Changes in Music During Renaissance

His output was immense: 29 masses, 119 motets, 86 secular compositions (including ballads, bergerettes, and songs), practically all with French words. Thus, des Prez is always associated by music historians of the rise on the French song or "chanson Francoise," although his contemporary, Obrecht, may be the only authentic representative of the very first Netherlands school. Obrecht sang and taught in choir schools ahead of he died on the plague. While Obrecht applied the variety in the old motet in some of his compositions, he is greatest recognized for obtaining composed vigorous and expressive music which mastered all of the subtleties of Flemish polyphony and for his clear, tonal harmonies which he derived from listening to Italian song sources (Pincherle 39).

By for the year 1520, two kinds of songs had been becoming popular. The Northern masters (Gombert, Crequillon, Clement and Richafort) preferred to compose sacred music and remained faithful to the scientific sort of polyphony. In contrast, a lighter caliber of song also came into vogue which was created by the work of Parisian composers like Passereau, Sandrin, and Claudin de Sermisy. The latter type incorporated a delicate lyricism, a rhythmic precision which facilitated instrumental adaptations, and an "alternation of binary and ternary rhythms for expressive purposes" (Pincherle 40-41). A couple of other composers became famous during this exact same time period: Clement Janequin, who was kn

 

own for his descriptive music, and the "Prince of Musicians," Orlando di Lasso. Orlando di Lasso created some 2,000 works, in all forms: Italian madrigals, German songs, sacred music, and 157 French songs that are recognized for their exceptional beauty (Pincherle 42).

During this exact same period, two other musical movements have been happening in other parts of Europe. Sacred music was continuing to develop under the Tudors in England. English composer Thomas Morley's four-part madrigals abundantly and brilliantly represent the type of secular song that became well-known in England during that period. Morley's madrigals flourished until about 1620, as did the work of Gibbons, Wilbye, East, Weelkes, and Byrd (Reese 815). Meanwhile, the "German song" was getting designed by Germanic tribes, which featured learned polyphonic composition and instrumental music. Like Josquin, German composer von Wolckenstein mastered counterpoint, whilst other German musicians preferred their personal certain style--the quodlibet--a polyphonic composition which combined a number of themes inside a humorous way (Pincherle 49-51).

By the mid-1500s, Giovanni Pierluigi ("Palestrina") became called the crowning glory of the Roman school and changed Renaissance music during the sacred music from the Franco-Flemish composers to a brand new type of secular vocal music. Palestrina's new type of harmonious balance among rising and falling musical lines would later inspire a lot of Roman church music (Lewis 156, 376). He began his work as a church musician and later became an organist and choir master for St. John Lateran and then, in 1571, for St. Peter's in Rome. Palestrina composed 105 masses, 280 motets, 95 secular madrigals, and more than 200 other religious works and spiritual madrigals. He is thought to obtain modified the idiom of sacred music and employed it to secular writing (Reese 401). Palestrina can be credited with developing the a cappella kind of choral singing which the French and Flemish

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