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From the Renaissance era, notated secular and sacred music survives in quantity, including vocal and instrumental works and mixed vocal/instrumental works. A wide range of musical styles and genres flourished during the Renaissance, including masses, motets, madrigals, chansons, accompanied songs, instrumental dances, and many others.
One key distinction between Renaissance and Baroque instrumental music is in instrumentation; that is, the ways in which instruments are used or not used in a particular work. Closely tied to this concept is the idea of idiomatic writing, for if composers are unaware of or indifferent to the idiomatic capabilities of different instruments, then ...
Drums, harps, recorders, and bagpipes were the instruments of choice when performing secular music due to ease of transportation. Jongleurs and minstrels learned their trade through oral tradition. [citation needed] Composers like Josquin des Prez wrote sacred and secular music. He composed 86 highly successful secular works and 119 sacred pieces.
Elizabethan music experienced a shift in popularity from sacred to secular music and the rise of instrumental music. Professional musicians were employed by the Church of England, the nobility, and the rising middle-class. Elizabeth I was fond of music and played the lute and virginal, sang, and even claimed to have composed dance music.
Artistically, the madrigal was the most important form of secular music in Renaissance Italy, and reached its formal and historical zenith in the later-16th century, when the form also was taken up by German and English composers, such as John Wilbye (1574–1638), Thomas Weelkes (1576–1623), and Thomas Morley (1557–1602) of the English ...
Medieval (c. 500 – c. 1400) – Period characterized by the development of early music notation systems and a strong emphasis on vocal music. Sacred music like Gregorian chant and various other religious and non-religious styles were developed during this time. Ars antiqua (c. 1170 – c. 1310) Ars nova (c. 1310 – c. 1377)
The madrigale spirituale was an a cappella form, though instrumental accompaniment was used on occasion, especially after 1600. During the Counter-Reformation, there was, to some degree, a reaction against the secularization of the art of music in Italy, Spain and the southern portion of Germany. While that did not stop the composition of ...
The resuscitation of Monteverdi's sacred music took longer; he did not benefit from the Catholic Church's 19th-century revival of Renaissance music in the way that Palestrina did, perhaps, as Carter suggests, because Monteverdi was viewed chiefly as a secular composer. [128]