The French word renaissance means rebirth. It was first used in 1855 by the historian
Jules Michelet in his History of France, then adopted by historians of culture, by art
historians, and eventually by music historians, all of whom applied it to European culture
during the 150 years spanning 1450-1600. The concept of rebirth was appropriate to this
period of European history because of the renewed interest in ancient Greek and Roman
culture that began in Italy and then spread throughout Europe. Scholars and artists of the
fifteenth and sixteenth centuries wanted to restore the learning and ideals of the classical civilizations of Greece and Rome. To these scholars this meant a return to human-as
opposed to spiritual-values. Fulfillment in life-as opposed to concern about an afterlife-
became a desirable goal, and expressing the entire range of human emotions and enjoying
the pleasures of the senses were no longer frowned on. Artists and writers now turned to
secular as well as religious subject matter and sought to make their works understandable
and appealing.
These changes in outlook deeply affected the musical culture of the Renaissance
period--how people thought about music as well as the way music was composed,
experienced, discussed, and disseminated. They could see the architectural monuments,
sculptures, plays, and poems that were being rediscovered, but they could not actually
hear ancient music-although they could read the writings of classical philosophers, poets,
essayists, and music theorists that were becoming available in translation. They learned
about the power of ancient music to move the listener and wondered why modern music
did not have the same effect. For example, the influential religious leader Bernardino
Cirillo expressed disappointment with the learned music of his time. He urged musicians
to follow the example of the sculptors, painters, architects, and scholars who had
rediscovered ancient art and literature.
The musical Renaissance in Europe was more a general cultural movement and state
of mind than a specific set of musical techniques. Furthermore, music changed so rapidly
during this century and a half-though at different rates in different countries-that we
cannot define a single Renaissance style. 【題組】5. Where in the passage does the author mention where the Renaissance interest in classical ideas first appeared?
(A) Lines I-4
(B) Lines 4-6
(C) Lines 8-9
(D) Lines 11-13
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