Musica reservata

The concept of Musica reservata (from Latin reservare, reserved ) for use in the colloquial usage of the Renaissance and called for the connoisseur and lover of "reserved " music of the late 16th and budding 17th century. The term " Musica reservata " can not be regarded as a term in the strictest sense a textbook in use today, as no source is a formal definition. Instead of a " musica reservata est ... " are known only different phrases such as " musicam illam, quam vulgo reservatam iactitant " or " fiat ut, quam vocant musicam reservatam ".

As a definition can be removed from all statements that it is in the " Musica reservata " to the description of an "unusual" is music. So this music is its own, that it was first listed for a narrow circle of aficionados and connoisseurs, mostly nobles and wealthy citizens, in chamber music kind. Chromaticism and enharmonic here as part of the Dutch- Italian school for the first bloom. A high priority has the in-depth exploration of the text. Use find texts of different origins, spiritual, worldly, frivolous, funny and kind of rural, often texts of the principal or the composer himself, mostly texts of popular poets and scholars such as Giovanni Boccaccio, Pietro Bembo and Michelangelo. The secure affiliation of individual works in the circumstance of the " Musica reservata " It is difficult to understand because it is less is a style name or a school in the " Musica reservata ", but rather about the conditions of the formation and performance of a musical work and to their environment. No doubt the " Musica reservata " but considerably influential and decisive for the development of the music of the Renaissance and early Baroque. As an important composer Orlando di Lasso, Jacob Arcadelt, Adriano Banchieri and Carlo Gesualdo be mentioned.