[2] A starting point: the Missa Caput [4] Overview [7] Chapter 2 Making polyphony: sources and practice [9] Polyphonic ... [22] Chapter 3 Makers of polyphony [24] Renaissance attitudes towards music: theory and practice [24] ...
Author: Fabrice Fitch
Publisher: Cambridge University Press
ISBN: 9780521899338
Category: Music
Page: 295
View: 742
This engaging study introduces Renaissance polyphony to a modern audience, balancing the listening experience with what lies beyond the notes.Thus , the actual performing tradition of certain chant melodies has been preserved in and can be extracted from Renaissance polyphony . That tradition thereby can be seen to underlie in a basic way many compositions , including hymns ...
Author: Thomas Forrest Kelly
Publisher: Cambridge University Press
ISBN: 0521401607
Category: Music
Page: 268
View: 133
From at least the eighth century and for about a thousand years the repertory of music now known as Gregorian chant, or plainsong, formed the largest body of written music, and was the most frequently performed and the most assiduously studied music in Western civilisation. It lay at the root of all instruction in practical music, and in some sense was at the core of the enormous portion of notated music that survives today. But plainsong did not follow rigid conventions. It seems increasingly clear that, whatever may have been intended with respect to uniformity and tradition, the practice of plainsong varied considerably within time and place. It is just this variation, this living quality of plainsong, that these essays address. In addition, much new information is made available on the study of local rites and practices, and on the liturgical matrix of important polyphonic repertories. The contributors - leading scholars in their field - have sought information from a wide variety of areas: liturgy, architecture, art history, secular and ecclesiastical history, and hagiography, as a step towards reassembling the fragments of cultural history into the rich mosaic from which they came.was important because Renaissance polyphony, by definition, has an exclusively choral repertoire, whereas some plainchant can be sung by congregations. Thus, the abolition of modern styles and reduction to an all-plainchant repertoire ...
Author: T.E. Muir
Publisher: Routledge
ISBN: 9781317061830
Category: Music
Page: 310
View: 114
Roman Catholic church music in England served the needs of a vigorous, vibrant and multi-faceted community that grew from about 70,000 to 1.7 million people during the long nineteenth century. Contemporary literature of all kinds abounds, along with numerous collections of sheet music, some running to hundreds, occasionally even thousands, of separate pieces, many of which have since been forgotten. Apart from compositions in the latest Classical Viennese styles and their successors, much of the music performed constituted a revival or imitation of older musical genres, especially plainchant and Renaissance Polyphony. Furthermore, many pieces that had originally been intended to be performed by professional musicians for the benefit of privileged royal, aristocratic or high ecclesiastical elites were repackaged for rendition by amateurs before largely working or lower middle class congregations, many of them Irish. However, outside Catholic circles, little attention has been paid to this subject. Consequently, the achievements and widespread popularity of many composers (such as Joseph Egbert Turner, Henry George Nixon or John Richardson) within the English Catholic community have passed largely unnoticed. Worse still, much of the evidence is rapidly disappearing, partly because it no longer seems relevant to the needs of the modern Catholic Church in England. This book provides a framework of the main aspects of Catholic church music in this period, showing how and why it developed in the way it did. Dr Muir sets the music in its historical, liturgical and legal context, pointing to the ways in which the music itself can be used as evidence to throw light on the changing character of English Catholicism. As a result the book will appeal not only to scholars and students working in the field, but also to church musicians, liturgists, historians, ecclesiastics and other interested Catholic and non-Catholic parties.10 Renaissance polyphony English interest in Renaissance polyphony was the result of its revival from the mid - nineteenth century onwards . As such it went through three major phases . The first began with the tentative interest shown ...
Author: Paul Collins
Publisher: Peter Lang
ISBN: 303911381X
Category: Church music
Page: 296
View: 252
The Roman Catholic Church has always been concerned with the quality of the music used in the liturgy, and the essays in this volume trace the church's efforts, during the nineteenth century and the first half of the twentieth, to cultivate a more appropriate liturgical music for its Latin Rite. The task of restoration - expressed, for example, in the chant revival associated with the monks of Solesmes, the efforts of the Cecilian movement, and Pius X's determination to reform sacred music in the universal church - is a recurring theme in the book. Meanwhile resistance, particularly to the reforms decreed by the pope's 1903 motu proprio, also finds a voice in the volume. The essays collected here describe selected scenes and episodes from the unending story of imperfect human beings trying to express in their music the perfection of God.and linear processes within a given compositional praxis : Renaissance polyphony pays clear attention to vertical sonorities , and the figures used to indicate the inner parts above the continuo bass are often strongly indicative of ...
Author: James Haar
Publisher: Boydell Press
ISBN: 1843832003
Category: Music
Page: 606
View: 188
The sixteenth and early seventeenth centuries - the so-called Golden Age of Polyphony - represent a time of great change and development in European music, with the flourishing of Orlando di Lasso, Palestrina, Byrd, Victoria, Monteverdi and Schütz among others. The chapters of this book, contributed by established scholars on subjects within their fields of expertise, deal with polyphonic music - sacred and secular, vocal and instrumental - during this period. The volume offers chronological surveys of national musical cultures (in Italy, France, the Netherlands, Germany, England, and Spain); genre studies (Mass, motet, madrigal, chanson, instrumental music, opera); and is completed with essays on intellectual and cultural developments and concepts relevant to music (music theory, printing, the Protestant Reformation and the corresponding Catholic movement, humanism, concepts of "Renaissance" and "Baroque"). It thus provides a complete overview of the music and its context.BR> Contributors: GARY TOMLINSON, JAMES HAAR, TIM CARTER, GIULIO ONGARO, NOEL O'REGAN, ALLAN ATLAS, ANTHONY CUMMINGS, RICHARD FREEDMAN, JEANICE BROOKS, DAVID TUNLEY, KATE VAN ORDEN, KRISTINE FORNEY, IAIN FENLON, KAROL BERGER, PETER BERGQUIST, DAVID CROOK, ROBIN LEAVER, CRAIG MONSON, TODD BORGERDING, LOUISE K. STEIN, GIUSEPPE GERBINO, ROGER BRAY, JONATHAN WAINWRIGHT, VICTOR COELHO, KEITH POLKMasses, Motets, and Madrigals: The Renaissance Period In This Chapter • Understanding the art, science, and exploration of the Renaissance • Discovering Renaissance polyphony • Following the evolution of the Catholic Mass • Introducing ...
Author: Michael Miller
Publisher: Dorling Kindersley Ltd
ISBN: 9780241883099
Category: Music
Page: 582
View: 635
A beautifully composed journey through music history! Music history is a required course for all music students. Unfortunately, the typical music history book is dry and academic, focusing on rote memorization of important composers and works. This leads many to think that the topic is boring, but bestselling author Michael Miller proves that isn't so. This guide makes music history interesting and fun, for both music students and older music lovers. * Covers more than Western "classical" music-also includes non-Western music and uniquely American forms such as jazz * More than just names and dates-puts musical developments in context with key historical eventsThe second transplanted style was Renaissance polyphony, which had begun in Europe in the first half of the fifteenth century. Polyphony simply means “many voices,” and the style is one in which two, three, four, or more voices are ...
Author: Mark Brill
Publisher: Routledge
ISBN: 9781317346241
Category: Music
Page: 637
View: 900
The Music of Latin America and the Caribbean is the first text written on the rich musical heritage of this region specifically for the non-music major. The text is arranged by region, focusing on the major countries/regions (Mexico, Brazil, Peru, etc. in Latin America and Jamaica, the Virgin Islands, Haiti, etc. in the Caribbean). In each chapter, the author gives a complete history of the region's music, ranging from classical and classical-influenced styles to folk and traditional music to today's popular music.ultimately brought Renaissance polyphony to an end, leading to the development of opera and the new Baroque style. For a long time, however, Renaissance music continued to be studied and performed in churches, for which it was thought ...
Author: Lawrence A. Hoffman
Publisher: University of Notre Dame Pess
ISBN: 9780268160579
Category: Religion
Page: 360
View: 698
Teachers, students, composers, performers, and other practitioners of sacred sound will appreciate this volume because, unlike any book currently available on sacred music, it treats the history, development, current practices, composition, and critical views of the liturgical music of both the Jewish and Christian traditions. Contributors trace Jewish music from its place in Hebrew Scriptures through the nineteenth-century Reform movement. Similar accounts of Christian music describe its growth up to the Protestant Reformation, as well as post-Reformation development. Other essays explore liturgical music in contemporary North America by analyzing it against the backdrop of the continuous social change that characterizes our era.Strategies of tonal organisation in Victoria's motets* Marco Mangani and Daniele Sabaino 1 The question of the organisation of tonal space in classical Renaissance polyphony – and especially the relevance of the modal system inherited ...
Author: Esperanza Rodríguez-García
Publisher: Routledge
ISBN: 9781315463070
Category: Music
Page: 288
View: 439
Mapping the Motet in the Post-Tridentine Era provides new dimensions to the discussion of the immense corpus of polyphonic motets produced and performed in the decades following the end of the Council of Trent in 1563. Beyond the genre’s rich connections with contemporary spiritual life and religious experience, the motet is understood here as having a multifaceted life in transmission, performance and reception. By analysing the repertoire itself, but also by studying its material life in books and accounts, in physical places and concrete sonic environments, and by investigating the ways in which the motet was listened to and talked about by contemporaries, the eleven chapters in this book redefine the cultural role of the genre. The motet, thanks to its own protean nature, not bound to any given textual, functional or compositional constraint, was able to convey cultural meanings powerfully, give voice to individual and collective identities, cross linguistic and confessional divides, and incarnate a model of learned and highly expressive musical composition. Case studies include considerations of composers (Palestrina, Victoria, Lasso), cities (Seville and Granada, Milan), books (calendrically ordered collections, non-liturgical music books) and special portions of the repertoire (motets pro defunctis, instrumental intabulations).Polyphony of the high middle ages and the Renaissance, from this perspective, represented a communal, multi-voiced expansion of this religious inspiration. Such freely expressed joy, in Ferand's narrative, went into decline with the ...
Author: Dana Gooley
Publisher: Oxford University Press
ISBN: 9780190633592
Category: Music
Page: 256
View: 607
The first history of keyboard improvisation in European music in the postclassical and romantic periods, Fantasies of Improvisation: Free Playing in Nineteenth-Century Music documents practices of improvisation on the piano and the organ, with a particular emphasis on free fantasies and other forms of free playing. Case studies of performers such as Abbé Vogler, J. N. Hummel, Ignaz Moscheles, Robert Schumann, Carl Loewe, and Franz Liszt describe in detail the motives, intentions, and musical styles of the nineteenth century's leading improvisers. Grounded in primary sources, the book further discusses the reception and valuation of improvisational performances by colleagues, audiences, and critics, which prompted many keyboardists to stop improvising. Author Dana Gooley argues that amidst the decline of improvisational practices in the first half of the nineteenth century there emerged a strong and influential "idea" of improvisation as an ideal or perfect performance. This idea, spawned and nourished by romanticism, preserved the aesthetic, social, and ethical values associated with improvisation, calling into question the supposed triumph of the "work."