Music and Musicians in the Renaissance
If music be the food of love, play on! ~ Orsino, Twelfth Night
In the Elizabethan Era (1558-1603) and the Jacobean Era (1603-1625), there was a fondness for spectacle and pageantry. At court, trumpets and drums resounded to announce mealtimes; in town, these instruments were used by theatre troupes to herald upcoming performances (Renaissance & Baroque Society of Pittsburgh, 2003, and Folkerth, 2002). Music, then, is applied boldly and lavishly in everyday life and in drama, an imitation of life.
Musical Instruments
The major classes of musical instruments used in the High and Late Renaissance include plucked strings, bowed strings, brass, double reeds, other winds, keyboards, and percussions (McGee, 1985). Lutes, drums, and trumpets were often used, but the instruments that were especially popular during the Renaissance include the bass viol, treble viol, viola, violin, tenor sackbut, cornetto, bass sackbut, curtal, tenor shawm, bass recorder, and harpsichord (McGee, 1985).
Instrumental Music
From the Early Renaissance to the High Renaissance, there was a movement from vocal music to a combination of vocal and instrumental music (Brown, 1976). There are seven categories of instrumental music: 1) vocal music played by instruments, 2) settings of pre-existing melodies, 3) variation sets, 4) ricercars, fantasias, and canzonas, 5) preludes, preambles, and toccatas for solo instruments, 6) dance music, and 7) songs composed specifically for lute and solo voice (Brown, 1976). Italy dominated the stage for instrumental music at this time, and it was not until the last decades of the sixteenth century that English instrumental music became popular (Brow...
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Works Cited
Brown, Howard M. Music in the Renaissance. Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1976.
Folkerth, Wes. The Sound of Shakespeare. London: Routledge, 2002.
McGee, Timothy J. Medieval and Renaissance Music: A Performer’s Guide. Toronto: University of Toronto Press, 1985.
Novak, Elaine Adams. Staging Shakespearean Theatre. Cincinnati, Ohio: Betterway Books, 2000.
Renaissance & Baroque Society of Pittsburgh. “Shakespeare’s Top 40”. Available: http://www.rbsp.org/current_season/shakespeare.php, March 2003.
Shirley, Frances Ann. Shakespeare’s Use of Off-Stage Sounds. Lincoln: University of Nebraska Press, 1963.
University of Victoria. “Elizabethan Court Musicians”. Available: http://web.uvic.ca/shakespeare/Library/SLTnoframes/literature/courtmusicians.html, date unavailable. Accessed : March 4, 2003.
The music was played very often as a normal routine. People considered it a must to know how to play an instrument, sing, or be involved somehow with music in this age of time. Instruments in the 1600’s were able to make any type of music; the amazing part was no matter how many instruments you used it would always sound pure and the same. Another unique thing about the music and culture in the 1600’s is that it was also healthy for the body. During the Elizabethan Era the people would gather together to dance and dance for hours, their stamina must have been incredible. Music was use to entertain most people. Before the music became a big part in people life during the Elizabethan Era theatre played a really big part during this time. It was out of the ordinary for women to take part in or be a part of the theatre during this period of time. Do to the fact that women were not allowed to play in any of the plays or drama, younger boys who were still young played the role of women.
In terms of the technical differences between the art music of early times and that of the modern period (i.e., after 1600) we can identify five specific features that make post-1600 styles in music sound more or less "familiar."
Daum, Gary. "Chapter 12 The Baroque Era (1600-1750)." Georgetown Prep. 1994. Georgetown University. 12 July 2005 .
In the Baroque period, the performance venue usually was within churches and courts. These locations were not built to suit instrumental performances, and were more of just a venue to perform more than a designed venue like there is in the 21st century. Starting...
Atlas, Allan W. Renaissance Music: Music in Western Europe, 1400-1600. New York: W.W. Norton & Company, Inc., 1998.
Harman, Alec, and Anthony Milner. Late Renaissance and Baroque Music. London: Barrie Books LTD., 1959. ML193.H37
"Elizabethan Theatre Audiences." Elizabethan Theatre Audiences. Strayer University, 16 May 2012. Web. 24 Mar. 2014.
When working with early music, modern performers face challenges regarding stylistic and historical accuracy, given limited information on past performances, as well as notable differences in instruments available, technique, and performance practice. Furthermore, they must decide between different approaches that may better reflect the historical sound or intention of past performers, or choose to blend such extremes, creating varied interpretations.
Ostlere, Hilary. “Taming The Musical.” Dance Magazine 73.12 (1999): 84. Expanded Academic ASAP. Westfield State College Library, MA. 15 April 2005.
Pages one to sixty- nine in Indian From The Inside: Native American Philosophy and Cultural Renewal by Dennis McPherson and J. Douglas Rabb, provides the beginning of an in-depth analysis of Native American cultural philosophy. It also states the ways in which western perspective has played a role in our understanding of Native American culture and similarities between Western culture and Native American culture. The section of reading can be divided into three lenses. The first section focus is on the theoretical understanding of self in respect to the space around us. The second section provides a historical background into the relationship between Native Americans and British colonial power. The last section focus is on the affiliation of otherworldliness that exist between
TitleAuthor/ EditorPublisherDate James Galways’ Music in TimeWilliam MannMichael Beazley Publishers1982 The Concise Oxford History of MusicGerald AbrahamOxford University Press1979 Music in Western CivilizationPaul Henry LangW. W. Norton and Company1941 The Ultimate Encyclopaedia of Classical MusicRobert AinsleyCarlton Books Limited1995 The Cambridge Music GuideStanley SadieCambridge University Press1985 School text: Western European Orchestral MusicMary AllenHamilton Girls’ High School1999 History of MusicRoy BennettCambridge University Press1982 Classical Music for DummiesDavid PogueIDG Books Worldwide,Inc1997
In spite of, some people thinking that biodiesel have further disadvantages than advantages others respectably disagree. Supporters of biodiesel have faith in biodiesel being worthy substitutes of diesel fuel since it can help improve the environment. “According to the Environmental Protection Agency (EPA), greenhouse gas emissions can be reduced by at least by 57 percent and up to 86 percent with the use of biodiesel” (“What is Biodiesel?”).
Music has shaped the lives of people throughout history. Even in its earliest forms, music has included use of instruments. One of the oldest musical instruments known is a variation of the flute; the original flute is thought to date back nearly 67,000 years ago. Tonight we are going to move throughout the eras with a history of instrumental music. This concert will begin with the Renaissance Era and continue through time until we have reached modern instrumental music.
Harr, James. Essays on Italian Poetry and Music in the Renassisance: 1350-1600. Berkeley: University of California Press, 1986.
The origin of opera was born in seventeenth century Italy. Wealthy Italian nobles had these “musical works” presented in their piazzas or courtyards. During this time extravagant entertainments, such as fireworks and other amazing effects along with music, singing, dancing and speeches were presented at regal weddings or to welcome important guests. These pre-op...