Table Of ContentTHE
RENAISSANCE
--M~usic
THE
RENAISSANCE
From the1470s to the end oft he 16th century
EDITED BY lAIN FENLON
M
MACMILLAN
Copyright© 1989 Granada Group and The Macmillan Press Ltd
All rights reserved. No reproduction, copy or transmission
of this publication may be made without written permission.
No paragraph of this publication may be reproduced, copied
or transmitted save with written permission or in accordance
with the provisions of the Copyright Act 1956 (as amended).
Any person who does any unauthorized act in relation to this
publication may be liable to criminal prosecution and civil
claims for damages.
First published in the United Kingdom 1989 by
The Macmillan Press Limited
Houndmills, Basingstoke, Hampshire RG21 2XS
and London
Associated companies in Auckland, Delhi, Dublin, Gaborone,
Hamburg, Harare, Hong Kong, Johannesburg, Kuala Lumpur,
Lagos, Manzini, Melbourne, Mexico City, Nairobi, New York,
Singapore and Tokyo.
ISBN 978-0-333-52652-1 ISBN 978-1-349-20536-3 (eBook)
DOI 10.1007/978-1-349-20536-3
British Library Cataloguing in Publication Data
Man and music.-(A social history)
Vol. 2, Renaissance.
1. Music to 1985
I. Fenlon, lain II. Series
780'.9
Typeset by Glyn Davies, Cambridge
Contents
Illustration Acknowledgments Vl
Abbreviations Vll
Preface lX
I Music and Society
lain Fenlon
II Rome: a City ofRich Contrast
Christopher Reynolds 63
III Venice: Theatreofthe World
lain Fenlon 102
IV North Italian Courts, 1460-1540
William F. Prizer 133
v
Aragonese Naples
Allan W. Atlas 156
VI Paris and the French Court under Fran~ois I
Richard Freedman 174
VII Lyons: Commercial and Cultural Metropolis
Frank Dobbins 197
VIII The Habsburg Courts in the Netherlands and
Austria, 1477-1530
Martin Picker 216
IX Munich at the Time ofOrlande de Lass us
JamesHaar 243
X The Lutheran Reformation
RobinA. Leaver 263
XI 16th-Century Nuremberg
Susan Gattuso 286
XII Elizabethan London
Craig Monson 304
XIII The Spanish Court ofFerdinand and Isabella
Tess Knighton 341
XIV 16th-Century Antwerp
Kristine K. Forney 361
Chronology 380
Index 394
Illustration
Acknowledgments
The publishers would like to thank the following institutions and individuals who have
kindly provided photographic material for use in this book.
2, Musee du Louvre, Paris/photo Lauros-Giraudon; 3, Osterreichisches National
bibliothek, Vienna (Sign.Ink.5.G.9, f.D2a); 4, Mansell Collection, London; 7, 9, Scala,
Florence; 8, 32, Musee du Louvre, Paris/photo Reunion des Musees Nationaux;
10, Civica Raccolta Stampe A. Bertarelli, Castello Sforzesco, Milan; II, 13, 29, 61,
courtesy of the Trustees of the N a tiona! Gallery, London; 12, Royal Commission on the
Historical Monuments of England; 16, Istituto Centrale peril Catalogo e Ia Documen
tazione, Rome; 17, courtesy of the Board and Trustees of the Victoria and Albert
Museum, London; 18, Monumenti Musei e Gallerie Pontificie, Vatican City, Rome;
19, 20 (Cappella Sistina MS 611, f.lv), 50 (Chigi.C.VIII.234, ff.3v-4), Biblioteca
Apostolica Vaticana, Rome; 21 (left, centre), 36, Alinari, Florence; 21 (right), 23, 25,
28, Mansell Collection, London/A linari, Florence; 24, Kunsthalle, Hamburg/photo
Elke Walford; 26, photo Paolo Marton, Treviso; 31, Biblioteca Casanatense, Rome/
photo Nadia Murgioni; 33, Azienda di Promozione Turistica, Mantua; 34, Museo di
S Martino, Naples/photo Scala, Florence; 35, National Gallery of Art, Washington,
DC (Samuel H. Kress Collection); 37, Beinecke Rare Book and Manuscript Library,
Yale University (Mellon Chansonnier, ff.lv-2); 38 (Fonds.it.973, f.23v), 47, Biblio
theque Nationale, Paris; 39, Musee Conde, Chantilly/photo Giraudon, Paris; 40,
Musee des Gobelins, Paris/photo Lauron-Giraudon; 41, Library of the Boston
Athenaeum; 42, Hotel de Ville, Paris/photo Giraudon; 43, Governing Body, Christ
Church, Oxford/photo Bodleian Library; 44 (Roy.20.A.XVI, ff.lv-2), 46 (Harley
4325, fold-out), 65 (Add.25716, f.l), 70, 74 (Add.35324, ff.31v, 31), Trustees of the
British Library, London; 49 (MS 9092, f.9), 81, 82, Bibliotheque Royale Albert ler,
Brussels; 51, City Archives, Mechelen (HH.Melanges.l, f.lv); 52, Kunsthistorisches
Museum, Vienna (PS 5073, f.4); 55 (Mus.Ms.A-1, f.204), 56 (Mus.Ms.A-2, f.l87),
57, 58 (Mus.Ms.A-2, f.l88), Bayerisches Staatsbibliothek, Munich; 59, Staatliche
Museen Preussischer Kulturbesitz, Kupferstichkabinett, Berlin/photo Jorg Anders;
60, Herzog-Anton-Ulrich Museum, Brunswick/photo Mansell Collection, London;
62, Lutherhalle, Reformationsgeschichtliches Museum, Wittenberg; 63, British
Museum, London; 64, Staatsbibliothek Preussischer Kulturbesitz (Germ.fol.442,
ff.9lv-92); 66, 68, Germanisches Nationalmuseum, Nuremberg; 67, Kunstsammlungen
Veste Coburg; 69, Guildhall Library, City of London; 71, Governing Body, Christ
Church, Oxford (MS 988, no.58); 72, Society of Antiquaries, London; 73, Photo
graphic Archives of the National Gallery of Art, Washington, DC, from a negative
made by Taylor and Dull for Parke-Bernet Galleries Inc.; 75, Private Collection/photo
Courtauld Institute of Art, London; 76, National Portrait Gallery, London; 77, 78, 80,
Museo del Prado, Madrid; 79, Biblioteca de Palacio, Madrid (MS 1335, ff.64v-65)/
Patrimonio Nacional; 83, Gruuthusemuseum, Bruges/photo A.C.L., Brussels;
84, Musees Royaux des Beaux-Arts, Brussels/photo A.C.L.
The maps were prepared by Oxford Illustrators Ltd.
VI
Abbreviations
AcM Acta musicologica
AnM Anuario musical
AnMc Analecta musicologica
AnnM Annales musicologiques
BWQ Brass and Woodwind Quarterly
CEKM Corpus ofEarly Keyboard Music
CHM Collectanea historiae musicae
CMc Current Musicology
CMM Corpus mensurabilis musicae
CMP Cancionero musical de Placio
CSM Corpus scriptorum de musica
DTB Denkmaler der Tonkunst in Bayern
DTO Denkmaler der Tonkunst Osterreich
EDM Das Erbe deutscher Musik
EM Early Music
EMH Early Music History
FAM Fontes artis musicae
GfMKB Gesellschajtfor Musikforschung Kongressbericht
Grove6 The New Grove Dictionary ofM usic and Musicians
GSJ The Galpin Society Journal
HMT Handworterbuch dermusikalischen Terminologie
IMSCR International Musicological Society Congress Report
JAMS journal oft he American Musicological Society
JM Journal ofM usicology
JMT Journal ofM usic Theory
JRBM Journal ofR enaissance and Baroque Music
JRMA Journal oft he Royal Musical Association
JWCI Journal oft he Warburg and Courtauld Institutes
LSJ The Lute Society Journal
MGG Die Musik in Geschichte und Gegenwart
ML Music and Letters
MMA Miscellanea musicologica
MME Monumentos de la musica espanola
MMq Monatshejte for Musikgeschichte
MQ The Musical Quarterly
MRM Monuments ofRenaissance Music
MSD Musicological Studies and Documents, ed. A. Carapetyan
(Rome 1951-)
VII
MT The Musical Times
MVGN Mitteilungen des Vereins for Geschichte der Stadt Niimberg
PMLA Publications oft he Modem Languages Association ofA merica
PRMA Proceedings oft he Royal Musical Association
RBM Revue beige de musicologie
RdM Revue de musicologie
RIM Rivista italiana di musicologia
RISM Repertoire international des sources musicales
RMARC R[o yal] M[ usical] A [s sociation] Research Chronicle
RMI Rivista musicale italiana
RRMR Recent Researches in Music of the Renaissance
TVNM Tijdschrift van de Vereniging voor Nederlandse mu;dekgeschiedenis
viii
Preface
The Man and Music series of books -eight in number, chronologically
organized-were originally conceived in conjunction with the television
programmes of the same name, of which the first was shown by
Granada Television International and Channel4 in 1986. These pro
grammes were designed to examine the development of music in
particular places during particular periods in the history of Western
civilization.
The books have the same objective. Each is designed to cover a
segment ofWestern musical history; the breaks between them are plan
ned to correspond with significant historical junctures. Since historical
junctures, or indeed junctures in stylistic change, rarely happen with
the neat simultaneity that the historian's or the editor's orderly mind
might wish for, most volumes have 'ragged' ends and beginnings: for
example, this Renaissance volume terminates, in Italy, in the 15 70s and
80s, but continues well into the 17th century in parts of northern
Europe.
These books do not, however, make up a history of music in the tradi
tional sense. The reader will not find technical, stylistic discussion in
them; anyone wanting to trace the detailed development of the texture
of the madrigal or the rise and fall of sonata form should look elsewhere.
Rather, it is the intention in these volumes to show in what context, and
as a result of what forces-social, cultural, intellectual-the madrigal or
sonata form came into being and took its particular shape. The intention
is to view musical history not a series of developments in some hermetic
world of its own but rather as a series of responses to social, economic
and political circumstances and to religious and intellectual stimuli.
We want to explain not simply what happened, but why it happened,
and why it happened when and where it did.
We have chosen to follow what might be called a geographical, or
perhaps a topographical, approach: to focus, in each chapter, on a
particular place and to examine its music in the light of its particular
situation. Thus, in most of these volumes, the chapters-once past the
introductory one, contributed by the volume editor-are each devoted
to a city or a region. This system has inevitably needed some modifica-
IX
The Renaissance
tion when dealing with very early or very recent times, for reasons
(opposite ones, of course) to do with communication and cultural
spread.
These books do not attempt to treat musical history comprehen
sively. Their editors have chosen for discussion the musical centres that
they see as the most significant and the most interesting; many lesser
ones inevitably escape individual discussion, though the patterns of
their musical life may be discernible by analogy with others or may be
separately referred to in the opening, editorial chapter. We hope, how
ever, that a new kind of picture of musical history may begin to emerge
from these volumes, and that this picture may be more accessible to the
general reader, responsive to music but untrained in its techniques,
than others arising from more traditional approaches. In spite of the
large number of lovers of music, musical histories have never enjoyed
the appeal to a broad, intelligent general readership in the way that
histories of art, architecture or literature have done: these books repre
sent an attempt to reach such a readership and explain music in terms
that may quicken their interest.
*
The television programmes and books were initially planned in close
collaboration with Sir Denis Forman, the Chairman of Granada
Television International. The approach was worked out in more detail
with several of the volume editors, among whom I am particularly
grateful to lain Fenlon for the time he has generously given to discus
sion of the problems raised by this approach to musical history, and
also to Alexander Ringer and James McKinnon for their valuable
advice and support. Discussion with Bamber Gascoigne and Tony
Cash, in the course of the making of the initial television programmes,
also proved of value. I am grateful to Celia Thomson for drafting the
chronologies that appear in each volume and to Elisabeth Agate for her
invaluable work as picture editor in bringing the volumes to visual life.
London, 1989 STAN LEY SADIE
X
