Full Answer
What is the Flemish School of Renaissance music?
Several generations of Renaissance composers from the region loosely known as the "Low Countries"—i.e. present-day Northern France, Belgium and the Southern Netherlands —are grouped under "Franco-Flemish School", though a teacher-student-relationship between them rarely existed.
Where did the Franco-Flemish musical style originate?
present-day Northern France, Belgium and the Southern Netherlands—are grouped under "Franco-Flemish School", though a teacher-student-relationship between them rarely existed. Most of these musicians were born in the thriving Burgundian provinces of Flanders, Brabant, Hainaut, or Limburg.
What musical forms were used in the Renaissance period?
Principal liturgical (church-based) musical forms which remained in use throughout the Renaissance period were masses and motets, with some other developments towards the end of the era, especially as composers of sacred music began to adopt secular (non-religious) musical forms (such as the madrigal) for religious use.
What is polyphonic Renaissance music?
Renaissance music. From this changing society emerged a common, unifying musical language, in particular, the polyphonic style (this means music with multiple, independent melody lines performed simultaneously) of the Franco-Flemish school, whose greatest master was Josquin des Prez .
What was the musical Renaissance?
Who were the three composers of the 15th century?
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Category:Franco-Flemish composers - Wikipedia
Composers of the Franco-Flemish or Dutch School who were active between about 1430 and 1620. These composers originated from present-day northern France, Belgium, Netherlands, and north-western Germany. They also may be found under the composer categories of the individual present-day countries.
Des prez Mille regretz - Download free sheet music
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Josquin & the Franco-Flemish School | Warner Classics
Active in the fifteenth and sixteenth centuries, the composers of the Franco-Flemish School included such brilliant and diverse figures as Binchois, Dufay, des Prez, Obrecht, de La Rue, Isaac, Roland de Lassus, Willaert and de Wert.
Josquin and The Franco-Flemish School | CD | Warner 9029673084 - Europadisc
Active in the fifteenth and sixteenth centuries, the composers of the Franco-Flemish School included such brilliant and diverse figures as Binchois, Dufay, des Prez, Obrecht, de La Rue, Isaac, Roland de Lassus, Willaert and de Wert.Spanning two hundred years of Western music history, the School flourished throughout the Renaissance as the language of music underwent the gradual shift from ...
John Dowland – Flow my tears | Genius
Flow, my tears, fall from your springs! / Exiled for ever, let me mourn; / Where night's black bird her sad infamy sings, / There let me live forlorn. / Down vain lights, shine you
Where did the Renaissance composers come from?
Several generations of Renaissance composers from the region loosely known as the Low Countries (Imperial and French fiefs ruled in personal union by the House of Valois-Burgundy in the period from 1384 to 1482)—i.e. present-day Northern France, Belgium and the Southern Netherlands —are grouped under "Franco-Flemish School", though a teacher-student-relationship between them rarely existed. Most of these musicians were born in the thriving Burgundian provinces of Artois, Flanders, Brabant, Hainaut, or Limburg. Others were born in Northern and Southern France, like Guillaume Faugues, Simone de Bonefont and Antoine Brumel who was one of the most influential composers of his generation. During periods of political and economic stability, the courts of the Burgundian dukes were a centre of cultural activity in Europe.
Who were the first generation composers?
The First generation (1420–1450), dominated by Jean Tapissier, Guillaume Du Fay, Gilles Binchois and Antoine Busnois; this group of composers is most often known as the Burgundian School. The origins of the style of the first generation embraces both earlier Burgundian traditions and also Italian and English styles. For example, in 1442, the poet Martin le Franc praised Binchois and Dufay for following Dunstaple in adopting the contenance angloise ("English character").
What was the first international style?
The spread of their technique, especially after the revolutionary development of printing, produced the first true international style since the unification of Gregorian chant in the 9th century. Franco-Flemish composers mainly wrote sacred music, primarily masses, motets, and hymns .
When were the Motets written?
Composed between 1450 and 1520, these motets were typically written for four voices, with all voices being equal. They often exhibit thick, dark textures, with an extended low range. The most notable composers of this style include Ockeghem and Josquin, whose De profundis clamavi ad te, composed between 1500 and 1521, provides a good example.
What are the characteristics of Renaissance music?
The main characteristics of Renaissance music are.: Music based on modes. Richer texture, with four or more independent melodic parts being performed simultaneously. These interweaving melodic lines, a style called polyphony, is one of the defining features of Renaissance music.
What music genres were popular during the Renaissance?
From the Renaissance era, notated secular and sacred music survives in quantity, including vocal and instrumental works and mixed vocal/instrumental works. A wide range of musical styles and genres flourished during the Renaissance, including masses, motets, madrigals, chansons, accompanied songs, instrumental dances, and many others.
How many works of music did Dunstaple write?
Of the works attributed to him only about fifty survive, among which are two complete masses, three connected mass sections, fourteen individual mass sections, twelve complete isorhythmic motets and seven settings of Marian antiphons, such as Alma redemptoris Mater and Salve Regina, Mater misericordiae. Dunstaple was one of the first to compose masses using a single melody as cantus firmus. A good example of this technique is his Missa Rex seculorum. He is believed to have written secular (non-religious) music, but no songs in the vernacular can be attributed to him with any degree of certainty.
How did music change during the Renaissance?
In the Renaissance, music became a vehicle for personal expression. Composers found ways to make vocal music more expressive of the texts they were setting. Secular music absorbed techniques from sacred music, and vice versa. Popular secular forms such as the chanson and madrigal spread throughout Europe. Courts employed virtuoso performers, both singers and instrumentalists. Music also became more self-sufficient with its availability in printed form, existing for its own sake.
How do woodwind instruments make sound?
Woodwind instruments (aerophones) produce sound by means of a vibrating column of air within the pipe. Holes along the pipe allow the player to control the length of the column of air, and hence the pitch. There are several ways of making the air column vibrate, and these ways define the subcategories of woodwind instruments. A player may blow across a mouth hole, as in a flute; into a mouthpiece with a single reed, as in a modern-day clarinet or saxophone; or a double reed, as in an oboe or bassoon. All three of these methods of tone production can be found in Renaissance instruments.
What was the role of music in the Renaissance?
In the Renaissance, music became a vehicle for personal expression.
What is Renaissance music?
From Wikipedia, the free encyclopedia. Renaissance music is vocal and instrumental music written and performed in Europe during the Renaissance era. Consensus among music historians has been to start the era around 1400, with the end of the medieval era, and to close it around 1600, with the beginning of the Baroque period, ...
What was the musical Renaissance?
The musical Renaissance was a revival of ideas about ancient music rather than a revival of a specific set of musical techniques. Most prominent composers in 1450–1520 came from France, Belgium, or the Netherlands. The greatest composer of the era was Josquin des Prez (ca. 1450–1521).
Who were the three composers of the 15th century?
The three greatest composers were Jacob Obrecht (1457/8–1505), Heinrich Isaac (ca. 1450–1517), and Josquin des Prez (ca. 1450–1521). All were trained in the Low Countries and worked in Italy and elsewhere, and their music blends northern and southern elements. Isaac’s song Innsbruck, ich muss dich lassen, with its appealing melody, full triads, and clear phrase structure, shows the influence of the Italian style. Music: NAWM 40
Overview
The designation Franco-Flemish School, also called Netherlandish School, Burgundian School, Low Countries School, Flemish School, Dutch School, or Northern School, refers, somewhat imprecisely, to the style of polyphonic vocal music composition originating from France and from the Burgundian Netherlands in the 15th and 16th centuries as well as to the composers who wrote it. The spread of their technique, especially after the revolutionary development of printing, produ…
Term and controversy
Several generations of Renaissance composers from the region loosely known as the Low Countries (Imperial and French fiefs ruled in personal union by the House of Valois-Burgundy in the period from 1384 to 1482)—i.e. present-day Northern France, Belgium and the Southern Netherlands—are grouped under "Franco-Flemish School", though a teacher-student-relationship between them rarely existed. Most of these musicians were born in the thriving Burgundian provinces of A…
Development
Following are five groups, or generations, that are sometimes distinguished in the Franco-Flemish/Netherlandish school. Development of this musical style was continuous, and these generations only provide useful reference points.
• The First generation (1420–1450), dominated by Jean Tapissier, Guillaume Du Fay, Gilles Binchois and Antoine Busnois; this group of composers is most often known as the Burgundian School. T…
The Franco-Flemish motet
Composed between 1450 and 1520, these motets were typically written for four voices, with all voices being equal. They often exhibit thick, dark textures, with an extended low range. The most notable composers of this style include Ockeghem and Josquin, whose De profundis clamavi ad te, composed between 1500 and 1521, provides a good example.
See also
• Category:Franco-Flemish composers
Further reading
• Gut, Serge. 1968. "A propos des polyphonistes de la Renaissance : franco-flamand ou néerlandais". Revue du nord.
• A History of Music and Musical Style, by Homer Ulrich & Paul Pisk (1963). New York: Harcourt Brace Jovanovich. ISBN 0-15-537720-5.
• Volledige namenlijst van alle polyfonisten uit de Nederlanden (1400–1600) [Complete List of Names of Polyphonists from the Netherlands born between 1400 and 1600].