Early Renaissance musical history

Philippe de Vitry, French composer and bishop, revolutionized the notation of music in his ‘Ars Nova’ work: it addressed principally the length of the notes and the rhythm notation. Even more readable music and voice singing have made it easy for new genres to develop: site ballads, website madrigals but above all motet. Motet is a complicated composition comprising at least three voices, each singing various text in distinct melodies (subsequently four became the standard) and often in different languages. The popularity of these genres is ironically linked to the pestilence pandemic: It is believed: The courtyards got secluded, ceased walking minstrels and vagancies and enjoyed such exquisitely lay melodies. (For instance in Pushkin’s Little Tragedies one of these situations is caught.)

The Renaissance Music is built on the synthesis of not only autonomous music but also related music, thanks to Guillaume Dufay, a major composer and founder of the Netherlands school in the 15th century. The major musical methods of this period — canon and imitation — have the same melody sounds in several voices with a specified time span; it all consists of a core voice.

– a melody cantus firmus that is predetermined. The multifunctional approach of writing was largely employed in this time’s primary European genre – the Mass.

The skill of mixing two or more melodic lines according to rigorous principles of euphony (consonance) and dissonance is developed as the science of the composer – counterpoint (from Latin punctum contra punctum – “pointed by”) – (dissonance).

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