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The Catholic Church remained an important institution during the Renaissance, but diminished in influence in consequence of the wealth and power of families such as the Medici of Florence and the Estes of Ferrara, whose courts became centers of culture, learning, and military might. The Reformation, which began with Martin Luther’s criticisms of Church abuses, had its greatest impact in Germany. Other breakaway movements followed in France and Switzerland, as well as in England, where Henry VIII defied the authority of the pope and declared himself head of a new Anglican church. Wars between Catholics and Protestants are part of the history of many of the countries that broke with Rome.
In music and the other arts, patronage by royalty, who competed in maintaining splendid courts as well as chapels, spurred the development of secular forms of artistic expression.
Whether secular or sacred, Renaissance art, sculpture, and architecture embody the ideals of balance, clarity, and emotional restraint that characterized the classicism of the Greeks. In music, where no ancient models survived, that aesthetic found expression in a style that evolved from concepts of consonance and dissonance developed in the Middle Ages but with new emphasis on harmonious sonorities. The predominant texture consisted of soprano, alto, tenor, and bass voice parts creating a highly contrapuntal web in which the lines diverge, converge, cross, echo, and imitate each other, sometimes with great rhythmic independence, sometimes moving together in the manner of a hymn. In setting religious texts, composers strove for an atmosphere of serenity and spirituality, in the setting of secular texts, for vivid representation of words and images. Instrumental music continued to be of secondary importance to composers, whose approach to writing for instruments was usually the same as that for voices. For example, published collections of dances required unspecified instruments of soprano, alto, tenor, and bass range—in essence vocal pieces without words. Some composers, however, began to explore shaping musical material in ways that exploited the unique features of the instruments on which it would be performed.
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