Title: An Anthology of Early Renaissance Music(1400-1560)
(Noah)Greenberg & (Paul)Maynard SF780.903 G799A
BAROQUE @ RENAISSANCE PERIOD


In general,scores are somewhat Figured-bass and examines the art of ornamentation

Scoring less variable,never exactly presumed that the single 'correct' set of conditions for the performance of a given piece exist.Instruments used(in general terms)-doubling voices,for choral effect,a cappella performance may be used.
Other instruments: recorder(short range but suitable for short range renaissance scores),curved horn@krummhorn-double reed but player's lips never come in contact with reed resulting inflexibility.(at times,buzzy sound)
Fav instruments(late renaissance,ie 1600): viols & lute,with good players-blend well with vocals.Cornett@cornetto,cup mouthpiece but made of wood covered leather.Wide dynamic range,can be played surprisingly soft.Sackbut(direct ancestor of the trombone),has alto,tenor and bass.Narrower bore,smaller bell than trb.-softer and more agile.Blends well with voice.Shawm(ancestor of oboe),gives vocal sound bright edge and added focus-also works well with instrumental scorings.

Dynamics, phrasing and articulation
Considerably less dynamic range but not shld not limit players' performance.Tricky,does not mean there are no dynamic possiblities and not to be interpreted as dynamic monotone.Look for meanings of text's word rhythms, phrase structures.Vocal 'bloom'(subtle crescendo or increase of warmth in vocal sound)often longer value than surrounding notes.

Tempo
Almost similar to modern musical principles.(ie,longest&shortest notes,harmonic rhythm,general melodic styles,character of piece-tenderness,playfulness,breadth,sadness,resignation,exuberance or quiet joy)
Aloowing music to 'breath'

Musica Ficta-The unwritten tradition of adding accidentals.Earlier theorist categorise- causa necessitatis(necessary) and causa pulchritudinis(not necessary,but desirable for the sake of beauty)

Ornamentation
No two performers ornamented the same piece in the same way.Renaissance performers frequently and freely added improvised ornamentatio to the simpler, written ersion of the music.Ornamentation must never sound as if it has been 'pinned on' to teh music,but rather, must grow out of the line,be part of it?

Pitch and transposition
Eight Gregorian modes?Served as basic scale modes/structure.No standardized actual sounding pitch during Renaissance.The all-important thing is that the performing pitch should represent the spirit of the written pitch.Hence,transposing-certain extent,allowable.

Vocal Quality
Keep in mind,women's voices never permitted in the sacred service,but sang in secular music.Estimate around Yr1500,typical highly trained chapel vhoir-10boy sopranos-5 each of countertenors, tenors and baritones or basses.

Composers
Bartolomeo Tronboncino,native born Italian -AveMaria SATB pp.135
Laude,vernacular devotional songs intended for laymen.Devotional service held by laymen - laudesi
monophonic,to certain extent,influenced by French troubadour music
Frottloa,leading composer,above.