Renaissance music
| Periods and eras of Western classical music |
|
|---|---|
| Early | |
| Medieval | c. 500–1400 |
| Renaissance | c. 1400–1600 |
| Common practice | |
| Baroque | c. 1600–1750 |
| Classical | c. 1730–1820 |
| Romantic | c. 1780–1910 |
| Impressionist | c. 1875–1925 |
| Modern and contemporary | |
| c. 1890–1975 | |
| 20th century | (1900–2000) |
| c. 1975–present | |
| 21st century | (2000–present) |
Renaissance music is vocal and instrumental music written and performed in Europe during the Renaissance era. Consensus among music historians – with notable dissent – has been to start the era around 1400, with the end of the medieval era, and to close it around 1600, with the beginning of the Baroque period, therefore commencing the musical Renaissance about a hundred years after the beginning of the Renaissance as it is understood in other disciplines. As in the other arts, the music of the period was significantly influenced by the developments which define the Early Modern period: the rise of humanistic thought; the recovery of the literary and artistic heritage of Ancient Greece and Ancient Rome; increased innovation and discovery; the growth of commercial enterprises; the rise of a bourgeois class; and the Protestant Reformation. From this changing society emerged a common, unifying musical language, in particular the polyphonic style (this means music with multiple, independent melody lines performed simultaneously) of the Franco-Flemish school, whose greatest master was Josquin des Prez.
The invention of the printing press in 1440 made it cheaper and easier to distribute music and musical theory texts on a wider geographic scale and to more people. Prior to the invention of printing, songs and music that were written down and music theory texts had to be hand-copied, a time-consuming and expensive process. Demand for music as entertainment and as a leisure activity for educated amateurs increased with the emergence of a bourgeois class. Dissemination of chansons, motets, and masses throughout Europe coincided with the unification of polyphonic practice into the fluid style which culminated in the second half of the sixteenth century in the work of composers such as Giovanni Pierluigi da Palestrina, Orlande de Lassus, Thomas Tallis and William Byrd. Relative political stability and prosperity in the Low Countries, along with a flourishing system of music education in the area's many churches and cathedrals allowed the training of large numbers of singers, instrumentalists and composers. These musicians were highly sought throughout Europe, particularly in Italy, where churches and aristocratic courts hired them as composers, performers and teachers. Since the printing press made it easier to disseminate printed music, by the end of the 16th century, Italy had absorbed the northern musical influences, with Venice, Rome, and other cities becoming centers of musical activity. This reversed the situation from a hundred years earlier. Opera, a dramatic staged genre in which singers are accompanied by instruments, arose at this time in Florence. Opera was developed as a deliberate attempt to resurrect the music of ancient Greece (OED 2005).
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