Early Renaissance musical history

In his work “Ars Nova,” Philippe de Vitry, composer and bishop of France, revolutionized music – particularly dealing with the rhythms and the length of the notation. The development of new genres has facilitated increasing reading of music and vocal song: ballads, madrigals, and motet in particular. Motet is a complicated piece made up of at least three voices, each singing a text in various melodies and often in different languages. Paradoxically the triumph of these genres was related to the pestilence epidemic: it is considered that the courtyards had been abandoned, the rogues and the rogues stopped wandering, and such lovely songs appreciated. It’s been supposed. (Pushkin’s Little Tragedies, for instance, shows one of these circumstances.)

During the 15th century Renaissance music was not only founded on the synthesis of autonomous music but also music thanks to Guillaume Dufay, the main composer and originator of Dutch school. The primary musical means — canon and web page imitation — share the same melodic tone in numerous voices, consisting all of a core voice. In the major European genre of this period, the Mass, the multimedia writing style was widely utilized.

The skill in mixing two or more melodic lines according to rigorous euphonic (consonance) or dissonant standards is established as a science of the composer (a parallel from Puntum Latin, “spoken by”) (dissonance).

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