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Arxitektura
Asosiy maqola: Italiya Uyg'onish davri me'morchiligi
Shuningdek qarang: Italiya Uyg'onish davri gumbazlari tarixi
Bramante"s Tempietto in San Pietro in Montorio, Rome, 1502
In Florence, the Renaissance style was introduced with a revolutionary but incomplete monument by Leone Battista Alberti. Some of the earliest buildings showing Renaissance characteristics are Filippo Brunelleschi's church of San Lorenzo va Patszi cherkovi. Ning ichki qismi Santo Spirito expresses a new sense of light, clarity and spaciousness, which is typical of the early Italian Renaissance. Its architecture reflects the philosophy of Uyg'onish davri gumanizmi, the enlightenment and clarity of mind as opposed to the darkness and spirituality of the Middle Ages. The revival of classical antiquity can best be illustrated by the Palazzo Rucellai. Mana pilasters follow the superposition of klassik buyurtmalar, bilan Dorik poytaxtlar pastki qavatda, Ionik capitals on the fortepiano nobile va Korinf capitals on the uppermost floor. Soon, Renaissance architects favored grand, large gumbazlar over tall and imposing spires, doing away with the Gothic style of the predating ages.
In Mantua, Alberti ushered in the new antique style, though his culminating work, Sant'Andrea, was not begun until 1472, after the architect's death.
The Yuqori Uyg'onish davri, as we call the style today, was introduced to Rim bilan Donato Bramante"s Tempietto at San Pietro in Montorio (1502) and his original centrally planned Aziz Pyotr Bazilikasi (1506), which was the most notable architectural commission of the era, influenced by almost all notable Renaissance artists, including Michelangelo and Giacomo della Porta. The beginning of the late Renaissance in 1550 was marked by the development of a new column order by Andrea Palladio. Gigant buyurtma columns that were two or more stories tall decorated the jabhalar.
Because during the Italian Renaissance, mathematics was greatly developed and spread. Therefore, some Renaissance architects used mathematical knowledge like calculation in their drawings, such as Baldassarre Peruzzi.[55]
Musiqa
Asosiy maqola: Uyg'onish davri musiqasi
In Italy during the 14th century there was an explosion of musical activity that corresponded in scope and level of innovation to the activity in the other arts. Garchi musiqashunoslar typically group the music of the Trecento (music of the 14th century) with the late o'rta asrlar period, it included features which align with the early Renaissance in important ways: an increasing emphasis on secular sources, styles and forms; a spreading of culture away from ecclesiastical institutions to the nobility, and even to the common people; and a quick development of entirely new techniques. The principal forms were the Trecento madrigal, kakkiya, va ballata. Overall, the musical style of the period is sometimes labelled as the "Italian ars nova." From the early 15th century to the middle of the 16th century, the center of innovation in diniy musiqa ichida bo'lgan Kam mamlakatlar, and a flood of talented composers came to Italy from this region. Many of them sang in either the papal choir in Rome or the choirs at the numerous chapels of the aristocracy, in Rome, Venice, Florence, Milan, Ferrara and elsewhere; and they brought their polifonik style with them, influencing many native Italian composers during their stay.
Klaudio Monteverdi tomonidan Bernardo Strozzi (v. 1630)
The predominant forms of muqaddas musiqa during the period were the massa va motet. By far the most famous composer of church music in 16th-century Italy was Falastrin, eng taniqli a'zosi Rim maktabi, whose style of smooth, emotionally cool polyphony was to become the defining sound of the late 16th century, at least for generations of 19th- and 20th-century musicologists. Other Italian composers of the late 16th century focused on composing the main secular form davrning, madrigal; for almost a hundred years these secular songs for multiple singers were distributed all over Europe. Composers of madrigals included Jak Arkadel, at the beginning of the age, Cipriano de Rore, in the middle of the century, and Luka Marenzio, Filipp de Monte, Karlo Gesualdova Klaudio Monteverdi at the end of the era. Italy was also a centre of innovation in cholg‘u musiqasi. By the early 16th century keyboard improvisation came to be greatly valued, and numerous composers of virtuoso keyboard music appeared. Many familiar instruments were invented and perfected in late Renaissance Italy, such as the skripka, the earliest forms of which came into use in the 1550s.
By the late 16th century Italy was the musical centre of Europe. Almost all of the innovations which were to define the transition to the Barokko period originated in northern Italy in the last few decades of the century. In Venice, the ko'pburchak productions of the Venetsiyalik maktab, and associated instrumental music, moved north into Germany; Florensiyada Florentsiya kamerasi ishlab chiqilgan monodiya, the important precursor to opera, which itself first appeared around 1600; and the avant-garde, uslubiy uslubi Ferrara school, which migrated to Neapol and elsewhere through the music of Karlo Gesualdo, was to be the final statement of the polyphonic vocal music of the Renaissance.
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