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Missa Papae Marcelli
''Missa Papae Marcelli'', or ''Pope Marcellus Mass'', is a mass ''sine nomine'' by Giovanni Pierluigi da Palestrina. It is his best-known mass, and is regarded as an archetypal example of the complex polyphony championed by Palestrina. It was sung at the papal coronation Masses (the last being the coronation of Paul VI in 1963). Style The ''Missa Papae Marcelli'' consists, like most Renaissance masses, of a Kyrie, Gloria, Credo, Sanctus/Benedictus, and Agnus Dei, though the third part of the Agnus Dei is a separate movement (designated "Agnus II"). Taruskin, Richard. ''Music from the Earliest Notations to the Sixteenth Century''. The Oxford History of Western Music, Volume 1. New York: Oxford University Press, 2010. pp. 653–663 The mass is freely composed, not based upon a cantus firmus, paraphrase, or parody. Perhaps because of this, the mass is not as thematically consistent as Palestrina's masses based on models. It is primarily a six-voice mass, but voice combinations are ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mass (music)
The Mass () is a form of sacred musical composition that sets the invariable portions of the Christian Eucharistic liturgy (principally that of the Catholic Church, the Anglican Communion, and Lutheranism), known as the Mass. Most Masses are settings of the liturgy in Latin, the sacred language of the Catholic Church's Roman Rite, but there are a significant number written in the languages of non-Catholic countries where vernacular worship has long been the norm. For example, there have been many Masses written in English for a United States context since the Second Vatican Council, and others (often called "communion services") for the Church of England. Masses can be ''a cappella'', that is, without an independent accompaniment, or they can be accompanied by instrumental '' obbligatos'' up to and including a full orchestra. Many masses, especially later ones, were never intended to be performed during the celebration of an actual mass. History Middle Ages The earliest ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cantus Firmus
In music, a ''cantus firmus'' ("fixed melody") is a pre-existing melody forming the basis of a polyphonic composition. The plural of this Latin term is , although the corrupt form ''canti firmi'' (resulting from the grammatically incorrect treatment of ''cantus'' as a second- rather than a fourth-declension noun) can also be found. The Italian is often used instead: (and the plural in Italian is ). History The term first appears in theoretical writings early in the 13th century (e.g., Boncampagno da Signa, ''Rhetorica novissima'', 1235). The earliest polyphonic compositions almost always involved a cantus firmus, typically a Gregorian chant, although by convention the term is not applied to music written before the 14th century. The earliest surviving polyphonic compositions, in the '' Musica enchiriadis'' (around 900 AD), contain the chant in the top voice, and the newly composed part underneath; however, this usage changed around 1100, after which the cantus firmus typically ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Imitation (music)
In music, imitation is the repetition of a melody in a polyphonic texture shortly after its first appearance in a different voice. The melody may vary through transposition, inversion, or otherwise, but retain its original character. The intervals and rhythms of an imitation may be exact or modified; imitation occurs at varying distances relative to the first occurrence, and phrases may begin with voices in imitation before they freely go their own ways. Imitation helps provide unity to a composition and is used in forms such as the fugue and canon. Definitions When a phrase recurs exactly as before (except perhaps transposed), it is called strict imitation. A round is thus an example of strict imitation. Repetition is defined as the repetition of a phrase or melody often with variations in key, rhythm, and voice. Different authors define imitation somewhat differently: The point of imitation, "marks the beginning of a series of imitative entries in a con ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Contrafacta
In vocal music, contrafactum (or contrafact, pl. contrafacta) is "the substitution of one text for another without substantial change to the music". The earliest known examples of this "lyrical adaptation" date back to the 9th century in Gregorian chant. Categories Types of contrafacta that are wholesale substitution of a different text include the following: Significantly different lyrics in another language While a direct translation that preserves original intent might not considered a "substitution", the lyrics of the following songs redone in another language have a substantially different meaning: * The melody of the French song Ah! vous dirai-je, maman (English: Oh! Shall I tell you, Mama) is used in English for " Twinkle, Twinkle, Little Star", the " Alphabet Song", and " Baa, Baa, Black Sheep", while all of the following use the melody: the German Christmas carol "" (Santa Claus is Coming Tomorrow) with words by Hoffmann von Fallersleben, the Hungarian Christmas ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Council Of Trent
The Council of Trent (), held between 1545 and 1563 in Trent (or Trento), now in northern Italy, was the 19th ecumenical council of the Catholic Church. Prompted by the Protestant Reformation at the time, it has been described as the "most impressive embodiment of the ideals of the Counter-Reformation.""Trent, Council of" in Cross, F. L. (ed.) ''The Oxford Dictionary of the Christian Church'', Oxford University Press, 2005 (). It was the last time an ecumenical council was organized outside the city of Rome. The Council issued key statements and clarifications of the Church's doctrine and teachings, including scripture, the biblical canon, sacred tradition, original sin, justification, salvation, the sacraments, the Mass, and the veneration of saintsWetterau, Bruce. ''World History''. New York: Henry Holt and Company, 1994. and also issued condemnations of what it defined to be heresies committed by proponents of Protestantism. The consequences of the council were als ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rome
Rome (Italian language, Italian and , ) is the capital city and most populated (municipality) of Italy. It is also the administrative centre of the Lazio Regions of Italy, region and of the Metropolitan City of Rome. A special named with 2,746,984 residents in , Rome is the list of cities in the European Union by population within city limits, third most populous city in the European Union by population within city limits. The Metropolitan City of Rome Capital, with a population of 4,223,885 residents, is the most populous metropolitan cities of Italy, metropolitan city in Italy. Rome metropolitan area, Its metropolitan area is the third-most populous within Italy. Rome is located in the central-western portion of the Italian Peninsula, within Lazio (Latium), along the shores of the Tiber Valley. Vatican City (the smallest country in the world and headquarters of the worldwide Catholic Church under the governance of the Holy See) is an independent country inside the city boun ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Basilica Di Santa Maria Maggiore
Santa Maria Maggiore (), also known as the Basilica of Saint Mary Major or the Basilica of Saint Mary the Great, is one of the four major papal basilicas and one of the Seven Pilgrim Churches of Rome. The largest Marian church in Rome, it is regarded as the first Marian sanctuary in the Western world and the mother of all sanctuaries. Santa Maria Maggiore is located in Esquilino, the 15th rione (administrative district) of Rome, on the . Pursuant to the Lateran Treaty of 1929 between the Holy See and Italy, the basilica is in Italy and not Vatican City.Lateran Treaty of 1929, Article 15 However, the Holy See fully owns the basilica, and Italy is legally obliged to recognise its full ownership thereof and to concede to it "the immunity granted by international law to the headquarters of the diplomatic agents of foreign states". The complex of buildings therefore has a status somewhat similar to an embassy. The basilica enshrines the venerated image of , depicting the Bless ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gioseffo Zarlino
Gioseffo Zarlino (31 January or 22 March 1517 – 4 February 1590) was an Italian Music theory, music theorist and composer of the Renaissance music, Renaissance. He made a large contribution to the theory of counterpoint as well as to musical tuning. Life and career Zarlino was born in Chioggia, near Venice. His early education was with the Franciscans, and he later joined the order himself. In 1536 he was a singer at Chioggia Cathedral, and by 1539 he not only became a deacon, but also principal organist. In 1540 he was ordained, and in 1541 went to Venice to study with the famous contrapuntist and ''maestro di cappella'' of San Marco di Venezia, Saint Mark's, Adrian Willaert. In 1565, on the resignation of Cipriano de Rore, Zarlino took over the post of ''maestro di cappella'' of St. Mark's, one of the most prestigious musical positions in Italy, and held it until his death. While ''maestro di cappella'' he taught some of the principal figures of the Venetian School (musi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mode (music)
In music theory, the term mode or ''modus'' is used in a number of distinct senses, depending on context. Its most common use may be described as a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors. It is applied to major and minor keys as well as the seven diatonic modes (including the former as Ionian and Aeolian) which are defined by their starting note or tonic. ( Olivier Messiaen's modes of limited transposition are strictly a scale type.) Related to the diatonic modes are the eight church modes or Gregorian modes, in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone. Although both diatonic and Gregorian modes borrow terminology from ancient Greece, the Greek ''tonoi'' do not otherwise resemble their medieval/modern counterparts. Previously, in the Middle Ages the term modus was used to describe intervals, individual notes, and rhythms (see ). Modal rhythm was an essential ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Counterpoint
In music theory, counterpoint is the relationship of two or more simultaneous musical lines (also called voices) that are harmonically dependent on each other, yet independent in rhythm and melodic contour. The term originates from the Latin ''punctus contra punctum'' meaning "point against point", i.e. "note against note". John Rahn describes counterpoint as follows: Counterpoint has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque period. In Western pedagogy, counterpoint is taught through a system of species (see below). There are several different forms of counterpoint, including imitative counterpoint and free counterpoint. Imitative counterpoint involves the repetition of a main melodic idea across different vocal parts, with or without variation. Compositions written in free counterpoint often incorporate non-traditional harmonies and c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyphony
Polyphony ( ) is a type of musical texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice ( monophony) or a texture with one dominant melodic voice accompanied by chords ( homophony). Within the context of the Western musical tradition, the term ''polyphony'' is usually used to refer to music of the late Middle Ages and Renaissance. Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. Also, as opposed to the ''species'' terminology of counterpoint, polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in another. In all cases the conception was probably what Margaret Bent (1999) calls "dyadic counterpoint", with each part being written generally against one other part, with all parts modified if needed in the end. This point-against-point conception is ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Block Chord
A block chord is a chord or voicing built directly below the melody either on the strong beats or to create a four-part harmonized melody line in " locked-hands" rhythmic unison with the melody, as opposed to broken chords. This latter style, known as shearing voicing, was popularized by George Shearing, but originated with Phil Moore. Block chord style (also known as chorale style) uses simple chordal harmony In music, harmony is the concept of combining different sounds in order to create new, distinct musical ideas. Theories of harmony seek to describe or explain the effects created by distinct pitches or tones coinciding with one another; harm ... in which "the notes of each chord may be played all at once" as opposed to being "played one at a time (broken or arpeggiated chords). For example, a guitarist can strum the chord (this would be a "block" chord) or use a picking style to play "broken" chords". Notes Sources * * Further reading * Cho ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
