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THE RENAISSANCE ERA (CA 1450- CA 1600)

GIOVANNI PIERLUIGI da PALESTRINA
• His compositions reflected his deep personal faith with a reverent, spiritual character
• Vocal polyphony in a cappela style
• The “Palestine style” of vocal polyphony has defined Renaissance polyphony and served as a model for counterpoint students to this day
• Employed polyphony balanced with homorhythmic textures (chordal declamation)
• Approaches to mass composition includes cantus firmus, parody, paraphrase, canonic; Performing forces range from 4to 6 voice.
• Individual vocal lines moved mostly by step or narrow leap
• Clarity in text setting was achieved through chordal texture, clear-cut phrases, and musical accents that corresponded with the text.
• Dissonance was avoided or used with care (passing note or off the beat; if on the beat resolved immediately)


GENRES AND TITLE:
• MOTETS: over 300 including Lauda Sion and Alma Redemptoris Mater
• MASSES: over 100, Missa L’homme arme, missa Lauda Sion
• Other liturgical works, hymn and magnificants.
• Madrigals: sacred and secular

THE RENAISSANCE ERA (CA 1450- CA 1600)

MARTIN LUTHER (1458-1546)

  •  Leader of he Protestant reformation and founder of the Lutheran Church
  • Posted his “Ninety-Five Theses” in 1517
  • The service in German instead of Latin and engaging the congregation by replacing elaborate polyphonic settings of the mass with simpler music: German chorales with monophonic hymn tunes that were easy to sing
  • Because of the translated bible the congregation could now actively participate in the music of the service using their native language.

THE REFORMATION:

  • 16TH Christian reform movement in Europe
  • Led by Martin Luther
  • Resulted in formation of many new Protestant denominations

THE COUNTER-REFORMATION:

  • Mid 16th reaction of the Catholic Church to the Protestant Reformation
  • The Church’s attempt to win back support and regain political power
  • Response to challenges to authority included the Council of Trent.

COUNCIL OF TRENT:

  • A series of meeting of the highest Catholic Church officials
  • Took place in Trento, Italy from 1545-1563
  • Condemned “Protestant heresies “and reaffirmed the doctrines of Catholicism

·         Recommendations regarding liturgical music included:

o   The text should be audible

o   The counterpoint should not be dense

o   Except for organ, instruments should not be used

o   Harmonic writing should avoid intense chromaticism

o   Use of secular cantus firmus banned (forbidden)

o   Displays of virtuosity should be avoided.

March 4, 2014 0 Comments