Lesson 1 Music of the

Pre-Baroque Period
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Learning Targets
At the end of the lesson, you are expected to
1. discuss the ideas, development, and transition of music from the
Renaissance era to the Baroque era;
2. familiarize yourself with the composers of the pre-Baroque era; and
3. recognize the importance of the contributions of early Baroque composers.

Getting ready

1. Review the highlights and features of the Renaissance Period,

particularly its brief historical background, the way of living of the
people, and the music of the period.
2. The class will sing a simple religious song that is taken from the chant
of the Renaissance Period.

Learn and Share

Contemporary Western civilization is mirrored by that of the Renaissance

and also exemplified the strengths, inconsistencies, and violence of the
period. There was also a rediscovery of literature and the arts of the
Greeks and Romans at this stage when people’s interest in Catholic
concepts waned. As a result, there was also a noticeable growth of
vocal and instrumental secular music. Music became more complex
and appeared more often in secular forms just like in the Renaissance
Period. Many places in Europe became seats of Renaissance music:
Burgundy (early 1400s), what is now The Netherlands (late 1400s to
early 1500s), and England (late 1500s). Furthermore, Josquin des Prez
was being recognized as the “greatest genius of early Renaissance music,”
a recognition that is not being shared nowadays.

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 MUSIC
Musicians entertain at a late Renaissance banquet.

Renaissance music is recognizable until now with its constant reliance on

triadic harmonies. Triadic harmonies are based on the interval of the third,
in lieu of the medieval era-intervals in the fourth and fifth. Renaissance
music was not tonal but gave the impression that it was such because of
its being given unexpected chords or “wrong” parts.

Since the orchestra was not yet developed during the Renaissance,
musicians resorted to instrumental “consorts.” In turn, these consorts
utilized ranges (soprano, alto, tenor, bass) in order to have a homogenous
ensemble play a harmonious pattern. Consorts can be “whole”
(comprising instruments belonging to the same family) or “broken”
(which relies on the mixing of instruments). However, we can only see
the remnants of the consorts, and their use of ranges, in the form of the
string section of the modern orchestra which includes violin for soprano,
viola for alto, cello for tenor, and bass.

“The most frivolous and gallant words are set to

exactly the same music as those of the Bible….”
— Hector Berlioz on the music of Palestrina

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 Transition to Baroque Period
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An old postcard portraying St. Mark’s Cathedral in Venice

The Reformation and the Counter-Reformation ushered in the removal

of unimportant details in music and the simplification of complex ones.
Giovanni Pierluigi da Palestrina (1525–1594) is the best example and
whose works had been considered as the paragon for Church composition.
Palestrina was active in Rome.

Meanwhile, in Venice, it was Giovanni Gabrieli (1556–1612) who was

most known. Gabrielli is recognized for his use of the “concertato” style,
a technique that had been influenced by the layout of the St. Mark’s
Cathedral. Specifically, the concertato style underscored the contrasts
between the vocal and instrumental, or also between many choruses.

Choral music from the times and lands of the pre-Baroque era
is all about endless layers upon layers of the richest of human and
vocal harmonies.

In the 16th century, the shift from Renaissance to Baroque musical

style began. In particular, the composers of the Venetian school relied
on polychoral motets and large performing forces (such as many
instrumentalists). In fact, instrumentals became more important in the
Baroque Period. Furthermore, there was a shift in how composers

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in each period looked at texts. Renaissance composers believed in having
many independent vocal lines. Now, each line has its own inflection and
accentuation. Meanwhile, composers in the Baroque Period believed
in the reverse, specifically in the concept of soprano-bass polarity.
However, in both periods, composers still required the full participation
of the performer in the various aspects of the performance. Meanwhile,
researchers agree that 1600 is the dividing mark separating Renaissance

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from Baroque even if the changes in the musical style had occurred
through decades. Observers have also noted the interrelatedness of the
changes that happened during that time. Such changes involved the
shift from polyphonic to accompanied melody, and the transition from
modality to major-minor key.

Two Famous Composers during the Transition Period

Two names dominated Baroque music. These were Claudio Monteverdi

(1567–1643) and Heinrich Schütz (1585–1672). Monteverdi, who hailed
from Cremona, Italy, created eight books of madrigals, three masses,
vespers, magnificats, motets, as well as 12 operas, of which three were
surviving. Meanwhile, Monteverdi was among the Italian madrigalists
who innovated in harmony and chromaticisms. Monteverdi also helped
establish the Baroque monody and basso continou. Meanwhile, a native
of Saxony region in what is now Germany, Schütz is considered as “the
greatest German composer of the 17th century.” His compositions are
varied and includes Italian madrigals, Lutheran sacred compositions,
motets, oratorios, and passions.

A prolific songwriter, Heinrich Schütz is a German composer

Monteverdi is best known for
his secular madrigals on the
theme of love.
and organist, generally regarded as the most
important German composer before Johann
Sebastian Bach and often considered to be
one of the most important composers
of the 17th century.

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 A Portion of L’Orfeo
Claudio Monteverdi
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 III. Magnificat
A Portion of Heinrich Schütz’s Magnificat
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Activity

Choose one of Palestrina’s music pieces through recordings or from the

Internet and listen to it. Compare the music to the kind of music that
can be heard in the church. Write at least three similarities and three
differences.

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 Keep in Mind

 The outbreak in the Church caused by the Reformation led to many

new forms of sacred music which appeared in Protestant worship
services.
 The characteristic texture of polyphonic voice parts was still used in

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the works of Palestrina, Lasso, Byrd, and Gabrieli, at the end of
the 16th century, as it had been in the music of Ockeghem and
Josquin. This texture, more than any other single feature, separates
Renaissance music from Baroque music.

Evaluation

1. Cite some examples of early Renaissance music, Renaissance, and

late Renaissance or Pre-Baroque Period. Make a simple assessment
as to how the music of Renaissance shifted to new ideas and led the
style of the Baroque Period.
2. Were the sacred and secular music treated equally or differently
during the transition period? Explain briefly.

Values Integration
History possessed the wonder and beauty of sacred music. Yet from
the psalms of the Old Testament and the Gregorian Chants, to the next
forms of music in the later part of the Baroque Era, the beauty of sacred
music is that it can adapt the preference of the time and still be used to
glorify God.

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