Changes

The '''renaissance period''' in music (c. 1400-1600) was, as in many other fields of human endeavor, a tremendous outpouring of creativity and spirit after the stifling centuries of the middle ages.  The [[Renaissance]] era of music saw a distinct emphasis on liturgical music and settings, but also saw the beginnings of a shift towards [[secular]] work. Examples of the sacred genres composed for during this period include the [[motet]] and the [[mass]], while examples of early secular work from this period include the [[madrigal]], [[villanela]], and [[chanson]], as well as the promulgation of "popular" music, as seen in lutists.

The '''renaissance period''' in music (c. 1400-1600) was, as in many other fields of human endeavor, a tremendous outpouring of creativity and spirit after the stifling centuries of the middle ages.  The [[Renaissance]] era of music saw a distinct emphasis on liturgical music and settings, but also saw the beginnings of a shift towards [[secular]] work. Examples of the sacred genres composed for during this period include the [[motet]] and the [[mass]], while examples of early secular work from this period include the [[madrigal]], [[villanella]], and [[chanson]], as well as the promulgation of "popular" music, as seen in lutists.

Scores and written records of music from this period are lacking, as with the [[medieval]] period, there was no universal method of notation. However, mensural notation, somewhat similar to modern notation, was developed early in this period and replaced neumatic notation.  

Scores and written records of music from this period are lacking, as with the [[medieval]] period, there was no universal method of notation. However, mensural notation, somewhat similar to modern notation, was developed early in this period and replaced neumatic notation.  

Early in the period, composers such as [[Guillaume Dufay|Dufay]] worked in regression to the developments of the late medieval period; techniques such as syncopation were dropped, to emphasize a more flowing type of music. Later on, [[polyphony|polyphonic]] works would become popular, particularly in the mass setting, with the [[canon]] becoming a popular device for developing musical contrapuntal complexity. Later composers such as [[Palestrina]] would develop a an early-[[Baroque]] style which featured rich, elaborate harmonies and counterpoints, and began to follow patterns of [[consonance]] and [[dissonance]] on a beat-by-beat basis. [[Palestrina]] in particular is noted for using [[suspensions|suspension]] to accomplish this, a technique later heavily adopted by Baroque composers such as [[Bach]]. Before the period ended and the Baroque commenced, madrigals became even more popular and were expanded for up to six distinct voices.

Early in the period, composers such as [[Guillaume Dufay|Dufay]] worked in regression to the developments of the late medieval period; techniques such as syncopation were dropped, to emphasize a more flowing type of music. Later on, [[polyphony|polyphonic]] works would become popular, particularly in the mass setting, with the [[canon]] becoming a popular device for developing musical contrapuntal complexity. Later composers such as [[Palestrina]] would develop a an early-[[Baroque]] style which featured rich, elaborate harmonies and [[counterpoint]]s, and began to follow patterns of "consonance" and "dissonance" (at its simplest, [[harmony|harmonies]] that pleased then clashed according to the aural sensitivities of the time) on a beat-by-beat basis. [[Palestrina]] in particular is noted for using "suspension" to accomplish this, a technique later heavily adopted by Baroque composers such as [[Bach]]. Before the period ended and the Baroque commenced, madrigals became even more popular and were expanded for up to six distinct voices.

Prominent composers that mark this era are:

Prominent composers that mark this era are: