Section 1. Flemish Music
1. Introducing the Flemish school (also translated as Flemish school).
A group of musicians active in Flemish in the 15th and 16th centuries. Flemish is a historical region also known as the Netherlands, which is today's Belgium and northwestern France. In the history of music, the Burgundian school of music is called the first Netherlandish school of music, and the Flemish school of music is called the second and third Netherlandish music schools. The most influential representatives of the Flemish School include the first-generation composer John Ockeghem (approximately 1425-1497), and the second-generation composer Josquin de Pres (approximately 1425-1497). 1440-1521), the third generation composer Orlando di Lasso (approximately 1532-1594).
In the mid-15th century, the first generation of composers of the Netherlands School, Guillaume Dufay (about 1400-1474) and Gilles Binchis (about 1400-1460), created A large number of three-part ballads that express courtly love (among the three parts, the treble part is the most prominent), the second generation of Dutch composers Johannes Ockeghem (1430-1495) and Oberleich Special (Jacob Obrecht 1450-1505)
2. Introduction to John Oakon.
John Oakgun is also translated as Walker Helm. It is said that he studied under Benchois and was deeply influenced by the Burgundy school of music. Demonstrated virtuosity in the composition of the mass. He is proficient in various canon techniques.
3． Introduction to Josquin de Pre.
It is said that he once studied under Okgang. He wrote a large number of motets and masses, as well as secular songs, mainly French chansons. He emphasizes imitating counterpoint techniques while enriching harmonic sounds and has strong emotional expression.
4. What is a Parody mass?
A technique created by Josquin de Pre, that is, when writing a Mass, one does not just borrow one psalm, but borrows several ready-made psalms, masses or motets, the tunes and their motives, Present the theme, answer theme, structure or ideas, etc. This technique greatly weakened the dominance of fixed melodies in the Middle Ages, making the contrapuntal texture of the music richer and more substantial with more tunes. This technique was later widely used in the creation of motets and masses, and even influenced the writing of secular music pastoral monks.
5. Introduction to Orlando Di Lasso.
One of the most important composers of the 16th century, he composed a large number of religious and secular music works. The music style is flexible, lively, sophisticated and diverse, and the content and intonation relationship between music and lyrics are carefully handled.
Section 2. The rise of secular vocal music and national styles
1. What were the most important secular music genres in 16th-century Italy?
Frottola, a secular polyphonic song in northern Italy in the early 16th century, usually an unaccompanied four-part chorus (some are solos accompanied by lutes). It adopts the main theme style texture, the rhythm often has dance characteristics, and the character is more lively. Later, some people combined polyphony techniques into it, making it the predecessor of pastoral.
Madrigal, an unaccompanied secular duet or chorus of four, five or six parts (in Monteverdi’s writing, there are also solos, duets and trios with continuo accompaniment Pastoral), using imitative polyphonic techniques, appropriate descriptive vocabulary and symbolic techniques in the lyrics, and the musical language is correspondingly descriptive. Some works have dramatic effects and use more chromatic harmonies.
2. Who were the important secular composers of 16th-century Italy?
Marenzio (1553-1599), Gesualdo (about 1560-1613), Montevirdi.
3． Introduction to French Chanson.
An unaccompanied secular duet or chorus of four, five or six parts, similar in style to Italian flortola, light and rhythmic, with the main melody in the highest voice and the texture being harmony sexual, but sometimes imitative polyphony is used.
4． Who are the important Jeanson composers in France?
Claudin de Sermisy (about 1490-1562) and C. Janequin (also translated as Johnequin, about 1474-1569). The former's works are mostly elegant and exquisite love songs, while the latter's works are characterized by liveliness, roughness, and strong descriptiveness, such as describing wars, hunting, bird songs, markets, etc.
5. What is German Lied?
That is, secular songs, usually monophonic. Most of them are sung by the famous German citizen musician Meistersinger. In the mid-16th century, some composers combined Flemish polyphony technology with German lieder to create the polyphonic form of lieder.
6. What is Villanico, Spain?
Biliangsike is also translated as village folk ballad. The music is simple, with a folk song style, and the lyrics touch on love, politics and even religion. There is instrumental accompaniment.
7． What is a British consort?
Consault is a chamber music ensemble genre that originated in England during this period. Consolt songs are solo or choral songs accompanied by this kind of chamber music ensemble.
Section 3. Instrumental Music of the Renaissance
1. What new instruments were produced during the Renaissance?
Recorder, stringed instrument viol (viol, the predecessor of the violin), etc.
2. What keyboard instruments were popular during the Renaissance?
Fortepiano and organ. The former is called virginal in Britain.
3. What were the important instrumental music genres during the Renaissance?
Polyphonic canzona, ricercar, fantasia, improvisational prelude and toccata.
A multi-movement suite composed of dance music of various styles.
Variations.
Section 4. Religious Music
1. What is the Protestant music produced by the German Reformation
At first, Protestants followed Catholic music and rituals, but at the end of the 16th century they had their own unique music. Its main characteristics are that it has a mass and national character, and is relatively simple in musical form (see the next question for details).
2. What is the main genre of German Protestant music
Chorale, also known as Protestant chant. Adopting the native language, at first there was only a melody sung in unison, which was later added with harmony and counterpoint to form a four-part chorus.
3. What other genres of protestant church music are
Calvinist churches in France and Switzerland: metrical psalter. At first it was similar to the monophonic chant of the early Middle Ages, and later it took the form of four-part choral singing.
British worship music (service) and hymns (anthem). There are choral and solo forms, or alternating between the two.
Other related
4. What were the musical requirements of the Roman Catholic Church during the Renaissance?
The lyrics in polyphonic music must be clear and legible, opposing uninhibited sung-style melodies in psalms and polyphony, and excluding the influence of secular music on Religious music influences. These principles had a great influence on the music of the Roman Catholic Church and directly contributed to the formation of the Roman School style.
5. An introduction to the musical style of the Roman composer Palestrina (about 1525-1594).
Compared with contemporary composers, the musical style is more conservative and rarely uses inflections. Even if inflections and dissonances are used, they are handled very carefully, so the sound is pure and harmonious. Use imitative polyphony. The melody is smooth and smooth, with few big jumps. It adopts the diatonic church mode, pays attention to the stress and its meaning in the processing of Latin lyrics, and the overall structure is clear.
There is basically no musical accompaniment, and only a small amount of pipe organ is used.
6. An introduction to the style of religious music of the Venetian School.
The religious music of the Venetian School is magnificent and colorful, using double choirs (or even five choirs) and accompanied by musical instruments, such as organ, horn, viol, etc.
7. Who are the composers of the Venetian School?
Willaerte (Willaerte, about 1485-1562), uncle and nephew Gabriele (A. Gabrieli, about 1515-1586, G. Gabriele, about 1557-1612).