General characteristics of the musical culture of the revival. Lesson of musical literature "music of the Renaissance" Musical genres of the Renaissance are

Several defining innovative features can be identified in the musical culture of the Renaissance.

Firstly, the rapid development of secular art, expressed in the widespread spread of many secular song and dance genres. These are Italianfrottola (“folk songs, from words frottola - crowd), villanelles (“village songs”),Caccia , canzone (literally - songs) and madrigals, SpanishVillancico (from villa - village), French chanson songs, GermanLied , English ballads and others. All these genres, glorifying the joy of being, interested in the inner world of man, striving for the truth of life, directly reflected a purely Renaissance worldview. For them expressive means typically extensive use of intonation and rhythm folk music.

The culmination of the secular line in the art of the Renaissance -madrigal . The name of the genre means “song in the mother (that is, Italian) language.” It emphasizes the difference between the madrigal and sacred music performed in Latin. The development of the genre went from a simple one-voice shepherd's song to a 5-6-voice vocal-instrumental piece with a sophisticated lyrical text. Among the poets who turned to the madrigal genre are Petrarch, Boccaccio, Tasso. Remarkable masters of the madrigal were composers A. Willart, J. Arkadelt, Palestrina, O. Lasso, L. Marenzio, C. Gesualdo, C. Monteverdi. Originating in Italy, the madrigal quickly spread to other Western European countries.

The French variety of polyphonic song is calledchanson . It is distinguished from the madrigal by its greater proximity to the real, everyday life, that is, its genre nature. Among the creators of chanson -Clément Jeannequin , one of the most famous French composers of the Renaissance.

Secondly, the highest flowering of choral polyphony, which became the leading musical style of the era. Majestic and sonorous, it perfectly matched the solemnity of the church service. At the same time, polyphonic polyphony was the dominant form of expression not only in spiritual genres, but also in secular ones.

The development of choral polyphony was associated, first of all, with the work of composers of the Dutch (French-Flemish) school: Guillaume Dufay, Johannes Ockeghem, Jacob Obrecht, Josquin Despres, Orlando Lasso.

Orlando Lasso (about 1532-1594) worked in many European countries. His talent, truly phenomenal, captivated and delighted everyone. All musical genres of the Renaissance are represented in the vast creativity of Orlando Lasso (with a predominance of secular music over sacred music). His most popular works include “Echo,” written in the genre of an Italian everyday song. The work is based on a colorful juxtaposition of two choirs, creating an echo effect. Its text belongs to the composer himself.

Along with Orlando Lasso, the largest representative of the High Renaissance in music was the ItalianPalestrina (full name Giovanni Pierluigi da Palestrina, circa 1525-1594). Most of Palestrina's life was spent in Rome, where he was constantly associated with work in the church, in particular, he headed the chapel of the Cathedral of St. Petra. The bulk of his music is sacred works, primarily masses (there are more than a hundred of them, among which the famous “Mass of Pope Marcello” stands out) and motets. However, Palestrina also willingly composed secular music - madrigals, canzonettas. Palestrina's works for choir a sarrellabecame a classic example of Renaissance polyphony.

The work of polyphonic composers played a leading role in the development of the main genre of music of the Renaissance -masses . Originating in the Middle Ages, the genre of the mass inXIV- XVIcenturies, it is rapidly transforming, moving from samples presented in separate, disparate parts to works of a harmonious cyclic form.

Depending on church calendar in the music of the mass some parts were omitted and other parts were inserted. There are five obligatory parts that are constantly present in church services. INI And V - « Kyrieeleison» (“Lord have mercy”) and« AgnusDei» (« Lamb of God") - a plea for forgiveness and pardon was expressed. InII And IV - « Gloria"("Glory") and " Sanctus» (« Holy") - praise and gratitude. In the central part, "Credo» (« I believe"), set out the basic tenets of Christian doctrine.

Thirdly, the increasing role of instrumental music (with a clear predominance of vocal genres). If European Middle Ages knew almost no professional instrumentalism, then during the Renaissance many works were created for the lute (the most common musical instrument of that time), organ, viol, vihuela, virginal, and longitudinal flutes. They still follow vocal patterns, but their interest in instrumental playing has already been determined.

Fourthly, during the Renaissance there was an active formation of national music schools(Dutch polyphonists, English virginalists, Spanish vihuelists and others), whose work was based on the folklore of their country.

Finally, music theory has stepped far forward, putting forward a whole series wonderful theorists. This is FrenchPhilippe de Vitry , author of the treatise " Arsnova» (« New art”, where a theoretical justification for the new polyphonic style is given); ItalianJosephfo Zarlino , one of the creators of the science of harmony; SwissGlarean , founder of the doctrine of melody.

The most striking phenomenon was the widespread secular vocal genres of that time, imbued with the spirit of humanistic trends. The professionalization of musical art played a special role in their development: the skills of musicians grew, singing schools were organized, in which they taught singing, playing the organ, music theory. All this led to the approval of polyphony strict style, requiring high skill, professional mastery of composition and performing techniques. Within the framework of this style, there are quite strict rules for voice guidance and rhythmic organization while maintaining maximum independence of the voices. Although church music occupied a large place in the work of masters of the strict style, along with works on spiritual texts, these composers wrote many secular polyphonic songs. Of particular interest are musical and poetic images of secular vocal genres. The texts are distinguished by their liveliness and relevance of content. In addition to love lyrics, satirical, frivolous, dithyrambic texts, which were combined with excellent professional polyphonic writing techniques, were extremely popular. Here are some texts of French chansons, which are examples of everyday lyrics “Get up, dear Colinette, it’s time to go have a drink; laughter and pleasure - that’s what I strive for. Let everyone surrender to joy. Spring has come...”, “Let wealth be damned, it has taken away I have my friend: I took possession of her love, and the other - wealth, sincere love in love affairs is worth little."

The Renaissance culture first appeared in Italy, and then in other countries. History has preserved information about frequent movements famous musicians from country to country, about their work in one or another chapel, about frequent communication between representatives of different nationalities, etc. Therefore, in the music of the Renaissance period we observe a significant relationship between the works created by composers of different national schools.

The 16th century is often called the "age of dance". Influenced by humanistic ideals Italian Renaissance the dam of church prohibitions was finally broken, and the craving for “worldly”, earthly joys revealed itself as an unprecedented explosion of dance and song elements. A powerful factor in the popularization of song and dance in the 16th century. played a role in the invention of music printing methods: published large editions dances began to travel from one country to another. Each nation contributed to the general hobby, so the dances, breaking away from their native soil, traveled across the continent, changing their appearance, and sometimes even their name. Fashion for them spread quickly and changed quickly.

At the same time, the Renaissance was a time of broad religious movements (Hussiteism in the Czech Republic, Lutheranism in Germany, Calvinism in France). All these various manifestations of religious movements of that time can be combined general concept Protestantism. Protestantism in various national movements played a big role in the development and strengthening of the community of musical cultures of peoples, mainly in the field of folk music. In contrast to humanism, which embraced a relatively narrow circle of people, Protestantism was a more massive movement that spread among wide sections of the people. One of the most striking phenomena in the musical art of the Renaissance is the Protestant chorale. Originating in Germany under the influence of the Reformation movement, as opposed to the attributes of Catholic worship, it was distinguished by its special emotional and semantic content. Luther and other representatives of Protestantism attached great importance to music: “Music makes people joyful, makes them forget anger, eliminates self-confidence and other shortcomings... Youth must be constantly accustomed to music, for it forges dexterous people who can do anything.” Thus, music in the Reformation movement was considered not a luxury, but a kind of “daily bread” - it was called upon to play a large role in the promotion of Protestantism and the formation of the spiritual consciousness of the broad masses.

GENRES:

Vocal genres

The entire era as a whole is characterized by a clear predominance of vocal genres, and in particular vocal polyphony. The unusually complex mastery of polyphony in a strict style, genuine scholarship, and virtuosic technique coexisted with the bright and fresh art of everyday dissemination. Instrumental music gains some independence, but its direct dependence on vocal forms and everyday sources (dance, song) will be overcome only a little later. Major musical genres remain associated with verbal text. The essence of Renaissance humanism was reflected in the composition of choral songs in the frottol and villanelle style.
Dance genres

During the Renaissance, everyday dance acquired great value. Many new dance forms are emerging in Italy, France, England, and Spain. Different layers of society have their own dances, develop a manner of performing them, and rules of conduct during balls, evenings, and celebrations. The dances of the Renaissance are more complex than the simple branles of the late Middle Ages. Dances with round and line compositions are being replaced by pair (duet) dances based on complex movements and figures.
Volta - a pair dance of Italian origin. Its name comes from Italian word voltare, which means "to turn." The meter is three-beat, the tempo is moderate-fast. The main pattern of the dance is that the gentleman quickly and sharply turns the lady dancing with him in the air. This lift is usually done very high. It requires great strength and dexterity from the gentleman, since, despite the sharpness and some impetuosity of the movements, the lifting must be performed clearly and beautifully.
Galliard - an ancient dance of Italian origin, widespread in Italy, England, France, Spain, and Germany. The tempo of early galliards is moderately fast, the meter is three-beat. The galliard was often performed after the pavane, with which it was sometimes connected thematically. Galliards 16th century maintained in a melodic-harmonic texture with a melody in the upper voice. Galliard melodies were popular among wide audiences French society. During the serenades, Orléans students played galliard melodies on lutes and guitars. Like the chime, the galliard had the character of a kind of dance dialogue. The gentleman moved around the hall with his lady. When the man performed a solo, the lady remained in place. The male solo consisted of a variety of complex movements. After that, he again approached the lady and continued the dance.
Pavana - court dance of the 16th-17th centuries. The tempo is moderately slow, size 4/4 or 2/4. There is no consensus in different sources about its origin (Italy, Spain, France). The most popular version is a Spanish dance that imitates the movements of a peacock walking with a beautifully flowing tail. Was close to bassdance. Various ceremonial processions took place to the music of the pavan: the entry of authorities into the city, the farewell of a noble bride to the church. In France and Italy, the pavane is established as a court dance. The solemn character of the pavan allowed the court society to shine with the elegance and grace of its manners and movements. The people and the bourgeoisie did not perform this dance. The pavane, like the minuet, was performed strictly according to ranks. The king and queen began the dance, then the Dauphin and a noble lady entered into it, then the princes, etc. The cavaliers performed the pavane with a sword and capes. The ladies wore formal dresses with heavy long trousers, which had to be skillfully controlled during movements without lifting them from the floor. The movement of the tren made the moves beautiful, giving the pavan pomp and solemnity. The queen's attendants carried a train behind her. Before the dance began, people were supposed to walk around the hall. At the end of the dance, the couples walked around the hall again with bows and curtsies. But before putting on his hat, the gentleman had to put right hand from behind on the lady's shoulder, the left one (holding the hat) - on her waist and kiss her on the cheek. During the dance, the lady had her eyes downcast; only from time to time she looked at her gentleman. The pavan was preserved for the longest time in England, where it was very popular.
Allemande - a slow dance of German origin in 4-beat time. It belongs to the mass “low”, non-jumping dances. The performers stood in pairs one after another. The number of pairs was not limited. The gentleman held the lady's hands. The column moved around the hall, and when it reached the end, the participants made a turn in place (without separating their hands) and continued dancing in the opposite direction.
Kuranta - court dance of Italian origin. The chime was simple and complex. The first consisted of simple, gliding steps, performed primarily forward. The complex chime was of a pantomimic nature: three gentlemen invited three ladies to participate in the dance. The ladies were taken to the opposite corner of the hall and asked to dance. The ladies refused. The gentlemen, having been refused, left, but then returned again and knelt before the ladies. Only after the pantomime scene did the dancing begin. There are different types of chimes of Italian and French types. Italian chimes is a lively dance in 3/4 or 3/8 time with a simple rhythm in a melodic-harmonic texture. French - solemn dance ("dance of manners"), a smooth, proud procession. Meter 3/2, moderate tempo, fairly developed polyphonic texture.
Sarabande - popular dance of the 16th - 17th centuries. Derived from the Spanish women's dance with castanets. Initially accompanied by singing. The famous choreographer and teacher Carlo Blasis in one of his works gives brief description sarabande: “In this dance, everyone chooses a lady to whom he is not indifferent. The music gives a signal, and the two lovers perform a dance, noble, measured, however, the importance of this dance does not in the least interfere with the pleasure, and modesty gives it even more grace; glances “Everyone enjoys watching the dancers, who perform various figures and express with their movements all phases of love.” Initially, the tempo of the sarabande was moderately fast; later (from the 17th century) a slow French sarabande with a characteristic rhythmic pattern appeared: ...... In its homeland, the sarabande fell into the category of obscene dances and in 1630. was banned by the Castilian Council.
Zhiga - a dance of English origin, the fastest, three-beat, turning into triplets. Initially, the jig was a couples dance; it spread among sailors as a solo, very fast dance of a comic nature. Later it appears in instrumental music as the final part of an ancient dance suite.

Renaissance music, like fine art and literature, returned to values ancient culture. She not only delighted the ears, but also had a spiritual and emotional impact on listeners.

Revival of art and science in the XIV-XVI centuries. was an era of great change, marking the transition from a medieval way of life to modernity. Composing and performing music acquired special significance during this period. Humanists who studied the ancient cultures of Greece and Rome declared composing music to be a useful and noble activity. It was believed that every child should learn to sing and master playing musical instruments. For this reason, eminent families welcomed musicians into their homes to give lessons to their children and entertain guests.

Popular tools. In the 16th century new musical instruments appeared. The most popular were those that were easy and simple to play for music lovers, without requiring any special skills. The most common were violas and related plucked flowers. The viola was the forerunner of the violin, and it was easy to play thanks to the frets (wooden strips across the neck) that helped you hit the right notes. The sound of the viola was quiet, but it sounded good in small halls. To the accompaniment of another fretted plucked instrument - the lute - they sang, as they do now with a guitar.

At that time, many people loved to play the recorder, flutes and horns. The most complex music was written for the newly created ones - the harpsichord, virginel (an English harpsichord, distinguished by its small size) and organ. At the same time, the musicians did not forget to compose simpler music that did not require high performing skills. At the same time, changes occurred in musical writing: heavy wooden printing blocks were replaced by movable metal types invented by the Italian Ottaviano Petrucci. Published musical works quickly sold out, all more people began to get involved in music.

Musical directions.

New instruments, the printing of music, and the widespread popularity of music contributed to the development chamber music. As its name implies, it was intended to be played in small halls in front of a small audience. There were several performers, vocal performances predominated, since the art of singing at that time was much more developed than music-making. In addition, humanists argued that the listener is most strongly influenced by the “wonderful fusion” of two arts - music and poetry. Thus, in France, the chanson (multi-voice song) emerged as a genre, and in Italy, the madrigal.

Chansons and madrigals.

Chansons of those years were performed in several voices to touching poems with a wide thematic range - from the sublime theme of love to everyday rural life. Composers composed very simple melodies for poetry. Subsequently, from this tradition a madrigal was born - a work for 4 or 5 voices on a free poetic theme.

Later, already in the 16th century, composers came to the conclusion that the madrigal lacked the depth and strength of sound that they had always strived for in Ancient Greece and Rome, and began to revive ancient musical sizes. At the same time, a sharp change in fast and smooth tempos reflected changes in mood and emotional state.

Thus, music began to “paint words” and reflect feelings. For example, an ascending tone could mean a peak (emotional uplift), a descending tone could mean a valley (vale of sadness), slow pace- sadness, acceleration of the tempo and harmonious melodies pleasant to the ear - happiness, and deliberately long and sharp dissonance meant grief and suffering. In earlier music harmony and coherence prevailed. Now it was based on polyphony and contrast, reflecting the rich inner world of man. The music became deeper, it acquired a personal character.

Musical accompaniment.

There were celebrations and festivities distinctive feature Renaissance. People of that era celebrated everything from saints' days to the arrival of summer. During street processions, musicians and singers read ballads from richly decorated stages on wheels, performed complex madrigals, and performed dramatic performances. The public was especially looking forward to the “living pictures” with musical accompaniment and scenery in the form of a mechanical cloud from which the deity provided for in the script descended.

At the same time, the most majestic music was composed for the church. By today's standards, the choirs were not so large - from 20 to 30 people, but their voices were amplified by the sound of trombones and trumpets-cornets introduced into the orchestras, and on major holidays (for example, Christmas) singers were gathered from all over the area into one huge choir . Only the Catholic Church believed that music should be simple and understandable, and therefore set as an example the sacred music of Giovanni Palestrina, who wrote short works to spiritual texts. It should be noted that later the maestro himself came under the influence of the expressive and powerful “new” music and began to write monumental and colorful works that required considerable choral singing skills.

During the Renaissance, instrumental music developed widely. Among the main musical instruments are the lute, harp, flute, oboe, trumpet, organs of various types (positives, portables), varieties of harpsichord; The violin was a folk instrument, but with the development of new string instruments such as the viol, the violin became one of the leading musical instruments.

If the mood new era first awakens in poetry, receives brilliant development in architecture and painting, then music, starting with folk song, permeates all areas of life. Even church music is now perceived to a greater extent, like paintings by artists on biblical themes, not as something sacred, but something that brings joy and pleasure, which the composers, musicians and choirs themselves cared about.

In a word, just as in poetry, in painting, in architecture, a turning point occurred in the development of music, with the development musical aesthetics and theory, with the creation of new genres, especially synthetic forms of art, such as opera and ballet, which should be perceived as Renaissance, passed on to the centuries.

The music of the Netherlands of the 15th - 16th centuries is rich in the names of great composers, among them Josquin Despres (1440 - 1524), about whom Zarlino wrote and who served at the French court, where the Franco-Flemish school developed. It is believed that the highest achievement of Dutch musicians was the a capella choral mass, corresponding to the upward thrust of Gothic cathedrals.

Organ art is developing in Germany. In France, chapels were created at the court and musical festivals were organized. In 1581, Henry III established the position of "Chief Intendant of Music" at court. The first "chief intendant of music" was the Italian violinist Baltazarini de Belgioso, who staged "The Queen's Comedy Ballet", a performance in which music and dance were presented as stage action for the first time. This is how court ballet arose.

Clément Janequin (c. 1475 – c. 1560), eminent composer French Renaissance, is one of the creators of the polyphonic song genre. These are 4-5-voice works, like fantasy songs. The secular polyphonic song - chanson - became widespread outside France.

In the 16th century, music printing first became widespread. In 1516, Andrea Antico, a Roman-Venetian printer, published a collection of frottolas for keyboard instruments. Italy becomes the center for the creation of harpsichords and violins. Many violin-making workshops are opening. One of the first masters was the famous Andrea Amati from Cremona, who laid the foundation for the dynasty violin makers. He made significant changes to the design of existing violins, which improved the sound and brought it closer to its modern appearance.

Francesco Canova da Milano (1497 - 1543) - an outstanding Italian lutenist and composer of the Renaissance, created the reputation of Italy as a country virtuoso musicians. He is still considered the best lutenist of all time. After the decline of the late Middle Ages, music became an important element of culture.

In 1537, the first building was built in Naples by the Spanish priest Giovanni Tapia. music conservatory"Santa Maria di Loreto", which served as a model for subsequent ones.

Adrian Willaert (c.1490-1562) - Dutch composer and teacher, worked in Italy, representative of the Franco-Flemish (Dutch) polyphonic school, founder Venetian school. Willaert developed music for double choir, a tradition of multichoral music that would reach its peak at the beginning of the Baroque era in the work of Giovanni Gabrieli.

During the Renaissance, the madrigal reached the pinnacle of its development and became the most popular musical genre of the era. Unlike the earlier and simpler madrigals of the Trecento, Renaissance madrigals were written for several (4-6) voices, often by foreigners who served in the courts of influential northern families. Madrigalists sought to create high art, often using recycled poetry from the great Italian poets of the late Middle Ages: Francesco Petrarch, Giovanni Boccaccio and others. The most characteristic feature of the madrigal was the absence of strict structural canons; the main principle was the free expression of thoughts and feelings.

Composers such as the representative of the Venetian school Cipriano de Rore and the representative of the Franco-Flemish school Roland de Lassus (Orlando di Lasso during the period of his Italian creative life), experimented with increasing chromaticism, harmony, rhythm, texture and other means musical expressiveness. Their experience will continue and culminate in the Mannerist times of Carlo Gesualdo.

Another important polyphonic song form was the villanelle. Originating from popular songs in Naples, it very quickly spread throughout Italy and later went to France, England, and Germany. The Italian villanelle of the 16th century gave a strong impetus to the development of chord steps and, as a consequence, harmonic tonality.

The birth of opera (Florentine camerata).

The end of the Renaissance was marked by the most important event V musical history- the birth of opera.

A group of humanists, musicians, and poets gathered in Florence under the patronage of their leader Count Giovanni De Bardi (1534 - 1612). The group was called the "camerata", its main members were Giulio Caccini, Pietro Strozzi, Vincenzo Galilei (father of the astronomer Galileo Galilei), Giloramo Mei, Emilio de Cavalieri and Ottavio Rinuccini in his younger years.

The first documented meeting of the group took place in 1573, and the most active years of the Florentine Camerata were 1577 - 1582.

They believed that music had "gone bad" and sought to return to form and style ancient Greece, considering that musical art can be improved and accordingly society will also improve. Camerata criticized existing music for its excessive use of polyphony at the expense of text intelligibility and the loss of the poetic component of the work, and proposed the creation of a new musical style in which text in a monodic style was accompanied instrumental music. Their experiments led to the creation of a new vocal-musical form - recitative, first used by Emilio de Cavalieri, who was subsequently directly related to the development of opera.

The first officially recognized opera that meets modern standards was Daphne, first performed in 1598. The authors of Daphne were Jacopo Peri and Jacopo Corsi, libretto by Ottavio Rinuccini. This opera has not survived. The first surviving opera is Euridice (1600) by the same authors - Jacopo Peri and Ottavio Rinuccini. This creative union also created many works, most of which are lost.

Northern revival.

The music of the times is also interesting Northern Renaissance. By the 16th century There was a rich folklore, primarily vocal. Music was heard everywhere in Germany: at festivals, in church, at social events and in a military camp. The Peasant War and the Reformation caused a new rise in song folk art. There are many expressive Lutheran hymns whose authorship is unknown. Choral singing became an integral form of Lutheran worship. The Protestant chorale influenced the later development of all European music.

Variety of musical forms in Germany XVI V. It’s amazing: ballets and operas were performed on Maslenitsa. It is impossible not to mention such names as K. Paumann, P. Hofheimer. These are composers who composed secular and church music, primarily for the organ. They are joined by the outstanding French-Flemish composer, representative Dutch school O. Lasso. He worked in many European countries. He summarized and innovatively developed the achievements of various European music schools of the Renaissance. Master of religious and secular choral music (over 2000 compositions).

But the real revolution in German music was accomplished by Heinrich Schütz (1585-1672), composer, bandmaster, organist, teacher. The founder of the national school of composition, the largest of I.S.’s predecessors. Bach. The first one was written by Schutz German opera“Daphne” (1627), opera-ballet “Orpheus and Eurydice” (1638); madrigals, spiritual cantata-oratorio works (“passions”, concertos, motets, psalms, etc.).

Music in the period of the XV-XVII centuries.

In the Middle Ages, music was the prerogative of the church, so most musical works were sacred, based on church chants (Gregorian chant), which have been part of the religion since the very beginning of Christianity. At the beginning of the 6th century, cult chants, with the direct participation of Pope Gregory I, were finally canonized. Gregorian chant was performed by professional singers. After the development of polyphony in church music, the Gregorian chant remained the thematic basis of polyphonic religious works (mass, motets, etc.).

The Middle Ages were followed by the Renaissance, which was for musicians an era of discovery, innovation and research, an era of Renaissance of all layers of cultural and scientific manifestations of life from music and painting to astronomy and mathematics.

Although music remained largely religious, the weakening of church control over society opened up greater freedom for composers and performers to express their talents.

With the invention of the printing press, it became possible to print and distribute sheet music, and from that moment what we call classical music began.

During this period, new musical instruments appeared. The most popular instruments were those that music lovers could play easily and simply, without requiring special skills.

It was at this time that the viol, the predecessor of the violin, appeared. Thanks to the frets (wooden strips across the neck), it was easy to play, and its sound was quiet, gentle and sounded well in small halls.

Also popular were wind instruments- recorder, flute and horn. The most complex music was written for the newly created harpsichord, virginel (an English harpsichord characterized by its small size) and organ. At the same time, the musicians did not forget to compose simpler music that did not require high performing skills. At the same time, changes occurred in musical writing: heavy wooden printing blocks were replaced by movable metal types invented by the Italian Ottaviano Petrucci. Published musical works quickly sold out, and more and more people began to get involved in music.

Must watch: Major events in history classical music in Italy.

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The lesson is conducted for 5th grade students in the 2nd year of studying musical literature.

Purpose of the lesson: nurturing the aesthetic culture of students through familiarity with music Renaissance.

Lesson objectives:

• Give an idea of ​​the role of music and music-making in the life of people of the Renaissance;
• Acquaintance with musical instruments, genres, composers of the Renaissance;
• Introduction to musical works of the European Renaissance;
• Development of basic auditory music analysis skills;
• Developing an understanding of the relationship different types arts;
• Nurturing emotional perception of works of art;
• Development of students' thinking and speech;
• Expanding your horizons.

Lesson type: lesson on learning a new topic.

Lesson equipment: multimedia presentation, computer.

Musical material:

• W. Bird's piece for virginal "Volta";
• F. da Milano “Fantasia” No. 6 for lute;
• Scene from the film "Elizabeth": The Queen dances the volta (video);
• I. Alberti “Pavane and galliard” (video);
• English folk song"Green Sleeves";
• J.P. Palestrina "Mass of Pope Marcello", part of "Agnus Dei";
• O. Lasso “Echo”;
• G. di Venosa madrigal “Moro, lasso, al mio duolo”;
• J. Peri Scene from the opera “Eurydice”.

Lesson progress

I. Organizational moment

II. Updating knowledge

In the last lesson we talked about the culture and painting of the Renaissance.

– What is another name for this era (“Renaissance” in French)?
– What centuries does the Renaissance cover? What era did it replace?

– Where does this era name come from? What did they want to “revive”?

– In which country did the Renaissance begin earlier than in others?

– Which Italian city is called the “cradle of the Renaissance”? Why?

– What great artists lived in Florence? Remember their work.

– How do their creations differ from medieval art?

III. Learning a new topic

Today we are going back to the Renaissance era. We will find out what music was like at this time. Let's get acquainted with the musical instruments of the Renaissance, see them and hear their authentic sound. We will also meet with outstanding composers of the Renaissance and their masterpieces.

IV. Working with a presentation

Slide 1. Front page.

Slide 2. The topic of our lesson is “Music of the Renaissance.” Time frame: XIV–XVI centuries.

Slide 3. Epigraph of the lesson. How do you understand these words?

... There is no living creature on earth
So tough, cool, hellishly evil,
So that I couldn’t even for one hour
In it, music makes a revolution.
(William Shakespeare)

Slide 4. During the Renaissance, the role of art in the cultural life of society increases. Artistic education is recognized as an important aspect of the development of a noble person, a condition for a good upbringing.

Church control over society is weakened, musicians receive greater freedom. The author's personality and creative individuality are becoming more and more evident in his writings. During the Renaissance, the very concept of “ composer».

It became very important for the development of music invention of music printing at the end of the 15th century. In 1501, the Italian publisher Ottaviano Petrucci published the first collection for home music playing. New works were published and distributed very quickly. Now any middle-income city dweller could buy sheet music. As a result, urban music making begins to develop rapidly, covering everything more people.

Slide 5. Musical instruments Renaissance. Winds, strings, keyboards.

Slide 6. Lute- the most beloved instrument of the Renaissance. Refers to strings plucked instruments. At first the lute was played with a plectrum, but by the 15th century they began to play with their fingers.

Slide 7. Its body looks like a pear cut in half. The lute has a short neck with frets, bent at a right angle.

Slide 8. The lute comes from an Arabic instrument called Al-ud (Arabic for "wood"). In the 8th century, oud entered Europe from North Africa during the Arab conquest of Spain and took root at the court of many Spanish nobles. Over time, Europeans added frets (divisions on the fretboard) to the oud and called it “lute.”

Slide 9. Both men and women played the lute.

Slide 10. The lute was compact, lightweight, and could be taken with you everywhere.

Slide 11. Lute music was recorded not with notes, but with the help of tablature. Look: lute tablature consists of 6 lines indicating strings. The numbers indicate the frets, the durations are at the top.

Slide 12. Strings bowed instruments . If the lute was played by people of different classes, then only a very rich person could afford an instrument from the viol family. Violas were expensive; they were made from precious wood and decorated with elegant designs and jewelry. The violas were of different sizes. In this painting, angels play the most popular types of viols - da gamba and da braccia.

Slide 13. Viola in Italian - “violet”. The sound of the viola was very pleasant: soft, gentle and quiet.

Slides 14, 15. The name viola da braccia is translated from Italian language"hand, shoulder." This is the name given to small viols that were held at the shoulder when played.

Slide 16. Viola da gamba - “foot”. It was large in size and had to be held between the knees or placed on the thigh when playing. These viols were usually played by men.

Slide 17. Have you noticed what classical instruments viols are very similar to? Violin, cello. Let's compare the viola da gamba with the cello.

We will hear the sound of viols a little later.

Slide 18.Virginel. A rectangular keyboard instrument, usually without legs. According to the principle of the device, it was one of the predecessors of the piano. But in terms of sound quality it was closer to the harp and lute. His timbre was distinguished by softness and tenderness.

Slide 19. Who knows what the English word means? virgin? Virgo, girl. Guess why this instrument was called “girlish”? Most often, the virginel was played by young girls of noble birth. It is known that even Queen Elizabeth I of England was very fond of the virginel and played it well.

Slide 20. William Bird- the largest English composer, organist and harpsichordist of Elizabeth's time. Born in 1543, died in 1623. Served as court organist. He composed many sacred works, madrigals and pieces for virginal.

Let's listen: W. Bird piece for virginal "Volta"

Slide 21-24. Renaissance artists often depicted angels playing music in their paintings. Why? What does this mean? Why do angels need music? What about people?

Slide 25. Look how big the group of musicians is. What are they playing? How do they feel? Are they good together? Do W. Shakespeare's words fit this picture? Which keyword in these verses? Unity, agreement.

Listen to how friendly the strings are
They get into formation and give their voice, -
As if mother, father and young boy
They sing in happy unity.
The agreement of the strings in a concert tells us,
That the lonely path is like death.

Slide 26. Instrumental genres The Renaissance was divided into 3 types: transcriptions vocal works, virtuoso plays of an improvisational nature (richercar, prelude, fantasy), dance pieces (pavane, galliard, volta, moresca, saltarella).

Slide 27. Francesco da Milano- famous Italian lutenist and composer of the 16th century, whom his contemporaries called “The Divine”. He owns numerous pieces for lute, combined into three collections.

Let's listen: F. da Milano “Fantasia” for lute

Slide 28. Dances of the Renaissance. During the Renaissance, the very attitude towards dance changed. From a sinful, unworthy activity, dance turns into an obligatory accessory. social life and becomes one of the most necessary skills noble man. Balls are firmly established in the life of the European aristocracy. What kind of dances were in fashion?

Slide 29. Volta– Popular dance of the 16th century of Italian origin. The name volta comes from the Italian word voltare, which means “turn.” The tempo of the volta is fast, the size is three-beat. The main movement of the dance: the gentleman sharply lifts high and turns the lady dancing with him in the air. Moreover, this movement must be performed clearly and gracefully. And only trained men could cope with this dance.

Let's look: fragment of the video film “Elizabeth”

Slide 30. Pavana- a solemn slow dance of Spanish origin. The name pavana comes from the Latin pavo - peacock. The size of the pavan is two-beat, the tempo is slow. They danced it to demonstrate to others their greatness and luxurious costume. The people and the bourgeoisie did not perform this dance.

Slide 31.Galliard(from Italian - cheerful, cheerful) - active dance. The character of the galliard preserves the memory of the folk origin of the dance. She is characterized by jumping and sudden movements.

Pavane and galliard were often performed one after another, forming a kind of suite.

Now you will see a fragment of the concert of the ancient music ensemble “Hesperion XXI”. Its leader is Jordi Savall- Spanish cellist, gamblist and conductor, one of the most authoritative musicians today performing ancient music authentically (as it sounded at the time of its creation).

Slide 32. Look: I. Alberti "Pavane and galliard".

Performed by the ancient music ensemble “Hespèrion XXI”, directed by. J. Saval.

Slide 33. Vocal genres The Renaissance was divided into ecclesiastical and secular. What does "secular" mean? There was a mass and a motet in the church. Outside the church - caccia, ballata, frottola, villanelle, chanson, madrigal.

Slide 34. Church singing reaches the peak of its development. This is the time of polyphony of “strict writing”.

The most outstanding composer-polyphonist of the Renaissance was the Italian Giovanni Pierluigi da Palestrina. He received his nickname - Palestrina - from the name of the city in which he was born. He worked in the Vatican and held high musical positions under the papal throne.

Mass – piece of music, consisting of prayers in Latin, heard during services in the Catholic Church.

Let's listen: J.P. da Palestrina "Mass of Pope Marcello", part of the "Agnus Dei"

Slide 35. Secular songs. English ballad "Green Sleeves"- very popular today. The lyrics of this song are attributed to to the English king Henry VIII. He addressed these verses to his beloved Anne Boleyn, who later became his second wife. Do you know what this song is about?

Slide 36. Lyrics of the song “Green Sleeves” translated by S.Ya. Marshak.

Let's listen: English ballad "Greensleeves"

Slide 37. Orlando Lasso- one of the most outstanding representatives of the Dutch polyphonic school. Born in Belgium, lived in Italy, England and France. For the last 37 years of his life, when his name was already known throughout Europe, he directed the court chapel in Munich. He created more than 2,000 vocal works of both religious and secular nature.

Slide 38. Chanson “Echo” was written for two four-voice choirs. The first choir asks questions, the second choir answers him like an echo.

Let's listen: O. Lasso Chanson “Echo”

Slide 39. Madrigal(from the Italian word madre - “mother”) - a song in the native, maternal language. Madrigal is a polyphonic (for 4 or 5 voices) song with lyrical content and a sublime character. The heyday of this vocal genre comes in the 16th century.

Slide 40.Gesualdo di Venosa – Italian composer XVI century, one of greatest masters secular madrigal. He was a mysterious person. A rich prince, ruler of the city of Venosa. Having caught his beautiful wife cheating, Gesualdo, in a fit of jealousy, took her life. Periodically he fell into melancholy and hid from everyone in his castle. He died at the age of 47, in a clouded mind...

During his lifetime he published 6 collections of five-voice madrigals. A feature of G. di Venosa's style is the saturation of music, unique for his time, with chromaticisms and colorful juxtapositions of dissonant chords. So Gesualdo transformed his terrible mental pain and pangs of conscience into music.

His contemporaries did not understand his music; they considered it terrible and harsh. Musicians of the 20th century appreciated him, a film was made about G. di Venosa, books are written, and composer A. Schnittke dedicated the opera “Gesualdo” to him.

Slide 41. Madrigal “Moro, lasso, al mio duolo” is one of the latest creations by G. di Venoz. He owns both the music and the lyrics:

Oh! I'm dying of grief
The one who promised happiness
He kills me with his power!
Oh, evil whirlwind of sorrow!
The one that promised life
Death gave me.

Let's listen: G. di Venosa “Moro, lasso, al mio duolo”

Slide 42. At the end of the 16th century, arose in Florence Florentine Camerata- a circle of musicians and poets who wanted to revive the ancient Greek tragedy with its inherent special manner of pronouncing the text (something between speech and singing).

Slide 43. The birth of opera. As a result of these experiments, opera was born. On October 6, 1600, the first opera that has survived to this day, Eurydice, premiered in Florence. Its author is composer and singer Jacopo Peri.

Let's listen: J. Peri Scene from the opera “Eurydice”

V. Lesson summary

– What new did you learn today about the Renaissance?

– Which instrument did you like the sound of? How?

– Which ones? modern instruments Are lute, viola, and virgin similar?

– What did people sing during the Renaissance? Where? How?

– Why did Renaissance artists so often depict musicians?

– What music played in class today did you like and remember?

VI. Homework (optional):

• Sing the song “Green Sleeves” from the notes; those who wish can choose an accompaniment for it;
• Find musical paintings Renaissance artists and talk about them.