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