Musical Hybridization: Surveying Guillaume

The Italian composer Chiara Margarita Cozzolani was one of the few women who could compose well known music during the Baroque Era. Religious wars were raging on across Europe, and many of Cozzolani’s musical pieces focus on religion and musical dialogues, which portrayed notable religious scenes from the bible (Forney, Dell'Antonio, & Machlis 111). One of Cozzolani’s pieces, Magnificat, was focused on in our textbook. After listening to the piece and reading some history about Cozzolani and her music, I felt like I could really understand what was happening during that time in history and how she wanted to make people feel with her music. Chiara Margarita Cozzolani’s music relates to the Baroque Era of music for several reasons. First of all,

19. Who is Guillaume de Machaut? 14th century poet and musician who composed the first complete polyphonic setting of the entire Ordinary of the Mass.

Blanche Gangwere, Music History During the Renaissance Period, 1520–1550. Westport, Connecticut, Praeger Publishers. 2004, Pg. 52

The citizens of Siena were not alone in their high regards of St. Mary. Duccio includes his signature of praise in the base of the Virgin’s throne: “Holy Mother of God, be the cause of peace to Siena, and of life to Duccio because he has painted you thus.” Duccio used his talent as a type of praise, painting as a form of worship. He hoped for the favor of his patron saint in return for the labor expended in creation of the Maestà.

Josquin’s career was defined by the invention of the printer which allowed his masses and other compositions to be printed and shared more easily among the country. In many of his pieces, he illustrates his gift of the pervasive imitation technique: a polyphonic piece with the repetition of a melody at different pitch levels than the original. Many scholars contribute his textural influences on the beginning of word-painting technique (music that reflects the emotion or meaning of the song). He wrote all different types of music throughout his lifetime such as: masses, motets, instrumental pieces, chansons, and even motet-chanson (a new form during the time). He had many techniques for his masses such as paraphrase and canonic masses. Many of his motets, he wrote for five or six voices instead of the standard four voices and often used imitation. The most famous of his pieces are Ave Maria… Virgo serena and Missa Pange lingua. Overall, Josquin des Prez was one of the most well-known and influential composer during the Renaissance period and many scholars credit him to be the first to master polyphonic music. He contributed tons to the Franco-Flemish school and helped lead the way for greater harmonic development. He is truly a well-rounded composer who helped push the Renaissance musical period to the next level and created many beautiful, well-known sacred and secular

Reality comes from creating an imagined thought - whether that thought stemmed from something that someone has seen to what someone has heard, or even felt. The composer that will be discussed throughout this essay composed Morir non può il mio cuore in 1566, this composer is none other but Maddalena Casulana. During the years in which Casulana composed music, she was always looking to present her dedications of her madrigal volumes in a way to provide a little more biographical information than most would at the time. Throughout 1560-1569, she began to publish what would ultimately become her three-volume collection of madrigals (1568; 1570; 1583) that were published the year of her death and which were the first three books of madrigals by a women composer to ever be printed (Franck, Brownstone, 1995. Page 46, 48). Casulana presented her music in a very dramatic way, she was different and unique, focusing and attracted to the topics of ones passing and perpetual dying (Sadie, 1980. Page 2). She was an Italian composer and singer who told a story through the pieces she had composed; expressing each piece in a distinct and narrative way. Maddalena Casulana contributed a great deal of music that till this day will be remembered and cherished.

The five movements of the suite cover the period of the famous Paris museum’s development during the Renaissance. Each of the themes utilized by Dello Joio are by composers and compositions of the time period. The composer invites the audience to place themselves in the ambiance of the museum’s transformation, and experience the splendor of each setting of what is known as The Louvre.

Barna da Siena’s Mystic Marriage of Saint Catherine and Other Scenes from 1340 is vastly different in content, composition, and a number of other attributes from Fra Carnevale’s 1467 painting Presentation of the Virgin in the Temple. It is clear between the roughly hundred years between when the two were painted that advancements in realistic painting soared and a further appreciation for realism and humanism developed. The need to portray more than just the holy subjects, and to show how far painting had evolved is evident in the differences between Barna and Fra Carnevale’s works. Although, the emotion behind Barna’s work, and its significance are, in my eyes, far greater than that of Fra Carnevale’s.

This paper will compare the themes found in the paintings "Madonna and Child with St. John the Baptist and an Angel" by Domenico di Bartolomeo Ubaldini (Puligo) and "Madonna Enthroned" by Giotto. Both paintings deal with fables from the Christian faith but were executed during different periods in art. The Giotto painting was created around 1310 and the Puglio painting was executed between 1518 – 1520. Here, these two paintings have similar themes both at the extreme beginnings and endings of the Italian Renaissance, and as such they serve to present an exceptional example of the developments in art that occurred within that time. This paper shall compare

A Comparison of Barna di Siena’s Mystic Marriage of Saint Catherine and Rogier van der Weyden’s Saint Luke Drawing the Virgin and Child

The painting The Holy Family with Saints Anne and John the Baptist, 1592 (oil on canvas) was created by Italian painter Sofonisba Anguissola (c.1532-1625). It is currently held at the Collection of the Lowe Art Museum, University of Miami, as a gift from Mrs. Forbes Hawkes and Bridgeman Images. This painting is among the unique pious narrative paintings by Anguissola. “The Holy Family” is the last dated painting by the artist. It was executed when she had just returned to Italy after spending 14 years working for King Philip II at the Spanish court. By this time, she had already married to a Genoese ship captain. Her various visits to court and her personal contacts with great painter at that time largely inspired herself. Through these contacts, she successfully stayed in touch with current developments in art. By closely observing this masterpiece, I argue that the artist perfectly sustain the beauty of counter-reformation arts in her work by use of light and shadow, delicate brushwork and accurate proportions of each subjects.

A post Middle Age Italy was afflicted by medieval wars and the bubonic plague. A change was needed to restore the vision of what Italy could become. This change was found within one family: the Medici’s, who helped to return the glory and influence to Florence. The Medici’s saw the value in contributing to the advancement of the greatest minds of the period. This was evident in their patronage of leading Artists such as Michelangelo and of renowned Teachers such as Galileo. The sphere of influence the Medici’s enjoyed also extended to the political arena, which happened to be heavily influenced by the Catholic Church at the time. The Medici’s were able to capitalize on the power of the Church and through this influence and the use of

The Renaissance and Baroque era entailed very different characteristics, due to the Renaissance composers writing more freely and being more individual then those of the Baroque era where they followed more ‘rules’ and experimented less. This essay will show the difference in two pieces by different composers, even though they were written less than a century apart.

The Annunciation is a Christian celebration of the iconic moment that the archangel Gabriel announced to the Virgin Mary that she would conceive and become the mother to the Son of God, Jesus. The story of the Annunciation derives chiefly from the biblical Gospel of Luke, and has been portrayed abundantly and variously in many visual art forms from the earliest centuries of Christianity and Christian iconography. This essay will explore the depiction of the Annunciation and symbolism in the period of the Italian Renaissance and pay particular attention towards the development of the focus on spiritualism towards naturalism through the refined language of expression and gesture from the 14th century to the late 15th century.

     This paper will compare the themes found in the paintings “Madonna and Child with St. John the Baptist and an Angel” by Domenico di Bartolomeo Ubaldini (Puligo) and “Madonna Enthroned” by Giotto. Both paintings deal with fables from the Christian faith but were executed during different periods in art. The Giotto painting was created around 1310 and the Puglio painting was executed between 1518 – 1520. Here, these two paintings have similar themes both at the extreme beginnings and endings of the Italian Renaissance, and as such they serve to present an exceptional example of the developments in art that occurred within that time. This paper shall compare