| Contents |
Part one. The historical perspective. Music in the historical renaissance. The historical conception of the renaissance ; "Renaissance" music: the humanist view -- The christian church as patron of music. The cathedral church ; The collegiate church ; The monastic houses ; The parish church ; The beneficial system ; The church schools ; The universities -- Music at the secular courts. The chapel ; The court minstrels -- Music in the urban context. The church choirs ; Secular schools and academies ; Guilds and confraternities -- The musical sources. Manuscripts ; Prints -- Part two. The fifteenth century: the consolidation of genres and styles. A word aobut esthetics -- The contenance angloise: English music at home and abroad. The contenance angloise ; The English motet in the fifteenth century ; The ordinary of the mass in England ; English mass ordinaries in groups and cycles ; Carols: the popular voice ; Carols, songs, and chansons -- French secular music of the fifteenth century. The chanson at the turn of the fifteenth century ; The chanson in the time of the Valois kings and dukes ; The combinative chanson ; "Motet-chanson" and "song-motet" -- The motet in the fifteenth century. Sources ; Isorhythmic motets ; Motets based on antiphons -- Liturgical polyphony for office and mass. Emerging traditions ; Hymn settings ; Magnificat settings ; Psalm settings ; Lamentations ; The Te Deum ; "Benedicamus domino" -- Liturgical polyphony for the mass. The polyphonic ordinary: from Pairs to cycles ; Cyclic masses on secular cantus firmi ; The mass-motet cycle ; Mass ordinaries based on canonic procedures ; Multiple borrowings in the cyclic ordinaries ; Mass propers ; The liturgical passions -- Secular polyphony on the Italian peninsula. The importation of musicians and repertory ; Barzelletta and frottola ; The canti carnascialeschi ; The villotta -- Sacred polyphony in Italy. Motetti missales or ducales ; The vesper psalms: early polychoral polyphony ; The polyphonic lauda -- Polyphony in Germany: indigenous traditions. The indigenous polyphonic traditions ; Rufen adn leisen ; The tenorlied -- Polyphony on the Iberian peninsula. Northern models and composers ; Iberian sources and composers ; The secular song forms -- Part three. The sixteenth century: The established genres and stylistic change. The motet as genre and compositional type. General observations ; Defining the stylistic parameters ; Psalm motets ; Cantus firmus motets ; Ceremonial motets ; Textual rhetoric and musical expression -- Liturgical polyphony for the office. Hymns ; Magnificats ; Psalm settings ; Psalms in falso bordone ; Lamentations ; The Te Deum -- Liturgical polyphony for the mass. The ordinary of the mass ; Mass propers ; Passions -- Secular polyphony in France. Chansons ; Three- and four-part arrangements ; Chanson styles and voix de ville ; Chanson style and the Flemish Netherlands ; Musique mesuree a l'antique ; Chansons spirituelles and noels -- The madrigal. The emerging madrigal ; Venice as a center of madrigal production ; Ferrara as a center of stylistic innovation ; Ferrarese influence in Rome ; On the threshold of stylistic change ; Villanesca, villanella, and canzonetta -- Songs and madrigals in England. Freemen's and consort songs ; Italian madrigals Englished and English madrigals -- Music of the protestant reformation: Germany, Switzerland, France, Holland, and England. Polyphonic leisen ; Hymns and chorales ; Vernacular psalm settings ; The reform in England: Anthems and psalm settings -- Performance practice and instrumental music. From chanzon to canzona -- Instrumental repertories: the sources. The manuscript repertories ; Instrumental collections printed in Italy ; Instrumental collections printed in France ; Instrumental collections printed in Spain -- The instrumental genres. Didactic exercises ; Cantus firmus composition ; Secular cantus firmus ; Keyboard arrangements and intabulations ; Lute arrangements and intabulations ; Intabulation and the canzona of the sixteenth century ; Dance music ; Variation as genre ; Song variations ; Preludial genres and instrumental styles -- The final synthesis, Giovanni Pierluigi da Palestrina ; Tomas Luis de Victoria ; William Byrd ; Orlande de Lassus -- Appendix. The conceptualization of music in the renaissance. The traditional scale ; The staff ; Hexachords and solmization ; The modes : theory and practice ; The notation and mensuration of polyphony ; Counterpoint and harmony. |
| Abstract |
A richly detailed portrait of the music and surrounding culture in one of history's most creative eras. The author, a leading Renaissance music scholar, brings to life the musical styles and genres that mark this humanistic period of artistic and scientific revolution. Professor Perkins firmly establishes his narrative in political, religious, social, and cultural history, opening a window onto the lavish courts, magnificent churches, and thriving urban centers in which music played such a vital role. |
| Local note | Little-318258--305131018295 |
| Bibliography note | Includes bibliographical references (pages 1061-1090) and index. |
| LCCN | 98028961 |
| ISBN | 0393046087 |
