4.1 The renassiance period (1400-1600)  (Page 2/3)

Since stress is determined more by text than by meter, a conductor, by singing each part carefully, can determine the incidents of stress in each phrase and mark them in the score. Sometimes editors will show note groupings in scores and bar them together to aid singers in establishing a musical flow that follows the stress of the text.

Conductors should also be aware that most pieces of the period marked 4/4 are usually best conducted in two, rather than in four. The rhythmical flow is impeded considerably by the punchiness of four conducted beats to a measure. Modern conducting patterns, particularly the four pattern, are not easily adapted to Renaissance scores.

The tempo is also influenced by the text. Notational features affect the tempo changes in the music, although these are usually not apparent in modern editions, having been changed to modern notation by the editor. Unless indicated, the tempo does not appreciably vary during a section of a work. Syllabic sections may often be taken at a slightly faster tempo than polyphonic sections. Although the music must not be taken so fast that the inherent beauty of the polyphony is destroyed, conductors should guard against a very slow tempo that impedes the linear flow.

Ritards should generally be avoided. A slowing down of the music was achieved by "building it into the score." This was accomplished by lengthening, often doubling, the note values. The conductor who dwells on a cadence and distorts the tempo at that point is achieving a special effect at the expense of the overall style of the music. The word restraint has long been applied to Renaissance music, and its application is well deserved.

Dynamics

The dynamics should be moderate and in keeping with the mood of the text. Since composers of the Renaissance did not use dynamic markings, any markings in modern editions are those of the editor, not the composer. Although overlapping lines do not lend themselves to a climax at any one given point, the composers were not unaware of the intensity that could be realized. Conductors must be responsive to the suggestions of the music, but must also guard against any tendency toward excessive dynamics.

Texture

Although Renaissance music is horizontal, the composers were becoming aware of the harmonic implications of their music. There was a concern for harmonic beauty resulting from the combination of vocal lines. The clarity of each moving part is of primary importance. In fact, the parts were written down in part books, rather than in full scores as we use today. As discussed below, clarity is best achieved with a tone that has little vibrato since excessive vibrato will destroy the transparency and forward motion of the line. Younger voices rarely have a problem attaining the desired quality since they are usually naturally light.

The texture is a well-contained body of sound that has constantly moving parts of quite equal importance. A subtle emphasis of dynamics or of the beginning of a line will bring out desired points of importance.