Renaissance music

Renaissance music is traditionally understood to cover European music of the 15th and 16th centuries, later than the Renaissance era as it is understood in other disciplines. Rather than starting from the early 14th-century ars nova, the Trecento music was treated by musicology as a coda to medieval music and the new era dated from the rise of triadic harmony and the spread of the contenance angloise style from the British Isles to the Burgundian School. A convenient watershed for its end is the adoption of basso continuo at the beginning of the Baroque period. The period may be roughly subdivided, with an early period corresponding to the career of Guillaume Du Fay (c. 1397–1474) and the cultivation of cantilena style, a middle dominated by Franco-Flemish School and the four-part textures favored by Johannes Ockeghem (1410s or '20s–1497) and Josquin des Prez (late 1450s–1521), and culminating during the Counter-Reformation in the florid counterpoint of Palestrina (c. 1525–1594) and the Roman School. Music was increasingly freed from medieval constraints, and more variety was permitted in range, rhythm, harmony, form, and notation. On the other hand, rules of counterpoint became more constrained, particularly with regard to treatment of dissonances. 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.¶

The text above is adapted from the Wikipedia article “Renaissance music”, available under the Creative Commons Attribution-ShareAlike 4.0 licence.¶

Renaissance music is musical period between the 15th and 17th centuries, according to the structured record cited below. This entry was generated automatically from that record and has not yet been reviewed by a person familiar with the tradition.¹¶

The source record links this tradition to 25 external registers, which can be verified through the citation.¹¶