Renaissance Secular Music
Madrigal & Birth of Opera
Renaissance Secular Music
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Music outside the church during the middle ages was primarily done by
troubadours, trouveres & jongulers. They traveled from town to town
entertaining in a variety of ways.
This tradition continued into the early Renaissance all through Europe.
After the Council of Trent and various other reforms, music of the
church became simplified, for clarity of the words.
Music of Protestant churches centered on simple hymn singing with
organ accompaniment.
Trained composers, seeking an outlet for more complex ways of
composition, began to experiment with secular forms.
Chanson – French song
– Frotola – Italian song
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This leads to the development of the madrigal, the most important
secular form of the Renaissance.
During the late 16th century (1500’s), secular music became as
important as sacred music for the first time in music history.
Renaissance Madrigal
A picture from a modern day ‘Madrigal Dinner’
Madrigal Performance
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Here is a modern day performance of Carlo Gesualdo’s Moro lasso, al
mio Duolo (I die, languishing in grief) – a madrigal about lost love.
Renaissance Madrigal
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The madrigal is a secular vocal composition, primarily written in the late
Renaissance, lasting through the early Baroque.
It was developed as a combination of the sacred motet & secular
chanson/frotola.
Composers that were primarily known as sacred composers also
composed some madrigals, including Josquin & Palestrina.
Bernardo Pisano (1490-1528) was one of the first composers of
madrigal style forms. His composition book was the first secular
collection of music ever printed. (It should be noted that his songs were
not labeled ‘madrigal’)
The first book of secular music labeled ‘madrigal’ was by Philip
Verdelot (c1480-c1552). He is often called the ‘father of the Italian
Madrigal.’
The most reprinted book of madrigals of this time was by Jacques
Arcadelt (1507-1568). His book originated in Venice, Italy and was
distributed all over Europe.
There were several other composers of madrigals – to discuss all of
them is outside the scope of this class. 
Philip Verdelot
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‘Father of the Italian Madrigal’ – Lived his entire life in Italy.
His earliest madrigals were written as incidental music for plays that
were put on for royalty as well as the Pope (head of the Catholic
church)
Here is a recording of Ultimi Miei Sospiri (My last sighs) – another
madrigal about lost love. (Try to ignore the ugly tree man…) 
Jacques Arcadelt
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Here is a performance of Arcadelt’s Ahime, ahime, dov'è'l bel viso (Alas
My Lovely Lady, Where Are You?)
Carlo Gesualdo
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Although considered mentally unstable, Gesualdo became one of the
leading composers of the Italian madrigal.
Known for some of the most intense emotional writing of his time.
Some say he foreshadowed the Romantic period (1800’s)
Accused of murdering his wife and her lover.
His madrigals are often performed today by a variety of groups.
Here is a modern performance of Asciugate i begli occhi (Dry Those
Lovely Eyes)
Birth of Opera
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The madrigal became the first important secular form.
A group of composers, poets & artists known as the Florentine
Camerata began to explore the idea of ancient Greek drama.
The began to experiment with this form in a variety of ways.
Eventually, they began to combine various madrigals to tell a more
complex story.
As this art form developed, they began adding other disciplines.
Costumes & Makeup for characters.
– Artists & Builders for set design.
– Architects for theater & stage design
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Eventually, all these components come together and opera is born,
eventually phasing out the madrigal.
The early development & composers of opera will be discussed in the
early portion of the Baroque period.
This section brings an end to the Renaissance music and begins a
whole new era known as the Baroque.
The End 
 Tomorrow
– open note worksheets.