Modal representation in polyphonic offertories
Identifieur interne : 000228 ( Main/Exploration ); précédent : 000227; suivant : 000229Modal representation in polyphonic offertories
Auteurs : Harold S. Powers [États-Unis]Source :
- Early Music History [ 0261-1279 ] ; 1982-10.
Abstract
In 1957 Nino Pirrotta expressed his view of Palestrina's music and the Tridentine reforms as follows: The composers were directed to avoid too open an intrusion of secular elements, and to preserve the comprehensibility of the text so far as possible. That the latter would have been attainable through the avoidance of canons and other developed contrapuntal procedures (Animuccia, preface to Laude, Libro ii, 1570) is only in part true, if the noteworthy complexity of Palestrina's polyphonic composition is taken into account. In fact the problem had to be solved more from the spiritual than from the purely technical side. The true contribution of Palestrina and some of his contemporaries (e.g. de Kerle and Animuccia) to its solution — dramatised in anecdotes which do not withstand historical criticism — consists in the deep and inner religiosity which his works unquestionably express. This religiosity, joined to the responsibility for interpreting the official attitude of the Church, influenced the style in that it led to extreme circumspection in taking up the new means of emphasis and expression, be it because they had arisen from secular music (above all after the rise of the madrigal) or because they seemed incompatible with the restraint becoming to the divine service (since they tended towards the description and expression of personal feelings).
Url:
DOI: 10.1017/S0261127900002084
Affiliations:
Links toward previous steps (curation, corpus...)
- to stream Istex, to step Corpus: 000094
- to stream Istex, to step Curation: 000094
- to stream Istex, to step Checkpoint: 000221
- to stream Main, to step Merge: 000228
- to stream Main, to step Curation: 000228
Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title>Modal representation in polyphonic offertories</title><author><name sortKey="Powers, Harold S" sort="Powers, Harold S" uniqKey="Powers H" first="Harold S." last="Powers">Harold S. Powers</name></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:C23C9B1B90612F1E88BFD4A9989A460E6322BCBE</idno><date when="1982" year="1982">1982</date><idno type="doi">10.1017/S0261127900002084</idno><idno type="url">https://api.istex.fr/document/C23C9B1B90612F1E88BFD4A9989A460E6322BCBE/fulltext/pdf</idno><idno type="wicri:Area/Istex/Corpus">000094</idno><idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Corpus" wicri:corpus="ISTEX">000094</idno><idno type="wicri:Area/Istex/Curation">000094</idno><idno type="wicri:Area/Istex/Checkpoint">000221</idno><idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Checkpoint">000221</idno><idno type="wicri:doubleKey">0261-1279:1982:Powers H:modal:representation:in</idno><idno type="wicri:Area/Main/Merge">000228</idno><idno type="wicri:Area/Main/Curation">000228</idno><idno type="wicri:Area/Main/Exploration">000228</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a">Modal representation in polyphonic offertories</title><author><name sortKey="Powers, Harold S" sort="Powers, Harold S" uniqKey="Powers H" first="Harold S." last="Powers">Harold S. Powers</name><affiliation wicri:level="4"><country>États-Unis</country><placeName><settlement type="city">Princeton (New Jersey)</settlement><region type="state">New Jersey</region></placeName><orgName type="university">Université de Princeton</orgName></affiliation></author></analytic><monogr></monogr><series><title level="j">Early Music History</title><title level="j" type="abbrev">Early Music History</title><idno type="ISSN">0261-1279</idno><idno type="eISSN">1474-0559</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="1982-10">1982-10</date><biblScope unit="volume">2</biblScope><biblScope unit="page" from="43">43</biblScope><biblScope unit="page" to="86">86</biblScope></imprint><idno type="ISSN">0261-1279</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0261-1279</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract">In 1957 Nino Pirrotta expressed his view of Palestrina's music and the Tridentine reforms as follows: The composers were directed to avoid too open an intrusion of secular elements, and to preserve the comprehensibility of the text so far as possible. That the latter would have been attainable through the avoidance of canons and other developed contrapuntal procedures (Animuccia, preface to Laude, Libro ii, 1570) is only in part true, if the noteworthy complexity of Palestrina's polyphonic composition is taken into account. In fact the problem had to be solved more from the spiritual than from the purely technical side. The true contribution of Palestrina and some of his contemporaries (e.g. de Kerle and Animuccia) to its solution — dramatised in anecdotes which do not withstand historical criticism — consists in the deep and inner religiosity which his works unquestionably express. This religiosity, joined to the responsibility for interpreting the official attitude of the Church, influenced the style in that it led to extreme circumspection in taking up the new means of emphasis and expression, be it because they had arisen from secular music (above all after the rise of the madrigal) or because they seemed incompatible with the restraint becoming to the divine service (since they tended towards the description and expression of personal feelings).</div></front></TEI><affiliations><list><country><li>États-Unis</li></country><region><li>New Jersey</li></region><settlement><li>Princeton (New Jersey)</li></settlement><orgName><li>Université de Princeton</li></orgName></list><tree><country name="États-Unis"><region name="New Jersey"><name sortKey="Powers, Harold S" sort="Powers, Harold S" uniqKey="Powers H" first="Harold S." last="Powers">Harold S. Powers</name></region></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/LassusV1/Data/Main/Exploration
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000228 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Main/Exploration/biblio.hfd -nk 000228 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= LassusV1
|flux= Main
|étape= Exploration
|type= RBID
|clé= ISTEX:C23C9B1B90612F1E88BFD4A9989A460E6322BCBE
|texte= Modal representation in polyphonic offertories
}}
| This area was generated with Dilib version V0.6.33. |  |