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Ottaviano Petrucci, Publisher

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Msr. Tabor, how may I assist you? Ah . . . yes, a traveler. Well, do come in and have a seat here by my desk. And I am to suppose that you would like to know a bit more about Renaissance music, other than what the fellows shared with you earlier.

 

Well, of most importance is the concept of vocal polyphony: "having two or more voices or parts, each with an independent melody but all harmonizing - contrapuntal." In other words, our composers have been trying to "combine two or more melodies to give a satisfying musical texture to produce good harmony by the interaction of the parts.

 

Polyphony is usually performed a cappella, although at times it may be accompanied by the organ. By the end of the 16th century, though, I predict that vocal polyphony will be replaced in many churches by the sounds of voices and instruments for variety and color.

 

Because of the importance that music plays in our society, there is stiff competition for the best musicians for royal courts. Most of royalty maintain their own chapels of singers who perform at religious, social, and political functions, as well as their own bands of instrumentalists who play at public and private ceremonies indoors and out.

 

Schools of singing often associated with churches have become internationally famous as training grounds for young talented musicians. The papal chapel maintains a "complement of 20 or more singers" in contrast to the 12 that one usually hears at most chapels.

 

Because of a larger well-to-do class in our society, the widespread practice of the art is no longer the province of prince and prelate for this rising class has the means to cultivate music on the secular level. Learning to play an instrument or to sing, as well as being educated about music is now the 'in' thing to do. Most assuredly, some of the amateur 'artists' are quite good; Francesco da Milano ('il divino') has even been an honored guest at the Vatican and at the royal court in France. Even the women are expected to be schooled in musical theory and performance. Three noble ladies of Ferrara have been lauded throughout Italy's courts.

 

Most secular vocal music is usually performed with one person to a part although on occasion, an instrument or two may be used to double the voices or even play the lower parts of a composition while the singer performs the higher part. 'Families' of musical instruments are being developed and perfected during our time to accommodate the various octaves and tones that the composers are experimenting with in their music. Madrigals, a quite unique concept in vocal musical composition, is being developed by some of our later composers. And most importantly - my contribution - printed music! I have perfected a technique for publishing music for the masses at a far less cost than ever before - when scribes hand copied music into specially bound songbooks. Anyone who can afford to purchase 'sheet music' as you call it now has a composer's work at his or her fingertips!

 

May I formally introduce you to Violini De Gamba to escort you to meet some of our more famous composers?

 

Or shall I summon Stringelina Lutino who would be pleased to introduce you to the wonderful variety of instruments for which we are so well known?

Compiled and written by the Virtual Renaissance Team

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References:

Hadley, Benjamin, ed. Britannica Book of Music. Garden City, New York: Doubleday & Company, Inc., 1980.

 

Hindley, Geoffrey (ed.). The Larousse Encyclopedia of Music. Excalibur Books, New York, 1982.

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