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JUNIOR HIGH SCHOOL

MAPEH 9 (MUSIC)
FIRST QUARTER
LEARNING MODULE 1

UNIT TOPIC: Music of the Medieval, Renaissance, and Baroque Period

Prepared by: Amor Grace Martinez Sacudit

I. GAINING IN YOUR END

I will be able:
- Describe the musical elements of selected vocal and instrumental music of Medieval,
Renaissance and Baroque music

II. AS YOU MOVE

Check the following link to listen to sample music of the Renaissance period.
 Renaissance music – instrumental
http:/www.youtube.com/watch?v=5SvEttR6HTY

III. MATTER IN HAND

DAY 2

RENAISSANCE PERIOD

In music, Renaissance is the birth of the secular music and the ideal of antiquity. Musicians
experimented a tuning system as they expanded tonal vocabulary to include the notes of Chromatic scale
(scale consisting of successive half steps). They also wanted a sweeter sound for consonances.

Tuning Systems

The Phythagorean tuning prevailed in the mid-15 th century. It had perfect consonance that were the
result of dividing the mono chord and thus made the intervals sound rough.

Another type of tuning system is the Just Intonation. Devised by Ptolemy, this permits perfect and
imperfect consonances. It is also called Syntonic Diatonic tuning. This tuning system was revealed during
the Renaissance by Franchinus Gaffurius.

Musica ficta called for a limited number of accidentals (“F#, C#, G#, Bb, and Eb”) which led the the
composers to achieve new expressive effects. They recognized notes as remote from diatonic scale
through exploration of the cycle of fifths. Ficta scale is pattern on the conventional gamut (entire range of
pitches) “succeeded by tricking” to accommodate the notes.

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MASS

Important Forms
The mass is the most important religious service of the Catholic Church. Derived from the Latin
word missa, it came from the service’s closing phase which includes the Eucharist, Liturgy, the Lord’s
Supper and Holy Communion. A variable portion is the Proper of the Mass (Propium Missae). Part of this
are the Collects, Epistle, Gospel, Preface, and post-communion and other prayers. The principal musical
portions of the Mass are the Introit, Gradual, Alleluia, Tract, Offertory, and communion.

Ordinary of the Mass (Ordinarium missae) refers to the fixed parts of the service which includes the
Kyrie (“Lord, Have Mercy”), Gloria in excelsis deo (“Glory be to God on High…”), Credo (“I believe…”),
Sanctus with Benedictus (“Holy,Holy… Blessed…”), and Agnus Dei (“Lamb of God”).

Types of Mass
1. High Mass – celebrated by a priest with a deacon, sub-deacon and other ministers. The “Sung
Mass” is the same as the “High Mass”.
2. Low Mass – performed by a priest with one clerk and without choir
3. Votive Mass – offered with particular intentions such as in honor of a saint
4. Nuptial Mass – the ceremony of marriage
5. Mass of the Pre-sanctified – the Mass for Good Friday

Another important music form during the Renaissance period is the motet, a short polyphonic vocal
composition based on a sacred text and meant to be performed on religious or festive occasions. At first,
motet had more contrapuntal (counterpoint) freedom than the conductus (the process of adding voice part
to an existing melody). Parts moved in different lengths of notes. In the time of Giovanni Pierluigi da
Palestrina and William Byrd, the motet later became a great medium for the finest musical thoughts.

MADRIGAL

A madrigal (Madriale or mandriale) is a 14th century Italian verse form. A polyphonic music and
musical setting that has two or three stanzas with secular text in the vernacular language followed by
ritornello.

Three Classes of Madrigal

 Madrigal proper – very contrapuntal in style, intended to be one voice to a part (in part
books for separate voices)
 Ayre – like a verse repeating soprano song with instrumental or choral
accompaniment, less contrapuntal (not in a part books but in large book around which
performers could sit and stand)
 Ballett – like an ayre but with a dance rhythm and ‘fa-la-la’ refrain often dancend to by
the singers (in part book like the madrigal proper)

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MUSICAL COMPOSERS

THOMAS MORLEY
(1557/58-October 1602)

Thomas Morley was composer, organist, and theorist, and was the first of the great English
madrigalists. He studied composition with William Byrd and organ under Sebastian Westcote. Morley
obtained his music degree from the University of Oxford. He held church duties as a chorister at St. Paul’s
Cathedral in London, and as an orgnanist at St. Giles, Cripplegate.

Morley brought the Italian madrigal tradition to England. He translated the Italian canzonet into
English and later on published his own madrigals. He published 25 canzonets for three voices in 1593; 17
canzonets for five voices in 1597; and 4 canzonets for six voices, also in 1597.

In 1594, Morley’s Madrigals to Four Voices, was the first complete English publication of is kind.
Three years after. Morley published another book, A plaine and Easie Introduction to Practical Musicke.

In 1598, Morley was granted a printing monopoly which replaced the one formerly held by Byrd. It was also
around this time that Morley’s health started to deteriorate.

In 1601, Morley edited The Triumphes of Oriana, a collection of 25 madrigals by various

composers which was published on 1603. His last volume original compositions was the The First Booke
Ayres.

Morley’s body of work includes services, anthems, motets, and psalm.

GIOVANNI PIERLUIGI Da PALESTRINA

(1525/1526 – February 2, 1594)

Giovanni Pierluigi Da Palestrina was an Italian composer credited for the development of church
music. He composed a six-voice Mass that showed great respect in spirit, did not obscure the text, and
which “saved the polyphony from the Council’s condemnation”.

Palestrina refused two offers from Emperor Maximilia in 1568 and from Duke Guglielmo Gonzaga
in 1583 at Mantua (where he later wrote 9 Masses). These offers would have taken him away from Rome.

Palestrina’s works include 104 Masses, about 250 motets, 50 spiritual madrigals (Italian text)O, and many
other liturgical compositions.

IV. KEY POINTS TO REMEMBER

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V. THINK THROUGH (test and task)

OC Module 1 Worksheet
Name: Grade Level & Section:
Date: Score: Parent/Guardian Signature:

I. Write the letter of the correct answer in the line before each number.

__________ 1. It is a short polyphonic vocal composition, most often on sacred text and meant to be
performed in religious or festive occasions.
a. Madrigal b. Motet c. Mass

__________ 2. It is a 14th century Italian verse form polyphony music and musical setting that has two or
three stanzas with secular text in the vernacular language followed by ritornello.
a. Madrigal b. Motet c. Mass

__________ 3. It is the most important religious of the Catholic church.

a. Madrigal b. Motet c. Mass

__________ 4. A Mass celebrated by a priest with a deacon, sub-deacon, and other minister.
a. High Mass b. Low Mass c. Votive Mass

__________ 5. A Mass offered with particular intentions: in honor of a saint, on some day other than his
feast

__________ 6. Tuning system that has perfect consonances and which is the result of dividing the mono
chord that made the intervals sound rough.
a. Pythagorean Tuning b. Just Intonation c. Ficta Scale

___________ 7. The tuning method that permits perfect and imperfect consonance; also called syntonic
diatonic tuning.
a. Pythagorean Tuning b. Just Intonation C. Ficta Scale

___________ 8. A madrigal that is very contrapuntal in style, intended to be one voice to a part.
a. Madrigal proper b. Ayre c. Ballet

___________ 9. Another madrigal that is like an ayre but with a danceable and ‘fa-la-la’.
a. Madrigal b. Ayre c. Ballet

___________ 10. A madrigal that is like a verse that repeats a soprano song with instrumental or choral
accompaniment, and is less contrapuntal.
a. Madrigal proper b. Ayre c. Ballet

Resources: MAPEH Kto12 book, Authors: Jeff Foreene M. Santos, Ruth Gome-Yap, Romina R. Macato.
Coodinator: Milagros V. Referente

This module is for TLCA learners use only (NOT FOR SALE)