Book contents
- The Cambridge History of Fifteenth-Century Music
- Series page
- The Cambridge History of Fifteenth-Century Music
- Copyright page
- Dedication
- Contents
- Figures
- Music examples
- Notes on contributors
- Acknowledgments
- Abbreviations
- Introduction
- Part I Historiography
- Part II Improvisation and composition
- Part III Humanism
- Part IV Music and other arts
- Part V Music in churches, courts, and cities
- Part VI Religious devotion and liturgy
- Part VII Theory and practice
- Part VIII Sources
- Part IX Genres
- 35 The polyphonic mass in the fifteenth century
- 36 The fifteenth-century motet
- 37 Fifteenth-century song
- 38 Instrumental music in the fifteenth century
- 39 Sacred song in the fifteenth century: cantio, carol, lauda, Kirchenlied
- 40 Plainsong in the age of polyphony
- Part X Reception
- Index
38 - Instrumental music in the fifteenth century
from Part IX - Genres
Published online by Cambridge University Press: 05 July 2015
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Book contents
- The Cambridge History of Fifteenth-Century Music
- Series page
- The Cambridge History of Fifteenth-Century Music
- Copyright page
- Dedication
- Contents
- Figures
- Music examples
- Notes on contributors
- Acknowledgments
- Abbreviations
- Introduction
- Part I Historiography
- Part II Improvisation and composition
- Part III Humanism
- Part IV Music and other arts
- Part V Music in churches, courts, and cities
- Part VI Religious devotion and liturgy
- Part VII Theory and practice
- Part VIII Sources
- Part IX Genres
- 35 The polyphonic mass in the fifteenth century
- 36 The fifteenth-century motet
- 37 Fifteenth-century song
- 38 Instrumental music in the fifteenth century
- 39 Sacred song in the fifteenth century: cantio, carol, lauda, Kirchenlied
- 40 Plainsong in the age of polyphony
- Part X Reception
- Index
Summary
Instrumental music was considered an essential ingredient in almost all ceremonies and celebrations. Banquets, processions, weddings, dances, and so forth all demanded the presence of instruments. This chapter discusses two main goals. The first goal is to trace the very rapid evolution of instrumental music as a reflection of the general drive for innovation of the time. The second goal is to convey some of the role instruments played in contemporary artistic life. Soft instruments could be combined in a great variety of ways, though 1400 the fiddle was the preeminent member of the group. The players of these instruments were both soloists and ensemble musicians. Between 1440-1480, instrument makers seem to have focused most of their attention on improvements to existing instruments. At mid-century the impulse for innovation was perhaps reflected most powerfully in the areas of repertory and performance practice.
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- The Cambridge History of Fifteenth-Century Music , pp. 745 - 754Publisher: Cambridge University PressPrint publication year: 2015