of Catholic Music 197
Palestrina's Missa nigra sum 200
Lasso and Counter-Reformation Munich 201
Crossing Confessional Boundaries 202
Protestant versus Catholic in Music 205
Congregational Hymns among the Protestants 208
Luther and the "Wondrous Work of Music" 209
Vautrollier and the Spiritual Correction of Secular Songs 213
For Further Reading 215
Chapter 12 The Arts of Improvisation, Embellishment, and Variation 216
The Singing Ladies of Ferrara 217
Courtly Improvisers, Courtly Audiences 219
Marenzio's Overdi selve: A Madrigal for the Concerto delle Donne 220
Learning the Arts of Embellishment from a Papal Singer 222
Embellishment for Everyone 223
Borrowed Melodies, "Italian Tenors," and the Art of Instrumental Variation 225
Fantasia: Playing from Imagination 228
Fabrizio Dentice's Solo Lute Fantasias 229
For Further Reading 231
Chapter 13 Empire, Exploration, and Encounter 232
Venice and the World 233
Greeks and Moors 233
Jews and Music, from Italy to England 237
The Bassano Family 238
French and English Protestants Abroad 240
The Catholic Mission in New Spain 241
Sacred Music in the Americas 243
Matteo Ricci's Musical Encounters in China 245
A Musical Parliament of Nations? 247
For Further Reading 249
Chapter 14 Tradition and Innovation around 1600 250
A Madrigal by Claudio Monteverdi 250
A Motet by Carlo Gesualdo 253
Claude le Jeune's Dodecacorde: The Modes of Social Harmony 254
Last Words 256
For Further Reading 258
Glossary A1
Endnotes A7
Credits A15
Index A17