In this essay I will discuss the origins of patronage and musical institutions, and their purpose in the expanse of music culture of the Renaissance, and in order to gain a greater understanding of both patronage and institutions I shall also discuss in depth the Venetian School, St. Mark’s.
The Renaissance, spanning from about the fourteenth century to the seventeenth century, was an age of great change for Europe in terms of culture, literature, art, and music.
In terms of music, it became important as part of the community, religious and courtly life in the Renaissance. The elegant exchange of ideas, led to large changes in styles of composing, methods of distributing music, new genres, and the advancement of musical instruments. The most crucial music of the early Renaissance was composed for the church. Polyphonic masses and motets in Latin for churches, courts and chapels.
Patronage, at the end of the sixteenth century, divided between the Catholic Church, Protestant churches and courts, wealthy families were all ways of earning for musicians.
The role of patronage during the Renaissance had a tremendous impact on the arts. Patrons’ reasoning behind this varied from having control when commissioning art, to religious reasoning. Patrons of art included the Church, government, aristocracy, guilds and wealthy merchants, such as the Medici family in Florence.
Since the Middle Ages the early Christian church and the state were the centres of power, and most music that survived from that time were religious or sacred due to the patronage of the church.
In an appreciation of music during the start of the Renaissance, that a work was seen as an object that could be created, sold, discussed and owned. “Economically, this deve...
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In conclusion, the musical institutions in the Renaissance in the systematic use of benefices and sinecures to supplement a singer's income. Recruitment was done in a competent fashion, although there was competition to get the best composers. The musicians came from all over Europe, travelling from one place to another in order to learn and work in school institutions and for patrons, whether they were religious or aristocrats and rulers. The economic situation of the members of the chapel were comparable to small merchants, skilled artisans and lower-level government officials, and a step above that of ordinary clergy. But it can be stated that economic opportunities, enlightened patronage, and a reputation for musical standards contributed to attract and keep skilled singers, helping to ensure the remarkable stability of its choir from 1400 to 1600.
Religion has been an important part of man’s life. Man has allowed religion to control and influence his life in many different ways, affecting both his behavior and his actions. So its not surprising that music, one of man’s earliest expressive forms, has also been influenced by religion. Religion has had an effect on man’s music all throughout history, from the early Egyptians to even now. So it is only natural that Western music should also have been affected by religion. Western music, and its development by composers, has been strongly influenced by the Christian religion, especially in the Medieval, Renaissance, and Baroque periods. The music in these periods laid the foundation for all the different types of music we enjoy today.
Atlas, Allan W. Renaissance Music: Music in Western Europe, 1400-1600. New York: W.W. Norton & Company, Inc., 1998.
A rediscover of their history and recognition of early Greek philosophers changed the way that the influential families and Princes, in Italy, considered themselves. Their way of thinking of the Devine and need to promote one’s own aspirations through sponsorship of the arts, as well as, civic duty became not only fashionable but important to progress in the city states. Although Donatello’s David and Botticelli’s Primavera are master pieces in their own right, their influence on future generations of artists cannot be ignored. The spark that ignited the fire which we call the Renaissance was a transformation of societies thinking and values to a Humanistic approach to one duties to society and the church. These two works are a reflection of the changing attitudes which would eventually change all of
Harman, Alec, and Anthony Milner. Late Renaissance and Baroque Music. London: Barrie Books LTD., 1959. ML193.H37
Taruskin, R., & Taruskin, R. (2010). Music in the seventeenth and eighteenth centuries. Oxford: Oxford University Press.
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 this paper I'm focusing mainly on Renaissance art work, since that was the assignment, but I feel it's important to also mention the other important parts of the Renaissance, architecture, science, politics and religion.
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...
The Impact of the System of Patronage Upon Works of Art During the Renaissance, the system of patronage came into being, mainly as a reflection of the increasing capitalist emphasis being placed on life in Renaissance Italy, most notably in Florence. In its very nature as a commercial, capitalist place, Renaissance Italy was a hugely competitive place. It was therefore not surprising that works of art were very often commissioned for competitive reasons. During the Renaissance, art was not just as we think of it today, as an expressive, interesting creation. Art was a focal point of society, and a very powerful tool that powerful people used to gain an advantage.
Sartorius, Michael. Baroque Music Perormance: "Authentic" or "Traditional": A discussion of the essential issues involved. Ed. Micahel Sartorius. n.dat. Baroque Music Pages. [17 October 2003] .
In the article “Conditions of Trade,” Michael Baxandall explains that fifteenth-century Italian art is a “deposit” resulting from the commercial interaction between the artist and the purchaser, who he refers to as a client. These works, as such, are “fossils of economic life,” and money, and they play an important role in the history of art. In our current perception of the relationship between the artist and art, “painters paint what they think is best, and then look around for a buyer” . However in the past, especially during the Renaissance period, the customers determined the content and form of paintings, as it was them who commissioned the work before it was created. He states that the artists and clients were interconnected and a legal agreement was drawn up specifying subject matter, payment scheme and the quality and quantity of colors, which would influence the artist’s painting style. Baxandall not only looks at the explanation of the style of painting that reflects a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the situations between the painter and client within the commercial, religious, perceptual, and social institutions, centrally focusing on markets, materials, visual practices, and the concept of the Renaissance period, which saw art as an institution. Baxandall notes that Renaissance paintings also relate to the clients’ motives through such ways as possession, self-commemoration, civic consciousness, and self-advertisement. The author considers works of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies fiftee...
There are two pieces in our Renaissance Era musical feature this evening, the first by Pierre Phalèse called Passamezzo d'Italye - Reprise – Gaillarde. Phalèse began as a bookseller in 1545 and not long after he set up a publishing house. By 1575 he had around 189 music books. Much of his work was devoted to sacred music but there was a small amount of Flemish songs and instrumental works. Phalèse borrowed work from many composers and did not hesitate to include other composer’s music in his works. The sec...
Artists in the Renaissance aided the continuation of Renaissance ideals. Renaissance art, including paintings, sculptures, and architecture,...
The Renaissance period is known primarily for its changes in educating musicians. Composers and musicians alike were trained in choir schools that were held in churches. They were taught music theory, singing and academic courses like grammar and mathematics. Several famous composers were educated in these institutions. One of those who profited from such training was Guillaume Dufay.
Larmann, R., & Shields, M. (2011). Art of Renaissance and Baroque Europe (1400–1750). Gateways to Art (pp. 376-97). New York: W.W. Norton.