Research Paper On Palestrina

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According to one report, Palestrina saved the art of music by composing the according to the requirements of the council.

But the role alleged to have been played by this Mass is undoubtedly mythical.

He was not modern in the same way as his Venetian colleagues with their polychoral pieces.

His fuller identification with the older Franco-Flemish masters, however, made him the representative of that illustrious group best remembered by posterity.

Of these three the madrigals played a small role, for his orientation was overwhelmingly on the side of sacred music.

His 250 motets include settings of psalms and canticles, as well as exclusively liturgical items such as 45 hymns, 68 offertories, 13 lamentations, 12 litanies, and 35 Magnificats.He essayed various types: the archaic tenor Mass; the paraphrase Mass; the Mass erected on hexachord and other contrived subject; and the "parody" Mass, which elaborates a preexistent polyphonic model.True to his preferences Palestrina avoided secular models, opting for the tunes of the Church or at least tunes associated with sacred texts.To both invitations the master set such a high price on his services that it might be assumed that he never seriously considered leaving the Eternal City.Intermittently from 1545 to 1565 the Council of Trent considered the reform of Church music, even contemplating the ban of all polyphony from the liturgy.Such bold behavior did not seem to affect adversely his future career, for he became choirmaster at S. Working conditions in this basilica were considerably better than at the Lateran, and Palestrina remained reasonably content for the next 5 years.In 1566 Palestrina became music director of the newly formed Roman Seminary. Maria Maggiore, he was in part compensated by permission to enroll his sons Rodolfo and Angelo at the institution.Maria Maggiore in Rome in 1534, the 9-year-old chorister may have followed him, but the earliest cathedral record naming Giovanni carries the date 1537.Except for a brief return to his birthplace, Giovanni served at S. During this formative period he probably trained with one of the Franco-Flemings in Rome: Robin Mallapert, Firmin Le Bel, or Jacques Arcadelt.In 1544 Palestrina was summoned to his native town as organist and singing master of the local church.During the following half dozen years he married, fathered the first of his three sons, and began composing.


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