Chapter 6The Renaissance

The “High Renaissance” Style

Key Terms

High Renaissance

Imitative counterpoint

Homophony

a cappella

Point of imitation

Mass

The Mass

Longest, most important worship service of the Catholic churchIn Middle Ages, Mass sung in plainchantInvention of organum added some polyphonic music to MassRenaissance composers added even more polyphonic music

• Favored sung portions of Ordinary (unchanging texts)

They also sought to unify Mass musically

Liturgy of the Word

Introit• Proper, sung

Kyrie• Ordinary, sung

Gloria• Ordinary, sung

Collect• Proper, recited

Epistle• Proper, recited

Gradual• Proper, sung

Alleluia or Tract• Proper, sung

Sequence• Proper, sung

Gospel• Proper, recited

Homily• Spoken

Credo• Ordinary, sung

Liturgy of the Eucharist

Offertory• Proper, sung

Secret• Proper, recited

Preface• Proper, recited

Sanctus• Ordinary, sung

Canon• Ordinary, recited

Pater noster• Ordinary, recited

Agnus Dei• Ordinary, sung

Communion• Proper, sung

Postcommunion Prayer

• Proper, recited

Ite, missa est• Ordinary, recited

Response• Ordinary, recited

“High Renaissance” Style

ImitationType of polyphonic texture

Voices enter one after another

Each voice genuinely melodic

Same motive and words for each voice (but on different pitches)

Voices take turns vying for attention

Creates beautiful balance between parts

“High Renaissance” Style

HomophonyA simpler texture that reflects influence of secular music

Top voice dominates

Lower voices follow rhythm of top voice, supporting melody with rich chords

Creates “block chord” feel

Provides effective contrast to imitation

“High Renaissance” Style

Tone color–a cappella soundScale, key & mode–medieval modesPitch & melody–medium register, smooth motion, ups and downs carefully balancedHarmony–consonant chords with occasional, mild dissonanceTexture–alternation between imitation and homophonyRhythm–fluid; metric, but without strong accents

Josquin, Pange lingua Mass

Unified Mass—each movement based on same plainsong hymn, “Pange lingua”

Recurring use of familiar, beloved hymn tune turned Mass into profound artistic experience

Used the five standard movements for Renaissance Mass

• Kyrie, Gloria, Credo, Sanctus, Agnus Dei

Josquin, Pange lingua Mass

Kyrie IThis section is a point of imitation—a short passage of imitative polyphony based on a single motiveThe Kyrie I motive is a paraphrase of the chant hymn’s first phrase

Josquin, Pange lingua Mass

Kyrie IVoices enter one by one

• Tenor, bass – soprano, alto – bass, tenor, soprano

Final soprano entrance paraphrases second phrase of chant hymn

Crescendo of activity approaching cadence

Josquin, Pange lingua Mass

ChristeTwo successive points of imitation

• First one based on phrase 3 of the plainchant hymn

Kyrie IIBegins with point of imitation

Ends with free materials—descending sequence, powerful oscillating passage, and extended final cadence

Josquin, Pange lingua Mass

From the GloriaAlternates between imitation and homophony

• Eight points of imitation• Four homophonic sections

Josquin mostly uses imitation, reserves homophony for emphasis

Music offers urgent, almost dramatic plea for mercy (miserere nobis)

Pange lingua Mass, Gloria

Qui tollis peccata mundi,

MISERERE NOBIS.

Qui tollis peccata mundi,

SUSCIPE DEPRECATIONEM NOSTRAM.

Qui sedes ad dexteram Patris,

miserere nobis.

You who take away the sins of the world,

Have mercy upon us

You who take away the sins of the world,

Hear our prayer.

You who sit at the right hand of the Father,

Have mercy upon us.

Pange lingua Mass, Gloria

Quoniam tu solus sanctus, tu solus Dominus,

TU SOLUS ALTISSIMUS, JESU CHRISTE,

Cum sancto spiritu, in gloria Dei Patris.

AMEN.

(Capital letters indicate phrases sung in

homophony.)

For you alone are holy, you alone are the Lord,

You alone are the most high, Jesus Christ,

With the Holy Spirit, in the glory of God the Father.

Amen.