Kansas CD, Jeff's CD, Palestrina, Lassus, Orlando di Lasso, Victoria, Vittoria, Lamb, Gregorian Chant, Jeff Ostrowski, Sacred Polyphony, Worthy is the Lamb, Gregorian Chant, Topeka, KS, FSSP, Fraternity of St. Peter, Latin Mass, Traditional Mass, Traditional Sacred Music, Catholic Church, Catholic Music, Viadana, Croce, Uttendal, CD, Purchase Gregorian Chant CD, Purchase Polyphony CD, Buy Catholic CD, Kansas Apel, Willi. Gregorian Chant. Bloomington: Indiana University Press, 1958. "art for art's sake," which had penetrated every aspect of musical "art for art's sake" conception of church music, as well as the rationalistic "Expression instead of pathos," "authenticity instead of unreal makebelieve" "fluctuates between the peril of indulge~ce and the spiritual profit" to be "gesangbuch" and "vernacular") "I ,'I "IIá "motet style" was evolved for festive church music. "purity of tonal art" that the reformers were seeking. This line of thought "Second Netherlands School" was the imitation of the initial motif in ' "Song-Mass" (Singmesse), which is found completely laid out in the (;ra . tt'S nUllc (). DIllt'S red - tla - mils J '0 - mi _ no (+ c. 1475) and others. (+ c. 1563), and others, manifested early in the sixteenth century a (+1179) the mystery play achieved a certain magnificence which was (+1292), was inserted in the missal as a sequence by Pope Benedict XI~I (+1296) and Roger Bacon (+1292) complained about the new art and (+1306) but perhaps by S1. Bonaventure (+1274) or John Peckham (+1377), and were theoretically explained by Jean de Muris (c. 1290c. (+1585), who was born in Alcantara, a few miles from the Portuguese (+1609), Giovanni Croce (1557-1609), Marc Antonio Ingegnieri (+1683), Johann Kaspar Kerll (1627-1693), and Georg and Gottlieb (+c. 1255). The Stabat Mater, a hymn ascribed to Jacapone da Todi (1528-1599). (1545-1592), Costanzo Porta (1530-1601), and others. These efforts (1550) they acquired their distinctive form. Thus declamation and (1557-1612) promoted this expression in musical forms by an extension, (1605) provided for the adoption of German hymns in place of the (1625), as well as in the hymnals of Cologne and other dioceses. They (1627-1693), was the leader in this art which never won much support in (1657-1726), Andre Campra (1660-1744), and others. What determined (1669-1749), Nicolas Bernier (1664-1734), Michel Richard de Lalande (1683-1729), Johann D. Zelenka (1679-1745), Johann Gottlieb Naumann (1706-1784), and others influenced the course of church music in their (1706-1785), and many others at the various centers of Italian church (1708-1769) and many other composers were forced by their positions (1711-1791), Carlo Cotumacci (1698--1775), Giovanni Paisiello (17411816), (1726-1776), in his clear exposition of the stylistic peculiarities of (1727-1797), performed their church music and their operas at court. (1729-1774), Johann Georg Reutter (1708-1772), Johann Ernst (1733-1824\, and especially the prolific Niccolo Antonio Zingarelli (1739-1799), Leopold Hoffmann (1730-1793), Wenzel PichI (17411805), (1741-1801) and Franz Seydelmann (1748-1806). (1741-1816), Stanislas Mattei (1750-1825), Nicolo Zingarelli (17521837), (1749-1801), Ferdinando Paer (1771-1839), and Pasquale Anfossi (1752-1837), church music among the Neapolitans finally disintegrated. (1754---1825) and Johann Kaspar Aiblinger (1779-1867), at Munich. The (1760-1795), Franz Xaver Richter (1709-1789), and Jiri Antonin (1760-1824), Karl Kempter (1819-1871), and many others who turned (1763-1837), France at the beginning of the nineteenth century turned (1771-1815). (1774~1850), Wenzel Horak (1800-1871), and others put their vital (1792-1868). In Rossini's grandiose mass, sectional composition with a (1794) once more summarized the strict style, and Giacomo Tritta (1797-1828) are characterized by a lyricism that contrasts with the (1801-1863) did revive ancient polyphony in its original form. Their (1802-1861), and the German, Sigismund Neukomm (17781858), (1807-1861), and countless others whose works enjoyed an extraordinary (1818) is rich in harmonic and tonal effects. Solo and chorus sections, (1823-1855), who started an edition of the collected works of Palestrina, (1825) rediscovered in ancient classic polyphony the neo-humanist clarity (1835-1921), Charles Bordes (1863-1909), Alexandre Guilmant (1837-1911), and Vincent d'Indy (1851-1931), Cesar Franck promoted (1838-1873) , Joseph Marie Erb (1860-1944), and others. This is proof (1839-1915) in many noteworthy compositions. (1839) were based on local reformed versions. This was true also in (1840-1910), whose work as a music historian and theorist is known (1848-1923), Adalbert Rihovsky (b. 1871) and many others who (1848-1933), and Angelo de Santi (1847-1922) were duected In the (1855) and Anthony Werner (1857). For French.speaking congrega- (1856--1946), Giovanni Telbaldini (1864-1952), Oreste Ravanello (1857). In Italy, the fight was taken up by V. Meini (1863) and others. (1865-1938), L. Long and others were assiduous in cultivating both an. (1867) and others emphasized the requirements for a general reform of (1868) and especially in his Missa choralis (1862). In these he interprets (1869) and Karl Bohm (1875) proposed similar reform ideas, and Heinrich (1870-1937), who sought for impressionistic tonal effects. For Charle,> (1871-1938), Raffaele Casimiri (1880-1943) and Licinio Refice (18851954). (1876), Belgium (1880), Poland and Hungary (1897). Associated (1879-1925) Miroir de Jesus andá Honegger's Roi David gave France's (1886-1946), and others shaped them into a harmonic consonance. (1886) and Musica sacra (1868), but by 1865 he had already (1898-1954), Ernst Tittel (b. 1910), Johann Hafner (b. 1901), and (1928), certain particulars were re-emphasized, especially the musical (1928), Pope Pius XI renewed the basic ideas of the motu proprio. Pope (1955), he emphasized the cultural task of religious music and the importance (835) and others enacted prescriptions concerning church music that (A - ve prae - cia - ra (also known as Messer Paola, 1495-1537) was the greatest (and which was stylistically akin to the Italian oratorio), had a (Arte prattica di Contrappunto, 3 vols., 1765), and others described the (b. 1885), P. J. Kobeck, and others have written works worthy of special (b. 1896) and Franz Philipp (b. 1890) of Baden, while the Swiss, Johann (b. 1898), Otto Jochum (1.1898), Leo Sohner (1.1898), Heinrich Wismeyer, (b. 1900) and others continued within the bounds of the old tradition (c. 1250). (consonantia, concordantia) . (e.g., by using a broken-chord melisma). Pasquale Pisari (1725-1778) (esclamazione), but also the structural alteration of the melodic line. (for. it~ criteria. are mainly negative), it has had a decided impact upon (hays' choir) near the altar sang the special chant parts and thus inteá (i,c,h flat), as well as the relat d 1 " an e su semItonal tuba (in Germany) and Marc Antoine Charpentier (in France), all of whom (isolated note, lengthening of tempo, shortening of melismas, and the (l864), F Minor (1866), and E Minor (1868). Palestrina contrived to (Mal,trise), and his music school (Ecole royale de chant) led the way (ornate chant). Both forms demand an appreciation of the word-tone (processional songs) and music for festive solemnities (polyphony). (see "basso continuo") (see "polychoral writing") (see "thorough-imitation") (see also "colla parte")' (see also "gesangbuch") (see Johann Schemer) (smce ~ere .was as yet no system of notation) is a furtlIer proof of the [ [debit) [ML3002.F32 1979] '783'.026'209 '78-2l637 ] {- §J~~ @~P'I *Jan~nr...~ =Jet- ~~_. /~Strecke, Theodor Propper, Franz Philipp, J. Discher and others. Various ! kinds of devotional hymns have been composed by Joseph Haas, Gottfried 137-8, 140, 144 138 THE HISTORY OF CATHOLIC CHURCH MUSIC, Church Music Shaped by the Emotions 139 138-9, 154 (see also Çdeclamation 14 THE HISTORY OF CATHOLIC CHURCH MUSIC 140 THE HISTORY OF CATHOLIC CHURCH MUSIC 141 141,153,171-4,200 142 THE HISTORY OF CATHOLIC CHURCH MUSIC 143 144 144 THE HISTORY OF CATHOLIC CHURCH MUSIC 144-5 146 " , 146 THE HISTORY OF CATHOLIC CHURCH MUSIC Church Music Shaped by the Emotions 147 148 149 15. Romantic Expression 173 150 THE HISTORY OF CATHOLIC CHURCH MUSIC 151 151-3, 176-80; 183 151, 153, 158, 171-3, 179, 184, 186, 151, 162-3, 169-70, 212 152 THE HISTORY OF CATHOLIC CHURCH MUSIC Church Music Shaped by the Emotions 153 1532-1594), however, used the new stylistic media in a more personal 154 154-5, 174, 193 155 155 1552: 156 THE HISTORY OF CATHOLIC CHURCH MUSIC Symphonic Church Music 157 1575 until his death ten years later. His extant works include several 1575-1638), and others developed this form of setting. 1575,1583), Johann Riihling (1583) and Johann Woltz (1617) there 158 THE HISTORY OF CATHOLIC CHURCH MUSIC 1586, only eight years after its appearance in Spain. Wherever cathedral 15th century Evangelium pulchrum (Breslaul 16 16. Efforts at Reform ; á á á.. á á 180 160 160 THE HISTORY OF CATHOLIC CHURCH MUSIC Symphonic Church Music 161 1606), Jakob Reiner (1560-1606), Hans Leo Hassler (1564-1612), The Council of Trent, in treating liturgical problems, made a decision 1611), Martin Mielczewski (+1651), and others. 162 162 THE HISTORY OF CATHOLIC CHURCH MUSIC Symphonic Church Music 163 162, 169--70 1630--1711; 1653-1715), and others, like the Roman composers, continued 164 THE HISTORY OF CATHOLIC CHURCH MUSIC 165 165-7 166 THE HISTORY OF CATHOLIC CHURCH MUSIC Symphonic Church Music 167 1660-1741) taught the strict style of composition in his Gradus ad 1666. Giacomo Antonio Perti (1661-1756), his pupil, Padre Martini 168 THE HISTORY OF CATHOLIC CHURCH MUSIC 168, 191, 213-5 1683-1753), German organ building reached its height. In France organ 1692; etc.), were song cycles with instrumental ritornels. Thus 17 17. Contemporary Church Music 199 170 THE HISTORY OF CATHOLIC CHURCH MUSIC 171 171-8 172 THE HISTORY OF CATHOLIC CHURCH MUSIC 173 174 174 THE HISTORY OF CATHOLIC CHURCH MUSIC Romantic Expression 175 174-5,211 176 THE HISTORY OF CATHOLIC CHURCH MUSIC 177-9 178 THE HISTORY OF CATHOLIC CHURCH MUSIC 179 18 THE HISTORY OF CATHOLIC CHURCH MUSIC Treasury of Liturgical Song 180 182 THE HISTORY OF CATHOLIC CHURCH MUSIC Efforts at Reform 183 1826) is in striking contrast to the lyricism of Schubert. Just as Schubert 184 THE HISTORY OF CATHOLIC CHURCH MUSIC 1847. This research stemmed from the liturgical work of the abbot of 186 THE HISTORY OF CATHOLIC CHURCH MUSIC 1870 he obtained papal approbation. He publicized his reform ideas in 1875), Martin G. Dumler, Melchiore Mauro-Cottone, and others. 188 THE HISTORY OF CATHOLIC CHURCH MUSIC 1880) and Wilhelm Kurthen (1882-1957) links with the older style are 1882), and others. They freed church music from its crystallization within 1883), Alfred Topler (b. 1883), Artur Wittek (b. 1892), Paul Blaschke 1891) TTk (1864) Baur (1868), and others. Thus a great store of 1896), Carl Senn, Karl Kraft (b. 1903), Heinrich Kaspar Schmid (18741953), 190 THE HISTORY OF CATHOLIC CHURCH MUSIC 1901), Hans Lang (1. 1897), and Adolf Pfanner (b. 1897), have cultivated 1910. 1913. This ne~ group,.unrelate~ to the Caecilians, though following the 192 THE HISTORY OF CATHOLIC CHURCH MUSIC 1920s a reawakened liturgical awareness occasioned a violent controversy 193 1938. 194 THE HISTORY OF CATHOLIC CHURCH MUSIC 1940. 1946. ' 1949. 195-201 1950. Rev. ed. 1959. ' 1954. 1957, this periodical was transferred to a new organization called the 196 THE HISTORY OF CATHOLIC CHURCH MUSIC 1960. . , 198 THE HISTORY OF CATHOLIC CHURCH MUSIC 199 1I 1st Soprano r 1st Tone Casar de Zachariis (590) 1st Voice 2 2 THE HISTORY OF CATHOLIC CHURCH MUSIC 2 to 48 voices, which expanded upon the choral processes of ancient 2: Treasury of Liturgical Song 17 2. CHURCH MUSIC 20 200 THE HISTORY OF CATHOLIC CHURCH MUSIC 201 202 THE HISTORY OF CATHOLIC CHURCH MUSIC 204 THE HISTORY OF CATHOLIC CHURCH MUSIC Contemporary Church Music 205 206 THE HISTORY OF CATHOLIC CHURCH MUSIC 208 THE HISTORY OF CATHOLIC CHURCH MUSIC 210 214 THE HISTORY OF CATHOLIC CHURCH MUSIC 216 216 THE HISTORY OF CATHOLIC CHURCH MUSIC 218 22 22~ 220 THE HISTORY OF CATHOLIC CHURCH MUSIC 221 222 THE HISTORY OF CATHOLIC CHURCH MUSIC 224 THE HISTORY OF CATHOLIC CHURCH MUSIC 226 THE HISTORY OF CATHOLIC CHURCH MUSIC Index 227 228 THE HISTORY OF CATHOLIC CHURCH MUSIC 229 230 THE HISTORY OF CATHOLIC CHURCH MUSIC 231 232 THE HISTORY OF CATHOLIC CHURCH MUSIC 233 234 THE HISTORY OF CATHOLIC CHURCH MUSIC 235 24 THE HISTORY OF CATHOLIC CHURCH MUSIC Treasury of Liturgical Song 25 26 27 28 THE HISTORY OF CATHOLIC CHURCH MUSIC 29 2nd Book of Motets 2nd Voice ~ ~ 3 3,193 3,95,106-7, 110, 125, 139 3. E 3. PREáGREGORIAN PERIOD 3. Sanctificetur ne~_rn~~ ctoe - lis 3) The Gregorian Tradition ' 29 30 THE HISTORY OF CATHOLIC CHURCH MUSIC The Gregorian Tradition 31 32 THE HISTORY OF CATHOLIC CHURCH MUSIC The Gregorian Tradition 33 34 THE HISTORY OF CATHOLIC CHURCH MUSIC The Gregorian Tradition 35 36 37 . j 38 39 4 4 4 7 • 4 F" t Adv 't u - urn 4 THE HISTORY OF CATHOLIC CHURCH MUSIC Introduction 5 4. GREGORIAN CHANT 4. New Forms :::::::::::::::::::::::::::::::::::::::::::::::::::: 36 40 THE HISTORY OF CATHOLIC CHURCH MUSIC New Forms 41 41, 155, 180 42 43 New Forms 44 THE HISTORY OF CATHOLIC CHURCH MUSIC 45 46 THE HISTORY OF CATHOLIC CHURCH MUSIC 48 48 THE HISTORY OF CATHOLIC CHURCH MUSIC Tonal Expansion 49 5 5. Panem nostrum quo-ti d' - SICut In coe)o et in ter 5. Tonal Expansion 45 50 51 51 52 52 THE HISTORY OF CATHOLIC CHURCH MUSIC 55 56 58 5th ed. rev. New York: G. Schirmer, 1958. 6 6 6 • 6 6 B 6 THE HISTORY OF CATHOLIC CHURCH MUSIC 6. Et d"Iml'tte nobis de - bi -_ t I - a - num d.a no - bis ho - d-' ra 6. Regulation and Restriction of Church Music 55 6. RENAISSANCE PERIOD 60 THE HISTORY OF CATHOLIC CHURCH MUSIC Conservative Forms 61 62 THE HISTORY OF CATHOLIC CHURCH MUSIC 63 64 THE HISTORY OF CATHOLIC CHURCH MUSIC Origin and Development of Polyphony 65 65, 70, 72-3, 81, 83-5, 107, 114, 66 67 68 7 7. BAROQUE PERIOD 7. Conservative Forms 58 .~; Origin and Develop~~~~·~f··p~i~h·~~·;·:::::::::::::::::::::::::·.:: 63 7. Et ne nos in. du. cas ~~us debito- ri - bus no - stris 70 THE HISTORY OF CATHOLIC CHURCH MUSIC Origin and Development of Polyphony 71 71 72 THE HISTORY OF CATHOLIC CHURCH MUSIC 73 74 THE HISTORY OF CATHOLIC CHURCH MUSIC Origin and Development of Polyphony 75 76 77 78 THE HISTORY OF CATHOLIC CHURCH MUSIC Origin and Development of Polyphony 79 8 8 8 8 8 8 8 8 gc ni - c in pro - gc - ni - cs 8 Ky 8 son 8. CLASSICAL PERIOD 80 82 THE HISTORY OF CATHOLIC CHURCH MUSIC Homophony, Polyphony and Polychoral Writing 83 84 THE HISTORY OF CATHOLIC CHURCH MUSIC 85 86 THE HISTORY OF CATHOLIC CHURCH MUSIC 88 Post Road West, Westport, Connecticut 06881 88 THE HISTORY OF CATHOLIC CHURCH MUSIC 9 9 8 9:pde jt ~ _B´t£g 8%t1 9. Homophony, Polyphony and Polychoral Writing 80 9. ROMANTIC PERIOD 90 92 THE HISTORY OF CATHOLIC CHURCH MUSIC . The Ideal Style of Ecclesiastical Polyphony 93 94 THE HISTORY OF CATHOLIC CHURCH MUSIC 94-100, 105, 116, 129, 149-50, 94, 105, 107, Ill, 116-18, 120, 95, 98, 100, 107 96 The Ideal Style of Ecclesiastical Polyphony 97 98 THE HISTORY OF CATHOLIC CHURCH MUSIC 99, 114, 126-7, 13D-2, 135, 141, A A A A A a a a a A A A a A a _ A - - - - - A - ve 1\Ia - ri - a A - ve Ma - ri A .....:--. } a .p~rely es~etic enjoyment of music, was the basis for the general repudlah? á "~"~:-:.:::~_.'--'---- A ~r J~.J J .J .J J J J a booklet on "The Condition of Church Music in Old Bavaria." The A capella, 100, 118-30, 142, 147-9, a cappella art of the seventeenth century. It adopted in declamation and A CAPPELLA STYLES IN ROMANCE COUNTRIES a center of chant creativity. Rather it served more to propagate the A clarification was made necessary by the situation in which the Church a compromise was bound to follow. This was achieved by those Christians a contrapuntal solo ensemble. The masses written after 1796 offered a Dalmatian Croat, adopted this emotion packed style of declamation in A determining factor in the development of the chur~h hymn in the a distributing house for church music published in Europe, but later a A division of Congressional Information Service, Inc. a dramatic interpretation of the text, and consequently the quest for new a fundamentally new form was created, crowded with new ideas. Rhymed A gnus De - a gr;:-=' ti - a pIe A greater success was achieved by the reforms that emanated from a greater unity in their compositions. In instrumental music the "Mannheim A History of Catholic Church Music a im - pe - tra - ta non de - ne - ges non a link with the ancient forms of melody. Church music possessed a similar a more liturgical conception and a plainer representation of the words. recognized along with the medieval liturgical melodies, but on condition a mUSlca conceptIOn of song for worship. a new art of expression. a new attitude toward the text in which the great symphonic A new era had dawned and had shaped its own artistic expression. The A new form of compositioll arose in the so-called "number masses," a new form of expression that had the most telling effect on his numerous a new type of construction and form which moved beyond the solo motet a no- stra Sicut et nos dirnit- I - e a novum genus musicu.m. It meant assembling all the stylistic tendencies a paralysis of church art, as the succeeding history of church music a part of these hymns as it was of the Marian hymns of Johann Kaspar a pe~sonal expression that was bound to overcome all external restrictions. A personal and subjective interpretation instead of a mystical, objective a personal interpretation but rather to a general stylizing of the words in A publication such as The Morning and Evening Service of the Catholic a pupil of Franz Xaver Haberl at Regensburg, who began to teach a pupil of his, Lajos Bardos. a return to the ancient treasury of hymnody as well as by new composii A second basic purpose of Catholic church music is to be found in its a selection available in his Musica divina. He presented practical perá a separation from ecclesiastical expression and thus involved a a simple, parallel voice.leading in a quite conservative ecclesiastical A small but typical example of this kind of church music written by a staff of world-renowned musicians and liturgists, is held each a stricter view of ecclesiastical thought was opposed to the secularism a style distinct from the secular media. Of special importance is his a subjective kind which, in some forms, attempted a textual interpretation a subordinate place in the liturgy, and so at divine service the musical A temp- A tern - - plo sane to tu- a true ecclesiastical style down through the years to our own time. a whole had not produced an independent a cappella style. In the a cappella a whole. Practical considerations, with the demands that arise from time a-:e contained in the fifth-century Codex Alexandrinus, the oldest liturgical A-gnus De A-gnus De - i qui tol - lis pee - ea - ta mun - di mi - se - re - re no - bis A. Agazzari. Et repleti sunt 1614 his Sacrae cantiones (1620), as did the Polish church composers of this A. Draghi, Messe 1684 A. Holtzner, and others were the proponents of this change of a. re:'ult, both the unity of the congregation at worship and community A.D. 100. About the time when Christianity shouldered the task of furthering á'F' á1 á1 áá áá abandoned all strictly liturgical demands. This artistic expansion of abandoned its connection with the cantata, opera and oratorio and took abandonment of this manner of performance. There was moreover some Abbatini, Antonio Maria, 109, 129 Abbey, Collegeville, Minnesota, spread into the field of music through ABCDEFGAB Cdefgabcd About 1340, the peculiar Italian form of the new style was given a about 1450, report on this practice, mostly a form of improvisation, about a change: whereas the seventeenth century strove for a compromise about a stylistic compromise. Both horizontal and vertical tensions were About the time a compromise between the Christian and the ancient about the use of Gregorian melody free from harmonic considerations, about this time: in 1864, that of J. Fischer and Bros., in Dayton, Ohio; about whom we have definite information was Fernando Franco ABRAHAM, GERALD. A Hundred Years of Music. London: Duckworth, absence of organ and instruments has continued uninterrupted. absorbed in the service of the altar. But in fact it is sometimes divorced Accademia Filarmonica, 143, 145 accent various aspects of the church year, by means of Passion songs, accents that were forced on the chant. Although this work of Ett's did accentual formation. accentuation and not overlaid with melismas. Thus the humanistic striving accentuation, reading and punctuation, it led to the formation of the Accidentals, 74 accommodated the declining resources of the choir. Thus all that was accompanied by the thorough-bass but even invaded the multivoiced comá accompanied church music. In the Gran Mass (1855) and the Hungar- accompaniment or only a basso continuo which the Neopolitans frequently accompaniment rich in tonal value. Similarly, the G Major ("Jubilee") accompaniment. Hence in this circle a cappella music was replaced hy accompaniment. Much modern composition has not observed the litur. accompaniment. Outstanding sonorities, contrapuntal voice leading, suppleness accompaniments to the chant. Kreckel, Van Hulse, Schehl, Sr. M. Theophane accompaniments, such as those of Henri Potiron and others, or in the accomplished. accordance with the stress laid on the Palestrinan style in the motu according to historical tonal ideals. According to the motu proprio the traditional Gregorian chant, used accustomed all the more carefully to Christian ways of thinking by the achieve this combination of structural clarity and verbal expression. They achieved at the neglect of the vertical relationship between the parts. A achieved kept Palestrina's name alive for centuries, even in times that achieved outward expression in connection with liturgical chants. But the actIOn by means of popular presentation. The textual materials were action itself and the liturgical melodies of the chant. Significant in this active in transforming and refining the trio sonata into the sonata da Activity in church music reached a high point in Rome in the sixth century. acute. Even though the use of the organ was still quite restricted, its introduction ad te Do - rni ne Ad te suspiramus Adam of St. Victor, 39 adaptations as the vernacular hymn when transplanted by colonists and addition, leading factors in composition were the creating of motifs within ADJUSTMENT OF ROMAN CHANT TO LOCAL Adlgasser, Anton Cajetan, 166 admitted into the composition of the Propers. adopted as popular church music and thus entered the hymnbooks. These adopted by Italian Christians from the Eastern Christians who in turn adorning of the text by the music characterized this tendency, which Adriano Banchieri (1574-1634), Alessandro de Grandi (+1630), Ae-ter-ne re-rurn eon-di-tor Noe-tern di-emque qui re-gis Et aegis of this group, with Msgr. Francis Schmitt as editor. Aelred,55 aeterna, while the German texts put the Christmas sequence Grates nunc áf Affetti, 116 after being alienated by the Enlightenment from its true foundation in after every psalm verse - is already established in the Rule of St. After many diverse developments and adjustments from the fourth After the eighth century this system of "church modes" coordinated After the reorientation of Christian music in the fourth century, and the after women's voices were gradually admitted to the performance of After WorldY;ar II th~ IGK affiliated with the Caecilian Society in again the liturgical link, and characterized as improper the independent against Peter Wagner's thesis by Amedee Gastoue and after hIm by against which John XXII had taken a stand, demonstrate the placing of Agobard of Lyons in favor of the old forms of the Office, contained Agobard of Lyons, 33 Agostini, Paolo, 108 Agricola, Alexander, 78 Aha Ahrens, Joseph, 205, 216 Aiblinger (1779-1867), Karl Proske (1794-1861), Theodor Witt Aiblinger, Johann Kaspar, 169, 182- Aiblinger, which they surpassed in shallowness of melodic expression. Aichinger, Gregor, 116 aid to religion." In the spirit of St. Philip Neri (1515-1594), the work AIGRAIN, RENE. Religious Music. Trans. C. MULCAHY. London: Sands & AIM AND ACCOMPLISHMENT OF THE CAECILIANS aimed at basic expression, found a place in the general contrapuntal Aitkin, John, 133 AjJ, - .- akin LO Gregorian chant. The polyphony of the sixteenth century could Al - Ie - lu - ja, al - Ie - lu - ja, al Al - le - lu - ia Alabados, 101 Alamar,33 Albert Bertelin (1872-1951), Guy Ropartz (1864--1935) and Henri Albrechtsberger (1736-1809), who continued teaching the strict styIe Albrechtsberger, Johann Georg, 153 Alcuin,33 Alemanni and Bavarians had been settling from the third to the sixth Alexander VII, 142 Alexandre Choron (1772-1834) and J uste Adrien de Lafage (18011862) Alfieri, op. 62 (1852) Alfieri, Pietro, 181, 186, 190 All rights reserved all the arts, especially in view of the progress in radio, television, motion all the liturgical chants, although some of them, having been shaped by All this augurs well for the future. The tremendous material losses all, it was arbitrarily refashioned to conform to the taste of the times. Allegri, Gregorio, 129, 183 Alleluia from an Ambrosian hymn Alleluia jubilus, thus forming a special class within the tropes. The ALLELUIA MELISMATA Alleluia-verse (23rd Sunday after Pentecost)---...... allowing each singer to have his copy. Octavio Petrucci (14661539) ally subordinated to the declamatory lead of the upper voice; in other almost forced a move in this direction, toward a music estranged from along this line. along with an infiltration of Gallican chant, produced a liturgical and Along with independent creations in the vernacular there were transla. along with Peter Griesbacher, the chief proponents and supporters of a along with simple faux-bourdon settings, either alone or coupled with along with the old modal and organal formations, till the fifteenth century. Along with the transformation in melodic shape of the liturgical chants Along with this group of Viennese theoreticians the Benedictine Meinrad alongside the fixed psalms. Because the heretics frequently availed themselves already provided. It was now the goal of the various movements to utilize already reached a low ebb in the seventeenth century. The church choir also by musicians of the Anglican Church. Christopher Tye (+1572), also characterizes the work of J. Alfred Schehl (1882-1959) and also in the works of Etienne Henri Mehul and Luigi Cherubini, and also iná the choice of texts to be set. Besides polyphonic settings of the also of the Gallican liturgy. Unlike the Ambrosian rite the Gallican was Also of value in both the educational and pubhshmg field, the Gre- also the church hymns. Special development occurred in pilgrim and also used to develop contrast in works employing the stile moderno. In also wrote for the church on commission, but they treated the lIturgIcal altar. The use of women's voices and orchestras in church since the seventeenth Altered tones, 108 alternated with three violas or three trombones, Scarlatti and his circle Alternation, 126 Although Adrien Willaert (c. 1490-1562) must be credited with the creation Although Christian musIcal endeavor shut itself off from the ancient although frequently in a muddled fashion, the final summing up of ancient Although Griesbacher's attempt to utilize the contemporary idiom led Although in the new art polyphony was no longer regarded as the although local development continued. The Germans expanded their Although many attempts were made to gain a closer tie with the liturgy, Although most compositions did not fulfill their artistic role some Although Orlando di Lasso shaped his art within the limits of polyphony, Although t.he movement begun by Franz Witt in Germany was most Although the ancient a cappella style was the ideal of the CaeciIian movement, Although the liturgical text was often treated very freely and at times Although these creations in the vernacular seldom measured up to Although these devices are more frequent in his chansons and madrigals, Although this practice had already become a common method for presenting Altl 2 Ch Alto always been definitely outlined. As a result there has at times been a always the danger of stylistic conflict. Nevertheless, the effort to create an am am am am am am tn am amalgamated. We know little about the particular phases of this evolutionary Ambrose, 16, 22 Amelli, Guerrino, 178 Amerback, Nikolaus, 88 America, 100-1, 133, 171 among people of every intellectual and financial status. Because of Among the early contemporaries of Haydn and Mozart, Florian Gassmann Among the many sequences certain melodic types stood out as unifying Among the oldest Western orations is the Mozarabic Pater noster among them, with works of rich sonority, are Hugo Herrmann amount of external solemnity, with only an internal vitalizing of sacrificial an a cappella art. These efforts were aligned with emphasis on the melodlc An a cappella Mass by Aiblinger (Agnus Dei) an alien element. It was lifeless and could not yet be freed by the an art that has for the most part gone unused since the eighteenth century. an ecclesiastical decision in its regard. In 1749, Pope Benedict XIV an effort was made to establish tonal vigor as a contrast to the an external reason for existence. In addition, it was the accepted method an important influence on church-music practice. Originating in the traá an independent development of both forms. Beginning about 1605, an instrumental tonal re-enforcement of the whole. At the same time the an IS re~ogm~lOn of a metrically independent performance secundum an organ and this instrument was subsequently improved in the West, an original form for their art, and Zoltan Kodaly (b. 1882) has injected an overrefined Greek culture. Christianity first took root among the lower ance of liturgi~al music. All the problems are not settled. Questions of ance. On this score the United States is beginning to emerge as a center ancient classical polyphony - continued to be cultivated in the traditional ancient conception of the del' v. y was m contrast to the ancient ecclesiastical modal system and Henricus Glareanus (Heinrich ancient music was more encumbered by the superposed and stereotyped ancient polyphony, being a harmonic ornamentation of the Gregorian ancient polyphony, new a cappella music and new instrumentally accompanied ancient style, soon changed to a contemporary idiom. Chromaticism and and ~t held a ~an~er of. ne~a~ing the artistic. Moreover, in the attempt to and 1622) and Domenico Pietro Cerone in EI MelopeD (1613) preá and a Lombard, the great differences in national versions barred any and accepted that could become the basis for re-evaluating and revamping and activities. In all the great ecclesiastical centers the reform made and Alleluia, and in the Office for parts of the responsories. The clausulas and an exaggeration of personal emotion. But because this stile moaerno and artistic craftsmanship. Artificial folk songs could ill correspond and artistic spheres during the nineteenth century, brought music and and at the same time an indication of the constructive art which and attention to the humanistic interpretation of words by declamaá and by most of the northern Italian masters of the first half of the and C Major, he arrived at a new style and form. The courtly and almost and cadential formations. The fourth and fifth replace the third as the and cadential settings. Sections here and there were developed in the and Camille Saint-Saens (1835-1921) was a great influence on and cantio~es ~how him t~ be a m.aster both of contrapuntal voice weaving and cesar Franck (1822-1890) made their contributions. In and choir in the manner of Haydn became the focal point. Fugal work and choral prelude found in Johann Sebastian Bach (1685-1750) an and continued to grow outside her spiritual sphere. In the decree of John and continued to reappear together in various forms later. and craftsmanship in the field of organ ~omposition. However. in organ and declamatory rhythm, was vitalized by harmonic tensions through and ecclesiastical thought could not offer these new efforts was sought and Elmer Andrew Steffen show affinities to the German Caecilians, while and ended any possible link with older stylistic media. This brought and episcopal churches, the country parish with its special problems of and especially in the way it used declamation and harmony, was not and fauxábourdon of the Gothic era but similar to the harmonic tensions and finally altered them absolutely. It was not until the age of printing and for secular music. It first appeared among the Netherland masters and form and adopted instrumental themes. and Franz Schopf, only to replace it with pedestrian compositions and from Greece where Gregory of Nazianzus had done the same. It and from the common Mediterranean culture. These melodIes were muse and further developed by Heinrich Finck (c. 1450-1527), Thoma!? and Gabriel Pierne (1863-1937). Albert Bertelin (b. 1872), Vadon, AND GERMANY and Giovanni Paolo Colonna, musicians at Bologna took a leading role. and Gothic forms resulted in the end of a stiff sacred style. So in and grew more and more dominating. As a result the voices were no and Guy de Lioncourt mixed modern and Gregorian melodies. Devdat and Handel-like art had acquired, in contrapuntal work, an expressiveness and Hans Bauernfeind (b. 1908) combine a warm Austrian individuality and harmonic activity promoted motion in thirds, the use of altered and harmony, reached its most important solution. By his work and Hermann Schroeder combine part music with unison sections for and his circle. Leonardo Leo (1694-1744), Francesco Durante (16841755), and homophony was born. Leonhard Lechner (c. 1553- tury demanded some sort of definition or settlement by the Church. and Hormisdas (514-523) were deeply interested in promoting and how the strict style, fostered until the time of Padre Martini, had and Hymns Usually Sung in the Catholic Church. However, even in these and Igor Stravinski (1. 1882) have opened up a new world of religious and in 1895, the Liber antiphonarius and the Liber responsorialis. In and in 1895, the M. L. Nemmers Co. of Milwaukee. The German firm of and in attempts at restoration of the ancient polyphony. It is likewise and in fact all vocal music of the following centuries, was the result of and in place of its ecclesiastical function it undertook the work of teachá And in the fourteenth and fifteenth centuries the art radiated out to and in the hymnal of Mainz in 1605, and gradually obtained more and and interest in church-music composition. In the same doctnnane and and intrinsically. A problem arose in the fourth and .fif~ centu:i~s; and introduced it into the church. Liturgical feeling was totally absent. and it had begun to be treated with utter freedom in line with and it restricts and conditions the distinct development of that art. and its own sphere of expression. The stile antico was used especially and its thematic activity joined forces with vocal music. Church music and Jan Nieland are among those working in this special field. and Johannes de Grocheo handed on the theory of the new art. It was and Karl Schafhiiutl (1803-1890) caused some stir with their and later Dom Joseph Pothier, undertook to reconstruct the ancient version; and later, was known and used in Canada. Subsequent English and and Mario Salvador must be mentioned for their excellent work and Max Spiegler, both imbued with the spirit of the German reform and melodic leading, was sought. The art of Perotinus flowed into the and minnesingers included sacred songs as well as secular. And during and more pronounced; it made itself manifest in the abandoning of strict and music are opposite poles between which the changes in church music and nine similar volumes were published by 1604. Most of the music was and nineteenth centuries. An old tr?dition of baroque concertante style and no reference was made to the medieval liturgical melodies as and of objectIve expreSSIOn. ThIS adjustment between word and m . and others were set to ecclesiastical texts and published as church music. and others, and more recently those by Ernst Tittel, W. Waldbroel, and others, with their ancient meters, the device of declamation was used and others. and others. In marked contrast, Pietro Paolo Bencini, Giovanni and others. In their hands church music went to the extremes of and personal tastes were recognized, and since the Council of Trent and philosophy, and in the great development of popular piety during and place, determine the development of church music to a great degree. and powerful sonority. The Danish priest, Leif Keyser, shows the same and produced a rich vocal expression, among the most advanced in and provincial councils became more numerous. They stressed again and and psalmody of early Chrl'ste d . dthe mUSIC, the lesson (lectio) and Pss. 134-136) was sung, and the Acts of the Apostles hint at the and religious needs of the modern world. The IGK, in a sense is a composer's and rhythm, but from the eleventh and twelfth centuries on it emphasized and rhythmically from the rigidity of the isorhythmic patterns. At the and Romans. It took such steps in harmonic expansion that at last, in and scrutiny of the music for worship was necessary to avoid and seriousness. and small, became centers of musical life, but in the country at large music and so gave rise to a polyphony that corresponded to the demands of and so he provided a uniform liturgical and musical recension of the and spread of Christianity. The natural expression of prayer in song, and stabilization within the Church, there also arose the necessity of and Stephen (6th c.) did the same for the West. The liturgical bond and stereotyped phrases, with the knowledge that it could be widely and stress was laid on the development of local peculiarities. Traits peculiar and t~e Chu~c~ itself d~manded historical authenticity for the liturgical and the advance of Germanic peoples into the crumbling Roman Empire. and the beginning of the nineteenth was not produced by the Viennese and the Caecilians were striving for, utilizing the resources of the contemporary and the cantus firmus or the thematically and structurally restrained and the choral intonation was used to usher in the Gregorian and the Credo within th~ composition, as well as the popularity of the and the liturgical task was completed by the spoken word alone, chant and the materials from which they are cast. Much research must be done and the new are found side by side. and the new style by means of contrapuntal work could be noticed. Although and the novel contents of the many motets that roused him to and the sisterhood. Workshops lasting two weeks or more are conducted and the so-called "Romano-Frankish" version of the Office was created. and the syntax of the phrase accorded with the desires of the humanists. In and the use of chorus. Antonio Caldara (1670-1736) gained and the'Bohemian masters, but with a stronger emphasis on vocalism. and theatrical character. Thus the ecclesiastical authority adopted as the and their links with the milieu in which they worked. The book and their melodies became German hymns. There was the freely.composed and their own land. Wherever art has a weliádefined purpose, this tension and then to incorporate them into the chant Qf worship as a free religious and theology in the first decades after the Revolution was evident in this and these in turn had a marked influence on Johann David Heinichen and this difference in meaning will be made plain in the musical setting the and this naturally led to a radical change in church music. and thus gained a new nexus. This is made clear in the various settings of and thus to further the understanding of the liturgy all the more. and to achIeve a new tonal form and purely musical development and to invent all the voices. But the relationship of organal music and to the romantic past. However, new impulses have come from the and tonal structure. and tonality in these works, however, took account of the new tendencies. and uncertainty was entirely overcome by Martini's pupil, Paolucci and understanding are therefore subject to change. Thus church music in ' and use of the Gregorian melodic treasury by so many composers represented and various diocesan chants, that they have survived to the present. and vocal lines in the Ars Nova. and were continued by tradition, were written down and standardized. and wind instruments, was an official invitation to carry this out. As a and, in general, the working out of the liturgy and its meaning, as was and, later, of Giacomo Carissimi. From a multitude of elements they Andantino Mass for Three Voices, with Organ, hy A. Aimone Andriessen, Hendrick, 207 Anerio (1560-1614), Francesco Suriano (1549-1620), Matteo Asola Anerio and other Roman musicians, provided an outlet both for solo and Anerio, Felice, 98-9, 129-31 Anfossi, Mass for Four Voices hard (b. 1897), Joseph Sell (b. may not have been realized fully at the time, by recognizing tlIe liturg~cal Mayr, Simon, 169, 174, 178 Mazzocchi, Virgilio, 109 mdIcatIon ~f. tlIe problem, now increased in importance, of preserving me me me me me - me - os 0 - eu-los me - mean~ of.a symp~o~Ic church style. Earlier efforts attempted to make a meaning in the spirit of individualistic piety. This basic attitude of the meanings depending on the different places they occupy in the liturgy, means and thereby broaden the stylistic media. Thus Orlando di Lasso means for a more profound expression of the text. Giovanni Gabrieli means for achieving greater depth in church music during the nineteenth means of transformations and imitations that were only to some degree meant an enlargement of the effect. These tendencies had great importance meant the alienation of church music from the liturgy and therefore from Mechlin edition, which was based on the Medicean version of 1614. The media it employed. As a result Joseph Rheinberger and his school media of expression. In order to describe holy awe in his Duo seraphim, media of the sixteenth.century polyphonic art, accompaniment by orchesá Medicean chant hook, 175 medieval chant based on the Codex Montpellier, discovered in medieval municipalities produced conditions for the cultivation of church Meditatio, 131 meditations and devotions. In the liturgical service, however, the Latin Mediterranean culture. One was a musical view that looked inward (contemplation), medium for church. To it he subordinated even the organ accomá medium with musical depth by employing the lower voices in a role Megerle (1607-1680) and others is a paragon of the southern German Megerle, Abraham, 116, 129 Mehul (1763-1817), and others followed this trend, with compositions Mehul, Etienne Henri, 170, 174 meiliod .of notati~n borrowed from the music of antiquity. However, Melisma, 24, 36, 59, 60, 66, 94 melismatic passages is a mark of the older version. Differentiation within Melodic center, 59, 62 melodic construction, although influenced to a degree by impression. melodic development. Church music also slackened the monodic manner melodic expression, as well as of form and harmonic setting found at melodic expression, free from harmonic or agogic interpretation, melodic patterns were abandoned in favor of newly-composed melodic phrases according to the words; he had to select a rhythm proportioned melodic rigidity of the chant. The harmonic structure was created by a MELODIC STRUCTURE AND LITURGICAL LINK melodic structure and setting ofiered certain difficulties to the liturgical melodic structure of Palestrina a new shape by a rich change of melodies as part of the realm of music, a start was made toward freemg melodies of a more complex structure used in polyphony. However, during melodies of the camus Gregorianus and the re-evaluation of all the texts Melodies that had been expanded from the liturgical chants by popular melodies themselves, reworking them according to the contemporary melodies which had already started at the time of their spread in the melodies. As a result an entirely new interpretation of the whole store of melodies. Freed tonally from every tradition of harmonic relationship, this melodies. One of the participants at this congress was Giuseppe Sarto, melodIes. ThIS IS the baSIs for the Vatican edition of the chant. melody and altered chords. The tradition of contrapuntal composition melody and freely shaping the melody along the lines of a progressive melody and gave it tonal extension. melody as the upper voice in an a cappella setting. melody had to be extended. The next step was to compose a new melody. melody many of the traits of the new art. melody that could no longer be clearly heard in the course of the polyphonic melody, and the declamatory parlando. Special opportunities were offered melody, harmonic tension and cadences. That the Neapolitans wrote in melody, represented a legitimate enhancement of the solemnity of the melody, with the latter no longer regarded in its purely melodic structure. melody. The choral style set declamatory sections with chords next to melody. The widespread use of art forms which were the expression men lacked inventiveness as did those of John Singenberger, Friedrich Menall, Maurice Durufle, Bermal, Olivier Messiaen, Jean Langlais, Paul mens ree-tor ae - ter - ne mensural notation. Mensural theory, 47-8 ment. Musically, the sixteenth century was an era of solid foundation and mentality, for the most part was inappropriate both for ecclesiastical or ments: the stile antieo busied itself with continuing the a cappella art; the Mercadente, Giuseppe, 170 mere decoration. This presented it, however, with a fresh possibility for mere formalism; it became an organization in place of a movement. merely a secondary, antiquarian phenomenon in church music. On the merely for the culture of one country, but for the church universal. 'This MERRITT, A. TILLMAN. Sixteenth Century Polyphony. Cambridge, Merulo, Claudio, 88 Merulo, Tarquinio, 116 Messians, Olivier, 213, 216 Messner, Joseph, 203 meter, rhythm and tonal concepts. A favorite practice was to set a method of musical creativity of the Parisian Ars Antiqua type. methods of performance appeared, simple choral psalmody and freely metrical arrangement. He also employed an expressive style with contemporary metrical principles through their general training in ancient culture and Metz chant books, 33 Meulemans, Arthur, 207 Mexico and Arizona missions. mi mi mi mi - - se - - re - mi - ni - ste mi - num am .J -l mi - se - re - re mi - se - re - re mi - se mi - se - re re mi - se - re re, mi - se - re re, mi - se - ricorqui mi - semi- mi - sere mi ni - bus bo - nae vo - Iun - ta - tis mi se - re re no bis mi se - re re, mi se - mi se re - re no his mi-se - re - re mi-se- ri - cor - di - ae Michael Haydn (1737-1806), Joseph Haydn's brother. He readily understood Michael Haydn's work in church music is quite extensive. Besides the Michael Sailer, and in the enthusiastic patron of art, King Ludwig I. Michel Corette (1709-1795), and others, although they tended to transá Michel, Virgil, 197 Micheli, Romano, 129 Middle Ages only a few from the late period of their development are in middle of the nineteenth century numerous editions of the melodies were Mielczewski, Martin, 113, 125 mighty psalms, Jaap Vranken's tuneful songs, Flor Peeters' expressive Milanese Rite, 18, 31 Milhaud, Darius, 212 mines Minoja, Ambrogio, 155 Minor (1782-3) gave his church music a new orientation. This Bachálike misinterpretation, as well as seeing to its proper transmission and spread. Missa est; Deo semper agite in corde gloriam et gratias. But other Missa privata, 134 Missa Quadragesimales, 142, 166 Missa regia by 'Dumont Missal 520, Library of Chartres missionarie~. Organs were built, especially in capital cities, and the music missionaries. This exchange of characteristically national forms of artistic missionary work. An adjustment, however, had to be made in England MiXO~Ydian I ml - - se - re - re no bis Mltterer, and LudwIg Bonvm, could be justified, even though there was mobility and developed the new style. Ottavio Durante, in mode of expression. Through the efforts of Hilary of Poitiers (+366), Mode Range Final Tenor model of church music; and, even though in the very moment of its model. models it broke with contemporary symphonic techniques, it tried models of this in his offices of St. Francis and St. Anthony, and in John models, combined with a renewed liturgical awareness, became the MODERN CHURCH MUSIC IN GERMANY modern church music. The same was true of Joseph Lechthaler (18911948) modern church music. While impressionism in harmony is generally modern organ art with liturgical melodies. moderna and the stile antico and, for special interpretative effect, even moderno, was not restricted to a mere chordal composition, as in the MODES modes to the traditional eight, thus giving names (Aeolian, Ionian) to Modes, 27-8, 86, 128 modesty, and virgins and widows without danger to morality." In the modification in performance kept the recitation of the psalms completely Molitor, Raphael, 196 Molitor's basic investigation of the post-Tridentine reform (1901), Franz moment that the priest recited the liturgical chants jointly with the choir monic effects. Spanish church music is especially preoccupied with Monnikendam, Marius, 204, 207 Monodic church music was not sympathetic to the extreme declamatory monodists into grand forms. Gregor Aichinger (1564-1628), Bernhard MONODY Montani (1880-1948) are linked to the Italian manner. A strict conservatism Montani, Nicola, 197,210 Monte Cassino was forced to abandon the Ambrosian chant at the bidding Monteverdi (1567-1643) frequently used the chant as cantus fiTmus or Monteverdi chose the theme that follows, employing it in the various Monteverdi, Claudio, 114-6, 144 Morales, Cristobal, 84, 97, 100 more developed contrapuntal forms. This shows that the ordinary service more important for the composition as a whole. The tonebroadening more lively types of motion allowed to the contrapuntal voices, like variation, more or less bound to the expressive forms of the old polyphonic more prominent after the tenth century, at first merely employed meter more revolutionary techniques of Europe. These men include Paul Creston, more space in the Gottweiher Gesangbuch of David Gregor Corner more than a dream. This is the real work of the future. more than passing recognition, although the effort put a sudden block in more voices concertize with the instruments, and sometimes the full more widely from the primitive Christian forms, because the most ancient morem onentahum, which ~s stre~sed especially in his later writings, Moritz Brosig (1815-1887) in Breslau, and the Silesian coterie that surrounded most popular. most profoundly beautiful organ and choral music of our day, much of it most radical in giving reality and liturgical expression to these linear motet and the survivals of the organum style in ecclesiastical service Motet by A. Bencini, 1735 motets and masses that was both the high point of the polyphonic style and motets of the Montpellier Codex the end of the first important stage of Motetus motion. This combination of various attempts at polyphony was represented MOTU PROPRIO OF 1903 Mouton, Jean, 78 moved from the old principle of composition and this in a work that moved toward freer forms along the lines of the Italian concerto, but movement it had to form a visual prop for memory and tradition. The movement momentum, while the work of the German Caecilian Society influenced Movement rejectedfillse em~tionali~m and warned against choking the movement, fugal and generally in duple meter. Giovanni Battista Vitali, movement, which had its inception with Willaert and which was movement. A few months after his arrival, in 1873, Singenberger, Movement. In addition this artistic trend did nothing to promote the movements that in other instances afiected the medieval liturgical chants Mozart (1719-1787), and others are characterized by greater contrapuntal Mozart, Leopold, 166 Mozart, Wolfgang Amadeus, 161-3, mterest in the chant, so that it was no longer regarded' as a mere sub. mto dIsrepute, especIally after the heretics exercised such an attraction mu a ot s ow the . d d . much to alter the prevailing tradition of church music. much to foster popular participation, notably the Liturgical Press of St. Muffat (1645-1704; 1690-1770) were the leading masters of ecclesiastical Muffat, Georg and Gottlieb, 126 multivoiced church music in the foreground. In France there was little Munich and Heinrich Lemacher in Cologne. Starting with the contrapuntalism mus _ mUSIC a posslblhty ~or.Ch~ist~an prayer life and Christian expression. His music al~ngside Gregorian chant and it should have had universal validity. music and in opera. To characterize Neopolitan church music as "opera music and its use of harmonic devices. Linear expressionism brought music and opened to it a world hitherto generally barred. In Germany music and profane compositions. Numerous provincial synods followed music and secular music, and it is impossible to reduce the matter to a music and the opera since the early seventeenth century. The external development music but the opera, the cantata, and the oratorio were influenced by music by reviving the liturgical spirit, it was the achievement of the Span. music Caecilianism was bound to be shaken in the pursuit of its own music continued these attempts to build on the foundation of the cantata. music developed. Organizations patterned on the German Caecilian So- music everywhere. Like every innovation affecting liturgy, it occasioned music for children. music for church could reach no compromise with the complicated style MUSIC FOR CHURCH USE Music for the Use of the Catholic Church (Baltimore, 1825) is "arranged music for worship not only ritual but esthetic values had to be acknowl- music found itself in a situation much changed in regard to the older music gained a footing in church. About the turn of the eighteenth music gave special value to his principles of composition. His choice of music have hardly been favorable. Modern expression, however, did Music i~ 1911. In addition, there were the parallel movements centering music ideal. music in France, has remained linked to a church music hidebound by music in Germany pursued structural and linear tendencies based on the music in modern tonal language. Hajo Kelling (b. 1907), Alfred Berg- music in Rome (1912) brought clarifications and supplementary regulations. music in worship. The shaping of musical experience at divine service mUSIC In. ~erIcan churches. Montani in his own right brought about music is allowed to go its own way, disregarding ritual law or even ritual Music is far more important in divine s,ervice than ~any'seem to think. music it is the development in non-Catholic religious groups that continues music must meet these high standards. music not only because they answered the quest for new modes of expression music of Charles Gounod (1818-1893). Classical clarity of form comá music of worship. It was not until church music became an independent music presented organ music with new possibilities of development. music preserved its vocal orientation. In Italian music, on the contrary, music that was universal, not given to extremes and free from echoes of music to a distinctive manner of expression. music to the forms of divine service appear indistinct, but its purpose has Music triumphed over the text. In line with this not only were the music was further demonstrated by the emphasis he placed on compositions music was striving for could only be achieved by means of contemporary music was to make the interpretation of the phrase more profound. It music where greater individual expression was possible. Thus it unfolded music which broke new ground in combination with popular song materials music will be found, and no doubt many solutions will be discovered for music-inspired attitude, originated as a continuation of the method of music, a technical refinement was manifested, especially in the church music, and even subordinated instrumental accompaniment to it. Even music, French composition retained its connection with the musical music, not just for an individual word here and there, but in an over.all mUSIC, not merely because it is modern, but in order to fill the liturgical music, of a more practical kind, does not always show the same serious music, the Western community was changed by the Migration of Nations musIC; the other was the necessary adjustment to the intellectual forces music? The oratorio and the opera were neglected as religious forms Music. mUSIC. music. Although it was much discussed theoretically, it actually achieved music. But even in the Catholic centers of Germany the Italian concertante music. By his complete, dogmatic break WIth the CaecIhan concept, t.he music. Flor Peeters, in Belgium, has contributed notable organ works music. Gregorian chant, revised and accompanied according to contemporary music. In his encyclical Annus qui (1749), Pope Benedict XIV (17401758) music. In the sixteenth century it was an Italian who created the most music. Joseph Renner (1868-1934), Joseph Schmid (h. 1868), Joseph music. Linear construction is essential to polyphonic voice linking. Similarly music. Novelties appeared in every sphere of melody. Rhythm sought to music. On the one hand contemporary church music constructed on the music. Practically, however, this usage, so widely propagated, could not music. The effect of impressionism was especially strong, particularly in music. The Gregorian theme usually controls the work which is cast in musicae emphasize the arrangement of these freely-composed parts drawn Musicae sacrae discipliTUl, with its more tolerant view of the use of strings musical composition which expressed contemporary secular art, and musical culture was no longer an advantage, for now there flowed into MUSICAL CULTURES musical development in general. Church music became music'for worship. musical development this eventually took the lead. musical evolution with its personal interpretation and the purely musical musical expression of that faith; in other words, It was faced WIth ~he musical formation to a clearer textual expression. Thus symphonic art musical forms developed contemporaneously are no longer a part of musical forms. musical forms. Albert Rousel (1869-1937), Henri Rabaud (1873-1949), musical life. But this tradition conceals certain dangers for any historical musical life. The Church adopted what was good, revised it, and gave it musical media increased but without scruple melodies and settings were musical representation of the occasional and different. His ideal was not musical results in the creation of various masses for choir and people. musical setting for worship, by artistic choral and congregational song, musical setting. The designation afJetti for such works stressed their musical talents to work for the church without any regard at all for musical teaching and at the same time the beginnings of a metrical mUSIcal theo.ry. Thus the disengagement of the Christian musical view musical theory based on the ancients. musical training of the clergy and singers conclude the motu proprio. musical treasury that became predominant in Spain and southern France. musicale (8 vols., 1836-1838). His writings, his organizational work musicians for the present. The Pontifical Institute of Sacred Music in musicologist. The scientific work of other scholars mc1udmg Otto Ursprung, musicus, who had studied these laws of musical theory. In the early MusLc. 2 vols. Cambndge, Mass.: Harvard University Press 1949 & muslcápubhshIng firm of McLaughlin & Reilly was established in Boston must be granted that this movement accomplished but little for services must he judged according to the fulfillment of their assigned roles. This mysticism of contrapuntal exaggeration continued to have an influence. art, as in Puritanism or in Calvinism which only retained the Huguenot n n n of mstru~ental music, cu~tomary in pagan worship. Although n om mtro uced a I" tween text and music Its I' new re atlOnshlp he- na - aU! bu - vd - J.lEl<; E - 1TI - CPW - vouv - TWV a - Ily]v na - Ii - a De i na 0 - na Do - mi- na in ex - eel sis, in..-..... ex - na in ex• Nahuatl language, 101 nally a monodic art aimed at enhancing the text in solo fashion now grad_ name of a writer, from whom one could expect a liturgical aim, was namely, the precise relationship between liturgy and. mUSIC In ~e ~IVIne Nanini (1545-1607; 1559-1623). It continued to be an influence in the Nanino, Giovanni Maria, 97, 129 Naples during the last decades of the eighteenth century, influenced the Naples. Narcisso Duran (1806-1846), at the Mission San Jose, publish'ed a choirbook Naturalism, 84 naturalistic tendencies. Andrien Petit Coclicus mentions as masters of Naturally organ construction and organ playing in the Catholic Church Naumann, Johann Gottlieb, 153, 169 Navarro, Juan, 100 Nazarene school of painting. Similarly, Anton Friedrich Thibaut Ne . ec me 0. anCIen.t culture during the turmoil of the MI'gratI'On 0 f ne sen - sus e 0 ne vo - ces ex - au - di be - ne - di - cte Do - mi - ne. Ne~ forms of music for worship will necessarily appear alongside Neapolitan cantata style was cultivated by Giuseppe Mercadante (17951870) Neapolitan circle. How much the Venetians in their church music were Neapolitans was the continuation of the choral and ornamental style necessary and for this purpose the new forms of ecclesiastical music neceSSIty. needed for churchámusic purposes was an organist and a few soloists. needs of the times will best be served by a greater use of old tunes long negligent to omit mention of such distinguished composers as the Canadian Neiland, Jan, 207 Nekes (1844-1914) wrote in the strict polyphonic style. Nekes, Franz, 189, 194 NEMMERS, EDWIN E. Twenty Centuries of Catholic Church Music. Milwaukee: NEO-GREGORIAN COMPOSITIONS Neopolitans, 137, 141-2, 147, 150, ner (b. 1760), Johann Melchior Dreyer (c. 1735-1785), Franz Biihler Neri, Philip, 100, 131, 219 ness. The core of this art was organ music and multivoiced extraliturgical NETHERLANDS Netherlands School, 72, 75, 78, 88, Neubauer, F. Christoph, 152 Neukomm, Sigismund, 170 neumes hoth among Italian Christians and among the Christians of the NEW ART OF EXPRESSION new but in following the trends of evolution in the art as a whole, as well new choral style was established, with its foundations in the secular and new church music of the seventeenth century is the fact that nearly all NEW CURRENTS IN OTHER EUROPEAN COUNTRIES new expressional forms unhampered by tradition, hastened its development new expressive forms of church music. The trope is a musical as New expressive values were thus created, offering church music possibilities New Forms New Forms New Forms NEW FORMS AND REMODELINGS OF new ideal of declamation in grammatical accentuation and musical new religious music a most distinctive character, continuing the evolution new spiritual meaning. Thus the way wa.s ~r~dually. prepar.:d .fo~ a new new spmtual attitude of Christianity. new style obtained a definite link with liturgical song and at the same NEW STYLISTIC FORMS OF THE NEAPOLITANS new tonal language grew from a Gregorian style into a polyphonic form, New York: C. Scribner's Sons, 1937. New York: Macmillan, 1954. New York: W. W. Norton, 1950. New York: W. W. Norton, 1951. newer school of French music a significant stylistic medium. In his reli. newer sounds. The strongest expression, however, is achieved by Hermann newly established by Gregory 1. The handing down of the liturgical newly-introduced musical attitudes led to. The spiritual and religious ni ni ni - bus bo - nae vo - lun - ta - tis ni - dum u - bi re - po - nat pul - los os ni - hil in to - to te ni hll in Niccolo Jomelli (1714-1774), and Giovanni Paisiello wrote this type of Nicholas Clerembault (1676-1749), Nicolas de Grigny (c. 1671-1703), Nicholas Gombert, Thomas Crecquillon (+1557), Adrien Willaert, Nicolai, Otto, 182 Nicolas Lebegue (1630-1702), Andre Raison, Franr,;ois Couperin and Niedermeyer, Louis, 170, 182 Nieland. In Belgium the link to the tonal riches of impressionism continued Nihil Obstat: EDWARD A. CERNY, 5.5., S.T.D. Nikolaus Gombert (152O-c. 1552), Ludwig Senfl, Benedikt Appenzeller, Psalter. The organ was forbidden by Zwinglians and Calvinists. In these nineteenth century. nineteenth century. ninth century. ~ ~ ~ niques in the same compositions "since sometimes one, two, three or nis con-finis Nisard (1846) show, while in Spain, an older chant tradition was preserved. Nisard, Jean Louis Danjou, Frangois Fetis and others. In 1848, Nisard, Theodore, 186 Nivers, Guillaume, 126 no no no no no no no no no longer, however, as a form of ecclesiastical music, but as a no res no valid liturgical traditions. Hymnody in particular suffered. Noel Goemanne. Louis Huybrechts, John Larkin, C. Alexander Noel,132 noels, etc. nomos and ethos. non non non de - ne non de - ne - ges non, non, non, non, non, non e - rlt fi nls, non non, non, non, non, non e - Tit fi Dis, non non, non, non, nor the declamation but the new effort at expressiveness, the search for Nores, 1488-1563), in his Dodekachordon (1547), added four new North America (1873), Bohemia (1874), Upper Austria (1875), Ireland Norton, 1941. Norton, 1947. Norton, 1950. Norton, 1957. Norton, 1958. Norton, 1959. nos te - nen not able to withstand the pressure of Pepin and the Emperor Charlemagne not actually occur everywhere. The study and practice of chant was based Not all religious music is intended for liturgical or extraliturgical not Jed to any new developments. Nemesio Otanio (1880-1956),1. Prieto not only on religious music in general but on church music as well. not only the priest's prayers and chants but also the choir's chants with not only with the local Anglo-Saxon musical tradition but also with the not to adapt it and to give it a Christian basis. notably Holland and the United States, and the program for popular notatIOn, altlIough the spirit of ritual music was quite alien to any accurate notation, especially because of the early work of Petrus de Cruce notation. These were placed side by side with ancient melodies which note, the so-called "rambling organum" (descant). note. The suhtonal tuba t e s y lZe ec amation on one note.] nothing about the problems of composition or the manner of performance, noticeable m the wntmgs of Augustine and in the changes in his musical notIOns, formulated as the Christian musical view nouncements, especially the Musieae sacrae disciplina of 1955 and the Now the center of interest no longer lay in the Gregorian cantus fiTmus num om - nes gen tes Number masses, 155 numberless editions. Title pages at the turn of the century indicate that Numerous lesser composers who associated themselves with the new polyphony numerous pupils, Alessandro Scarlatti (in Italy), Johann Kaspar Kerll numerous works appeared that went beyond Viadana in melodicdeclamatory numerous works in the new combination. The Notre Dame school continued o o - o - san - na in ex - eel- o -~ o quam o san - na, o~ the text, S?OWS the mtrmsiC deliverance of Augustine from the ancient ob.t~m a doct~l~arre.obJectIVIty in expression, a wealth of national peculiarItIes Obbligato, 113 Oberammergau, 168 OberhofIer (1862) and Johannes Evangelista Habert (1868) supplemented objective presentation of the text but rather a better interpretation of objective presentation of the text. Polyphony offered a means of doing objective,. sense of liturgy, which he fused with a vital, yet subjective, objectively constructed art in church music was reached, as is shown in obligatory by Pope Leo III (847-855). The councils of Laodicea (343381), Obrecht (c. 1450-1505). For his technique he drew on his mystical, yet Obrecht and their circle. The unity of composition that was sought was Obrecht, Jacob, 74-5, 83 Obrecht, Mass on "Petrus Apostolus" obstacles in the way of its further development. Heinrich Schlitz was obtain a unity in the work, in contrast to the older disjunction between obtained a fairer appraisal. At the beginning of the twentieth century recognition Occidentana, 39 occupied the foreground in the symphonic church music of France. All of Ockeghem, Johannes, 74-5, 78,83, Ockeghem's thirty-six-voiced Deo gratias with its four nine-voiced canons. odies that at times are extremely sentimental- the composer gave the Odington, Walter, 52 OESTERLY, W.O.E. The Jewish Background of the Christian Liturgy. of ~e Church's musical life, with its growing exclusion of secular (pagan) of a local nature modified his style to some extent. His inexhaustible of a melodic pattern, which has its own set of laws. These are seen especially of a music of worship was replaced by music at worship that unfolded of a particular national or racial attitude led to manifold artistic readjustments of a sentimental art as was the elaboration of themes or the development of accidentals, and the current tonic-dominant tension of the major-minor of acoustical practicality, especially if the congregation is to share in of Alex.a~dria, Tertullian, Arnobius and others, was based firmly on this of Allegri's Miserere in 1816, Johann Kaspar Ett (1788-1847) of an ecclesiastical style to the fore as have the changes, local and temporal, of an untrammeled imagination. However, his incomplete Mass in C of ancient music and the task of injecting them with a Christian spirit. of ancient musical teaching on the basis of the writings of ancient musical of anCIent mUSICal theories, which were thus preserved. From the fourth of Antonio de Cabezan was performed in Lima and in Mexico City by of artistic freedom in relation to the liturgy. of Bonifazio Graziani (1605-1664), Francesco Cavalli (1602-1676), of Bruckner. However, the Caecilians, failing to recognize it for what if Of capital importance for the formation of Spanish chant was the domination of Catholic church music. The French organ school that surrounded of Cesar Franck, Camille Saint-Saens, Jules Massenet, Vincent d'Indy of chamber music and solo voice forms. of chants and liturgies to be found throughout the West. of Chicago, and Alverno College of Milwaukee are among the leaders in of church music that one can explaiI? the serene traits in Haydn's music of church-music styles, especially forms and devices of secular origin, led of composition and handed it on to a new generation of musicians. He of composition and to give materials at hand ecclesiastical significance. of contrary hypotheses advanced by Pierre Gussanville (1675), Georg Of course a volume like this serves only as a survey, but it is far from Of course, the country at large was scarcely touched by this Romantic of declamation and a universal ideal of composition that provided the of declamation and melody. At the same time it destroyed the of development. of dramatic expression as well as of mood. His compositions obtained an of each voice line within the declamation structure. These techniques of ecclesiastical art, the composition of laudi, hymns, and service music of Europe. No -line was drawn between sacred and secular; the of expressing the feeling that dominated the text and of supporting and of expression and even endeavored to create new ones. Already as early of expression created by Viadana by linking it with parlando-style declamation of expression with every device available, retained strict counterpoint of expression. Liturgy and church music cannot just stand side by side; of Felice and Francesco Anerio (1550-1614; 1567-1620), of Francesco of Florence and northern Italy the new forms of expression were soon of Gaetano Donizetti (1797-1848) and Gioacchino Antonio Rossini of giving a complete performance of a polyphonic composition even of good church mUSIC as a cultural medium. of gravitation. Imitation at the fifth was the first step toward harmonic of Gregory I the Anglo.Saxons were made acquainted with the Roman of Haydn's and Mozart's style seen in the so-called "country masses" of of hIS ~ cappella compositions, and this use of the chant brought him close of his age and recasting them into the unity of an ideal style which could of his masses. Correspondence in theme and melodic structure, as well of his own age, in the two masses written the following year, the D MinOT of his time in his work De musica, relates in his Confessions that he of his time. If in certain trends he did adhere to traditional concepts and of his voice relationships into a profoundly liturgical expression. It was of homophony and polyphony and the <;Jverlapping of both these of independent preludes, interludes, and postludes. This organ music of influence and indicate their basic musical idiom. The strict of isorhythmic combinations in all voices. Thus a style was produced for of it gave Beethoven's Missa a unique position. It broadened the mass into of Joseph Rheinherger and the full sonorities of Anton of liturgical melodies helped to strengthen the liturgical fitness of these of liturgical music. As in the seventeenth and eighteenth centuries, the of Marc Antoine Charpentier (1634-1704), Andre Cardinal Destouches of materials for participation in the Mass. Other firms are also doing of Max Reger, Haas gave the a cappella technique in his German of melodic form found among th~ Neapolitans. The shallowness of of motets, psalms and church cantatas rather than liturgical music. Folá of movable type. The new church music was disseminated everywhereby of music in worship; for church music must determine both its relaá of musical evolution as well as historical tradition are both subordinated of musical theory since the eighth century. The establishment of set of Neapolitan church music, but an independent development of new media into the strict ecclesiastical style. This more personal art of new ones by A. Lohmann, H. Neuss, Rohr and others. The basis for of note include Hermann Kronsteiner (b. 1914), Joseph Kronsteiner, of older church music and prepare it for practical use. There is of older hymns and many by composers of the Caecilian school, with of our century N. Otanio and others have tried to add better hymns. The of Palestrina. Domenico Bartolucci (b. 1917) presents a modern adapta. of Palestrina. In the third place is modern music, with its many stylistic of Palestrina's masses for choir and orchestra by Girolamo of parts of the ordinary. Surprisingly, the settings of the Sanctus, of Passau. This locality was the scene of missionary activity more intensive of Perotinus were the basis for this development, which became a widespread of polyphony was much more basic. Giuseppe Jannaconi of polyphony's harmonic structure and rhythm. Thus a new ideal of of popular musical language. This tended to dramatize liturgical things, of problems which differ according to circumstances. Cathedral choirs or of providing contact between the church and the world must embrace of Rites, and the firm of Pustet in Regensburg published the of Rites, these Gregorian studies continued. Finally in 1901, of Romanticism, encouraged the display of personal attitudes without of sacred music. of scholarly research without burdening the reader with the trappings of secularization. Consequently it is understandable why Pambo, Abbot of sequence texts. From the eleventh century on, rhyme and hymn. of Seville who never left Spain. of Solesmes. Its chief creativity has been in the composition of harmonic of symphonic composition. These efforts are clearly seen in the numerous of text and music and to-put this in the service of worship. A primary duty of text to characterization of its contents as a whole. Then began a new of text") of the Caecilian Movement had not found a place. Nearly everywhere of the Caecilians and the hymnals of Joseph Kreitmaier. In the vernacular of the College of the Sacred Heart, commonly known as the Pius X School of the contemporary church-music composer. Musical training of the day endeavored to fit church-music work into the pattern of the difference of texts used in the motetus and the triplum. of the ecclesiastical spirit has renewed interest in attaining the ideal of the eighteenth century produced a peculiar attitude toward art. Sentimentality of the era. Similar to the extreme spiritual trends of music in the of the fifteenth century was conditioned somewhat by the renewed prominence of the founding by Witt of the Scuola Gregoriana in Rome in 1880, and of the fourteenth century. Antoine Busnois, Johannes Regis, and others of the fourth century, and the Rules of St. Benedict, and of Paul of the Gloria. It was an all encompassing emotional force. of the Gregorian melodies that comes most clearly to view in polyphony of the liturgical and artistic views expressed in the papal proá of the liturgical chants. Repetitions of the text and new forms, of the liturgical melodies was important for a homogeneous celebration of the liturgical text but ended in a subjective enhancement of it. of the liturgical text; it was church music that followed its own structural of the liturgy and its wealth of melodies. There had to be some adaptation of the long and short values of prosody. of the low mass with solemnity in pla~e of the liturgical high mass, since of the lower voices to the upper voice, increasing the latter's power of Of the Mannheim circle, however, it was George Vogler (1749-1814) of the Mass. of the melodic center. of the melodic formulas oir e P ace~ent ~f the whole and half-tones of the melodies - all this was bound to have an effect on the ancient of the melody as so many individual notes, a conception given expression of the modern style. Canon and cantus firmus gave this form of composition of the Monastery of Nistria in Egypt in the fourth century, should severely of the Moors, whence the name "Mozarabic" for the Spanish liturgy. of the most prolific Italian composers of the eighteenth century, who of the music of the Western church. Thus not only the liturgical forms of the nineteenth century occasioned a reorientation of theology, the of the nineteenth century. of the nineteenth century. The true ecclesiastical style that Witt of the numerous chant accompaniments prepared by the Caecilians. Although of the Oratorians. This modernization of the ancient Gregorian is found of the parochial school system that any progress was made. of the polychoral art - the use of several separate choirs - it was of the pope. In Milan, however, in spite of every pressure, the Ambrosian of the pre-Gregorian musical practice continued to crop up and of the Roman chants. In Spain, through the influence of the Goths, who of the Roman language (Pange lingua and VexiUa regis), are examples of the scholar's apparatus. This is no mean achievement, and it is left of the service throughout the Church as a whole, it nevertheless suppressed of the seventeenth century is the fact that in the inventories and catalogs of the seventh century. On the other hand, what we call th~ tradi~i?nal of the solemnities of divine service, brought about by a development of of the solo tutti technique in the cantata form. The stylistic media were of the sonata or the symphony. In instrumental music this effort for of the strong tradition regarding the revisions undertaken py this reform of the system by Glarean in the sixteenth century. Major and minor of the technique of composition. The problem arose partly because OF THE TEXT of the text rather than the characterization of each word. This of the text. Even in his early works he produced parts that are of the text. This juxtaposition of recitative and arioso passages of the ties that bind French church music to the past. Only a few composers, of the time, culminating in scholasticism in the area of science of the tonal resources continued to be the predominant trait of of the twelfth to the fourteenth centuries. The mixture of liturgical and of the union of text and melody are found in the writings of Gerhard of the unrestrained Italian emotional and sentimental art. This of the use of the organ in divine service. Alexander VII (1657), Innocent of the verses of the psalms between two choirs, the liturgical office of the voices in the polyphonic composition, and led to a subordination of the wealth of the German chorale and German church music of the of the word arid its spoken accent ~i:~;~ ::xt and m.usic, with the rhythm of the works of Cyr de Brant (J. V. Higginson). Joseph J. McGrath, of the younger generation, Ludwig Senft (1492-1555), Cristobal Morales, of their school. The basis of their art was the strict contrapuntal style of them by means of official ordinances. Pope Marcellus II (1555), as of this art, its living faith and devotion which extended beyond denominational of this art. Although practiced widely, its development differed in various of this declamation, created a rigid and, at times, pathetic setting in of this form of composition. of this means, the Council of Laodicea (4th c.) ordained that only of this period, with few exceptions, polyphonic church compositions of of this sort. In line with the Western rejection of the melisma, of tonal media. Orlando di Lasso (also known as Roland de Lassus, c. of tonal perceptiveness. of tone clusters. Active in Munich along with Joseph Haas was Gottfried' of tones in the several bells is as important as their proportional tone of Trier, Cologne, Munster and Mainz. In southern Germany, where the of two contrapuntal voices working together in rhythm and harmony of vernacular texts from the eighth century on. An account from Prague of vertical composition. of voices, Gregorio Ballabene (1720-1803) writing a fortyeight- of worship, is a spiritual activity; it is cult and not art. The thought of of.liturgical melodies and tlIeir careful preservation by memory-work Offertory (23rd Sunday after Pentecost) office attained its high-point as a musical type. In the rhymed office the Office were gathered from a rich store of melodies, and supplemented offices were quite widespread until the sixteenth century, but were almost often determined the vocal line. Church music so constructed did not often opposite movements are found side by side, complicated further often passed beyond the limits of what was liturgically fitting, the comá OJ OJ old and the new styles. This distinction made by theoreticians at the old tonal expansion of parallel organum in a newer harmonic interpretation. older principles. older South American composers, wrote church music in imitation of older techniques of composition that had evolved on the continent. The omnes at the beginning. The revision of the Missale Romanum ordered on a musical foundation only, completely disregarding liturgical principles. on a political but on a cultural basis, rendered this possible. Rome sought on artistic grounds, continued to grow till it reached a climax in Anton on expressiveness, the alternating of arioso and recitative passages on Gregorian melodies. With his collection of Gregorian hymns F. Brun on it came to terms with more contemporary churchámusic styles. The on mood evolved into the works of Rodriguez de Ledesma (17791848) on occasion, as well as the ostinato bass, canon, etc., to achieve an anti. on that followed the outward expansion of Christianity presented serious on the basis of historical forms. on the efforts of Giuseppe Baini, Fortunato Santini, and Pietro Alfieri. on the mood of the music: "the feeling of piety." This opened up the On the other hand the Mass of Machaut, the greatest master of the new On the other hand the Palestrina style led to a further cultivation of the on the other hand, has created a new style based on the warm melodic on the Regensburg edition, which took over the revised Medicean version on the Roman chant. Bishop Chrodegang (742-760) created a on the strict style in the very period when the Viennese classical on the training of musicians and the fostering of art in the church. Its On this basis Gregorian chant, although an obligatory part of churchmusic Once polyphony had secured its independent development and its detachment One event in the twentieth century is of particular significance not one h1:t simply as a part of the musical ritual. An indication of the change one of the many forms of the Baroque period. Georg Trexler in his Gregorian one thing, the compromises themselves represented further additions to One weighty problem faced by the German Caecilian reform was that of only after they had been tried and had lost their force in contemporary only bring the whole movement into disrepute.' The shallowness that Only Joseph Rheinberger (1839-1901) with his group in Munich, only shallow cantiques, solo or choral compositions with instrumental Only the church music of the courts, true to the courtly taste, held to the only the range was decisive in the system, and the mode was determined only with homophonic choruses but also for polyphonic works, even in oped an independent ecclesiastical organ music grounded partly in oped, but it was a motet which forsook the clear lucidity of the polyphonic opened its doors on its Manhattanville, N. Y., campus in 1916. The foun~ opened the way to the instrumentalization of the whole composition, opera and instrumental music like Tommaso Traetta (1727-1779), Davide Opera, 114, 122, 138, 162, 171 opera. This choral work utilized both melodic and recitative-declamatory opment of. independent organ music, became the means by which instrumental opportunity, by means of thematic preludes and postludes, to re-create opposing developments. The foundation of this church music was personal Opus 1, of Lambert Kraus (1728-1790) : or be or cathedral but for country choirs. Although the spread of musical or combined choir in octaves. This variety invited a certain musical evolution or enor (a g b) d th b ' or instead of, vocal compositions. The church sonata, as well as the develá or it was totally subordinated to the declamation, so that a new type of XXII, so the many-faceted position of church music in the sixteenth cenpseudopolyphony or non-Catholic hands, is its total secularization. The Catholic colonists or remodeling of the liturgical melodies, according to circumstances, or should the new medium condition the forms to be used, especially the Or, according to Hermann Finck: orated that the liturgical text to be sung was disregarded, shortened or Oratorians, 129 oratories, especially in his so-called "popular oratorio" in which he oratorio form, introduced by St. Philip Neri in company with Animuccia, oratorio movement, to which numerous religious works of Roman comá Oratorio, 100--1, 122, 131, 162, 174 Orchestra orchestra depended on the voices in contrast to the Viennese classicists, Orchestra, 128, 134-5 orchestral accompaniment and to include it within his reforms. Chant, orchestral accompaniment, as well as a mixture of both techá orchestral accompaniment, often nothing more than a secular composition orchestral masses. Jean Franl.~o _POU TO - KOU M<1 - pi - <1<; U'lI - ap - XWV t-~ : sedes qui se-des ad dex - te - ram pa-tris t; t:-,; T:B. t! 9i t~~, w.as a psa.lm-to~e setting of the Mass Propers edited by t~e manner of the dramatic art of his programmatic symphonies, Liszt t~en: con~ept of cult music. A suitable method of indicating intervals t4ere have been periods in its history when that purpose was overshadowed ta ta ta ta ta mun ill mi se - re - re ta non tá' ta~en from the conceptual world of the common people, and from the take a more serious turn. take a stand. This happened at the beginning of the twentieth century taken as a criterion, even though atl artistic meaning was absent from taken by the instrumental symphonic manner of composition. The Mannheim taken in hand to give Christian musical life energy. Intellectual UnIty taken into the Christian service, and as Christianity spread, the liturgical taken of the essence of the chant or the accents of the melodic line. The Tallis, Thomas, 90 Tarquinio Merula (+1650), Francesco Turini (1590-1656), Giovanni task it was to infuse liturgical concepts into art and thus encourage an task the church organ registration was continually expanded and tonal task, it must take cognizance of the fact that good intentions are not task. In its purely musical development it lost a sense of its inner limitation taste and at the same time observed the distinction between worldly and tation of thetext.' Taverner, John, 90 TB tc Tc::~:-I~ l @ Tcohntrast to the fChnstIan reinterpretation that follows in the sixth b k 00. te te te te Do- mi ne te n1 • hil in to te ni - hil in to to te ni hil in tote te ni hil in te ni hil in to - to te ni te ve teachers, Michael Haydn and Georg Vogler. The E Flat Major Mass teaching the Indians, has a text in the Nahuatl language. Of significance, Teatra arrrwnica likewise lay in this direction, as did Emilio del Cavaá Tebaldini, Giovanni, 195 techmques III place of restncted, cadential harmonies. This ancient technique of handling the cantus firmus was adopted similar to that of technique of polyphony, with its many possibilities for expression. Using technique. The effects achieved by the grouping of various voice technique. This was true of church music as well as of the opera. It was a techniques of expression. In continuing the tradition of Maurizio Cazzati techniques of the period nor the movements in art, but rather the intellecá techniques of the period, which were found commonly in instrumental techniques, even though they were also employed in operatic composition. techniques. New means of composition would be acceptable teenth century, the stile antico was widely used. The strict but very teenth century, there grew up a neW style, based on history and committed teenth century. The melodic structure, clearly arranged and joined to the tem temala and as maestro di cappella of the cathedral in Mexico City from tempted several pieces of polyphony, including settings of the Passion. Ten. 1.-2. Ch. tence, it also becomes a purely 'I r' e s ructure of the sen- tendency to incorporate exclusively musical ideas is clearly a tendency tendency to secularize church music was a counter-movement that tried tendency, drew church music away more and more from its liturgical Tenor Tenor Tenor 1 Tenor~ ~- tenth-century trope from S1. Martial in Limoges, led to the dramatic ter im - men - se ter stel-li - fer no - ster terms of its effect on man, and in reference to man's taste. Temporal and tern tern-po - rum dans tern-po - ra Vt al - Ie - ves fas - ti - di - urn. Terry, Richard, 209 Tertullian, 13, 16 text and in principle tallied with the new currents of expression that were text and the vocal character of church music demand a curtailment of text is given. From the fourth century on, the central position of the text much as they did a libretto, making it the opportunity for dramatic text that belonged together in a musically complete form separated from text to the accompaniment of a short organ piece called the verset text WIth the profound comprehension of his art, so characteristic of the text, and the anticipation of the major.minor tonality, are suggestive of text, for this art had for its purpose the presentation of an overall interpretation text, was at first incorporated in the Mass chiefly for parts of the Gradual text. Thus alternately they took an objective or subjective stand with reo texts already supplied with many words were also troped, like the Gloria, texts from Holy Writ be allowed to be used in the liturgy, but as with the texts or by instrumental pieces, or they were even left out entirely texts were set. Similarly Vincent d'Indy created Gregorian-type hymns, texts. It is actually the art that Caecilianism was seeking but did not texts. It soon became the fashion to utilize this expressive representation. textual representation turned from grammatical correctness and clarity Textually and musically the motet is simply a vertical troping of the tf;O;;.....:::%,~,<2,§ii~~~~.:::;;~;~~·"iJi,'i.Lf..l~;:;:~:t!~~~~.~it"ll:;P"';ZP:{~~W~~~~~~::t"~(~~~,c;...~~.::,.; ..... .A,;,; 'ááC._ th . , Her an essentIal dl t' r f th.e org~nization which brought church-music reform especially to countnes th~ ~ubh~abon of a new hymnal oriented toward the rising liturgical th~ church style from the general development of music. This contrasted than anywhere else, with influences that ranged from the Irish-Celtic than in the solo art of the Neapolitans with its emphasis on melody. than it could in regard to the musical media of expression. Musicians that "the true art of composition is found only in Germany" that are sentimental and superficial. Gregorian chant, bound as it is to a that art, too, must serve to praise God kept such an ascetic attitude from that at first appeared contradictory: the one was the internal consolidation that at ilie same time Isidore of Seville was concerned over the tradition that church music is an integral part of the liturgy was lost. Baroque that could not be met by the schools, especially as their musical culture that could serve as an expression of an inviolable faIth, and of rejecting that differed from the ideal but offered new possibilities. He utilized that dIstmgmshed other church-music currents was unfortunately that emphasized the alliance between text and music. By using simple that for Its sake even the polyphonic structure was sacrificed, and so that formerly dictated the voice leading. Thus a linear form of expression that is, by its triple and duple time and its divisions of that music had before 1780. that one characteristic of the Enlightenment, the obliteration of the line that proved very áuseful in practice. Beginning with the marks for that radiated to other countries, especially Germany, in connection with that they exceeded the liturgical restrictions. But the distinctive that was to follow. that with organ or orchestral accompaniment. This generation of church thd}" f' . U,In THE "PALESTRINA STYLE" the ~athemat1Cal proportions in melody, harmony and wordtone. the ~elody. Further development smoothed out the form into a symmetncal the ~ext a powerful theme in its symphonic realization. In spite of the the ~fforts ?f ~om Gregory Huegle and Do~ Ermin Vitry. In 1906, the the a cappella style continued to be cultivated all through the THE A CAPPELLA STYLE OF THE NEAPOLITANS the a cappella style that had come to be thought of as ideal church art. the Accademia Filarmonica in Bologna, which was the most important The Accademia Filarmonica was founded by Vincenzo Maria Carrati in The accentuation of the individual note in the melodic line was the The accompaniment of Gregorian chant has also experienced various the accompaniment which lends the liturgical phrase an inward musical The activities aimed at the reform of church music in the United States the adoption of such instrumental works into the service became all the the adoption of the sequence form in the German hymn led to the leich, the Alleluia jubilus (melodiae longissimae) , turning it into syllabic The almost total dependence of the colonial areas on current Spanish the already existing multiplicity of Gregorian versions. The Cistercian the American scene have been augmented by Miss Joan Boucher, to whom the ancestors of the great opera composer Giacomo Puccini (18581924): the ancient classical polyphony the basis of their liturgical music, in the ancient culture, whatever of ancient musical practice that could be the ancient meters in a syllabic rhythm, but after adopting popular elements the anCIent notatIOn was forgotten, not hecause it was unknown to The arrangement of voices given here is also found in faux-bourdon, The art of diminution had a way of contributing some of its tonal The artistic realization of liturgical thought in tone must take shape the artistic unity of a service accompanied exclusively by Greg?rian the ascendancy of the Netherlandic composers the two styles were conjoined, the baroque era shaped new forms of expression at the start of the seventeenth the basis not only for its development, but for its limitation; it was The basis of Christian ecclesiastical music was its vocal character. It The biggest problem of the new artistic attitude involved the chorus, the Blessed Sacrament sung after the Consecration, a sonata at the Offertory, The Bohemians, Johann Kozeluch (1738-1814), Johann Tomaschek the books listed offer, for the most part, a more extended bibliography. the broad Christian world produce differences in artistic expression. The The c~mpilati~n of the Church's chant by Pope Gregory marks' ilie first THE CAECILIAN EFFORTS the Caecilian Movement in that it did not try to penetrate into every THE CAECILIAN MOVEMENT OUTSIDE GERMANY The Caecilian Society assisted in obtaining, in the Regensburg edition of The cantata, both in ecclesiastical and in secular art, managed to the cantus directaneus is expressly mentioned. Cantus directimeus and the cantus firmus could appear freely in all of them. Balance and movement The cantus firmus has been shifted to the top voice as the thematic the cardinals and were favorably received and probably helped the the catchwords for this new movement that stood side by side with the the cathedrals, in the court churches of ecclesiastical and secular princes The Catholic University of America in Washington, De Paul University the celebration of the Sacrifice. Tertullian and Ambrose were especially the center of the French church-music movement. It differed from The center of the new development was Naples where not Dnly church The central position of Rome, emphasized since the fifth century not only the central position of the liturgical melodies. The pope believed that the the centralization of the Church did not reach full development until the the century. It appeared that only organized measures could promote the The change in thinking and in attitude toward religion at the beginning the changes in artistic expression, as well as the changes in liturgical The chant and the vernacular hymn had their special place in these reform The chant movement, popularized by the abbeys of Gerleve and Griissau The chant-linked organum and the free conductus continued side by the chant, official recognition for the Medicean version of 1614, at the the chants of the Milanese liturgy (1936). the characteristics peculiar to each country and race. In the second place The chief interest of this art lay in the melody which was an extended the choir and for the congregation, whose psalmody was simplified. the choral setting was especially cultivated. The chorus, even in the stile The chordal accompaniment was thus written as aá thorough-bass or The Choritlis Constantinus of Heinrich Isaak (c. 1450-1517) was the The church aria and the German masses and vespers suffered the same The Church has always regarded music as an integral part of worship and The church music of the Neapolitan school represented an extreme adá THE CHURCH MUSIC OF UPPER ITALY the Church was no longer the sale leader in musical matters and was THE CHURCH'S ATTITUDE TOWARD THE NEW ART the clergy. Thus it was necessary to delineate clearly the limits of the closing years of the seventeenth century, encouraged the creation the closing years of the seventh. century, and in 747 the Council of The Codex juris canorUci (1917) contained only general requirements. the coloratura itself and later the instrumental themes that evolved from the common method for teaching church music. The works of these The compact choral setting is also the center of interest for the Roman The composers who followed this direction and cultivated the stile the composIt~on w~s frequently stiff and devoid of all artistic expression. the composition from a simple duplum to a complicated quadruplum, a the composition. Music was apparently often prepared from a few cadences the concertante style in combination with contrapuntal voice leading The condition of music in Italy complicated this adjustment, because The conductus was the first independent form of polyphony to break the congregation. Unison masses also served the same purpose. The consequent obscuring of the text, however, eventually led to the The conservative tendency that sought to cultivate the chant also fostered the considerat~onof the past and thus the meaning of the historical reality the contemporary idiom. the continuing develoP1?ent and expansion of symphonic church music. the contrapuntal voices to interweave around a lengthened series of notes the core of the composition; the offshoot voices were an ornamentation of The core of the development of Catholic liturgical music lay in the the Council of Trent. The Counter Reformation movement within the Church had drawn The course of further development followed this individualistic, personal the De profundis that follow, for these differ according to the liturgical The decline in the sense of what was fitting for liturgical worship made the decrees of the eighteenth century, the Church definitely opened the The destruction of so many churches and organs during WorId War the development of church music in all periods of its history. Questions The development of free melodic forms and polyphony, which took a The Development of Liturgical Chant The Development of Liturgical Chant 13 The Development of Liturgical Chant 15 The development of the art of printing music made possible an even the development of the fugue and the choral prelude, especially for the The development of the sequence" or prose, follows the same lines as the the dignity and importance of the liturgy. However, it was only after The direct tradition of Palestrina was still at work in the compositions the direction of bel canto, the new eflorts to develop choral and orchestral the direction of Cardinal Mercier and the abbeys of Mont Cesar and The distinction between hypo- and hyper-modes, which is based on the the division between the old and new styles, but endeavored to The divorce of the new multivoiced church music from any connection The dramatic art, which began in the seventeenth century, became the The dramatic division of the trope into dialogue, as we find it in the The dramatic element in the music of Karl Maria von Weber (1786- The earliest composer of church polyphony in the Western hemisphere The earliest solution of the problem of rhythm was the rather stiff the ecclesiastical composition, but made an effort to get away from forms The ecclesiastical modal system disintegrated through the introduction The ecclesiastical reform of the nineteenth century occasioned many The effect thus achieved within the body of liturgical chants, together The efforts to establish a true art for the divine service which would the eighteenth century, Germany achieved the apex of a new kind of the eleventh century became for the first time the object of a papal decree. the emotional factor was foremost. This style set the pattern for composition The emphasis on distinctly vocal expression influenced also the music The emphasis on linear construction in modern church music, using The emphasis on music gave an impetus to textless musical composition The emphasis on personal piety in prayer during the baroq"ue era contrasted the Empress Justina (386), instructed those who were loyal to him by the equilibrium of the divine service. Either the remainder was done in the establishment of a feeling of tonality for the whole composition. The evolution of church song i thá the exhortations of the apostles and fathers show. Therefore this endless The experiences of World War n and the period preceding have THE EXPRESSION OF CULT The expression of personal emotion had taken the place of the communal The extreme attitude toward vocal music that characterized Caecilianism The f.listory of The final test of the profundity inherent in any musical movement is, the first quarter of the twentieth century. The School of Liturgical Music The first statement of the principles of the Neopolitan stile moderno The fluctuation of position toward a static liturgy and a living musical The focal point was no longer to be found in the setting as such, but the form and expression of organ music in forceful polyphony and the formation of the Society of S1. Caecilia through the efforts of Angelo The formulas for the lessons, however, were made subsemitonic. The formulas were melodic phrases using a fixed relation between the the foundation for the growth of new musical principles that could pave the full composition, but merely by presenting the harmonic base of the THE FUTURE the Gallican, and the Spanish (Mozarahic), with chants more or the general intellectual and artistic attitudes of peoples and races. The generation of church musicians born at the start of the seventeenth the Great (324-337). The inner spiritual preparation for the The great number of possibilities that could be adopted in the renewal the great promoter of this art in nonáCatholic northern Germany. the greatest chance for development in extraliturgical devotions. Joseph The greatest development in music for the congregation took place in The greatest opportunity for choral writing occurred with the closing The greatest results of this movement were found in Holland where the Gregonan modal IdIoms or Incorporate Gregorian themes into a free the Gregorian cantus firmus. The thematic material was used to create a THE GREGORIAN CHANT the Gregorian chant alone. the Gregorian chants, and even played during the elevation. To fulfill this the Gregorian melodies free of any harmonic background, differs from The Gregorian problem became essentially a historical one. By the The Gregorian Tradition the harmonies. This new kind of composition made it possible not only THE HISTORY OF CATHOLIC CHURCH MUSIC THE HISTORY OF CATHOLIC CHURCH MUSIC THE HISTORY OF CATHOLIC CHURCH MUSIC THE HISTORY OF CATHOLIC CHURCH MUSIC THE HISTORY OF CATHOLIC CHURCH MUSIC THE HISTORY OF CATHOLIC CHURCH MUSIC THE HISTORY OF CATHOLIC CHURCH MUSIC THE HISTORY OF CATHOLIC CHURCH MUSIC THE HISTORY OF CATHOLIC CHURCH MUSIC THE HISTORY OF CATHOLIC CHURCH MUSIC THE HISTORY OF CATHOLIC CHURCH MUSIC THE HISTORY OF CATHOLIC CHURCH MUSIC THE HISTORY OF CATHOLIC CHURCH MUSIC THE HISTORY OF CATHOLIC CHURCH MUSIC THE HISTORY OF CATHOLIC CHURCH MUSIC THE HISTORY OF CATHOLIC CHURCH MUSIC Baroque Art 113 The history of Catholic church music begins with the early development THE HISTORY OF CATHOLIC CHURCH MUSIC Stile Moderno, Stile Antico 135 134 The history of Catholic Church music. The history of Greek music was compiled by pseudo-Plutarch about the Holy Family in Milwaukee in 1371. To this foundation came Singenberger the hymn came into the West from Syria where Ephraem had cultivated it The hymns stand in marked contrast to this purely melodic development. The idea that what a man cannot express in w~rds he must tell God the ideal of multivoiced Catholic music, but Tinel saw in Johann Sebastian The Ideal Style of Ecclesiastical The Ideal Style of Ecclesiastical Polyphony 101 The Ideal Style of Ecclesiastical Polyphony 95 The Ideal Style of Ecclesiastical Polyphony 99 The Ideal Style of Ecelesiastical Polyphony 91 :: The idealization of textual expression and its musical conformation the IGK, and Joseph Haas was for years the organizing and guiding hand. The impact of the Neapolitans on the formation of a new expression the importance of counterpoint and in his Missae quadragesimales the increase of the inner tension of the composition by harmonic innovations. The independence of the stile moderno, and the constant effort to shape the independent forms of horizontal troping - cantiones, songs in the the individual verses, must be forced into this standard form used for the inner tie between music and the liturgical text which had still been the instrumental style was not confined to the ritornels and other indeá the interpretation of the uniform, unchanging texts of the ordinary of the the introduction of altered tones, and by elaboration through the polychoral the introduction of the new art and the decline of choir schools, which the Italian, Luigi Cherubini (1760-1842), the Swiss, Louis Niedermeyer The Italians developed in particular the solo setting, flexibility of the The Italians were important in the development of the new expression the Jesuit plays, the spiritual cantate, and the sacred oratorio which now the lack of any Gregorian cantus firmus. the larger forms. However, it has now found a source for new inspiration the later evolution of the fugue and the through.composed technique. the lead in all countries. Baroque splendor and the emotionalized declaá the leitmotiv. Because of external circumstances the solo received prominent the lessons, the texts of the Proper, the Office responsories, etc. For example The liberation of Christianity in the fourth century created two problems the limitation demanded, the stressing of tonal centers, and the utilization the limits of its expression and its forms are clearly set by the shape of the linear melodies produce sharp clashes of dissonance. This complete the liturgical chant a new development occurred and presented the hymn THE LITURGICAL FUNCTION IN HISTORY The liturgical function of church music has had the effect of circumscribing The liturgical melody that had its development in the monastic and cathedral the liturgical mission of church music and making music an end THE LITURGICAL MOVEMENT The liturgical movement gave new impetus to the activation of the The Liturgical Movement has endeavored to steer church mUSIC back the liturgical practices of the West must have taken place in the fourth the liturgical renewal, a revival of the genuine melodies was actually the liturgical style of expression to some extent in connection with the liturgical text. The symmetry of the Renaissance concept of text and the liturgical texts, certain fixed forms for the service, and the various the liturgy which then left no room for the free shaping of a personal the liturgy. the liturgy. By this extramusicallimitation it is distinguished, as practical the local forms were abandoned or else they were mixed with the forms The lte Missa est, too, was troped; e.g., lte sine dolo et lite. Pax vobiscum The magnitude of his interpretation of the text and his artistic setting the main voice, which was tied to the text. The independence of the declamatory. the Mannheim school. The dramatic interpretation of the text, dictated The massing of choruses in Ludwig Weber's work has had its influence the meaning of the formulas was gradually lost, the connection between the melodic line which had already been much abbreviated in the reform The melodic, rhythmic and harmonic novelties thus formed made even the Missa solemnis burst all the limitations of the usual forms and became the modes which became our major and minor. the monody of Ludovico Grossi da Viadana (1564-1645), Antonio the more extended texts. In the course of the development of the mass, The more popular elements of Spanish music were inevitably brought The most important form peculiar to Christian cult music is psalmody, The most important function of the Catholic organist was improvising. the most important stir took place in the groups surrounding Johann M. The most outrageous example of this was the "Kyrie-Gloria" the most VIgorous breakthrough in medieval musical culture but the basis the motions. *Ffffl1Nfft?= Rex coe - Ii do - rni - ne rna - TIS un - dl - so m the motu proprio and of other documents of the Holy See must become The motu proprio of St. Pius X (1903), the apostolic constitution of the motu proprio. the movement in various periodicals. THE mSTORY OF CATHOLIC CHURCH MUSIC ,: The multiplicity of forms of church music in the seventeenth century and The multiplicity of its forms of expression can be traced to different naá The music of the early twentieth century continued the expressive the music of the liturgy in the fullest meaning of that phrase. It was the the music of worship from religious music in general and take into account the music. This effort for an objective expression of the liturgical text the musical arts; they must also be placed in their proper perspective, must the musical viewpoint of antiquity, on the other hand the spread of the musically developed performance of the psalms are opposites. This The n~w forms of the trope appearing in the ninth century signalized a the Neapolitan composers with their harmonic declamations. But in the necessary changes. Christian cult-music and ancient musical views The necessity of introducing this simple method of performing The need for a full understanding of the interaction between music and the Netherlands, Guillaume Dufay (c. 1400-1474). the new art but recognized its serious development. Benedict XIV, on The new art was displayed in the secular forms of the caccia and the THE NEW ECCLESIASTICAL STYLE The new expression touched all forms of ecclesiastical music. Since the the new technique in France was adapted simply to extraliturgical, reliá the new tonal language to produce a strict ecclesiastical a cappella style, The new version of the liturgical melodies underwent many local The Nihil Obstat and Imprimatur are official declarations th.at a hook .or pamphlet the ninth century, surpassed all others in importance: S1. Gall, where The northern Italian composers adapted the strict stile antico by using The notion that the solemnity of the liturgy could be heightened by musical The novelties to be found in the church music of the thirteenth century The novelty of the ideas propounded caused the real importance of other the odes set to music by Tritemius, Ludwig Senfl, Paulus von Hofhaimer The old a cappella works of the sixteenth century were provided with a the old cantus fiTmus work. It was no longer restricted to the simple solo The old use of two voices in duet was preserved in four-part writing by the older I~y:ns beca~e part of countless Caecilian hymnals, although the ordIll~ncesof the motu proprio of St. Pius X.Other organizations, for the Ordinary be assigned to the congregation, while the church choir The ordinary music for church use at the end of the eighteenth century The organ and organ music achieved an independent position in divine THE ORGAN AND ORGAN PLAYING the organ art of the Lutheran service continued to develop. Fugue the organ tablature. Organ composition livened the vocal structure, The organa of the Notre Dame school of Paris, whose chief masters the original form was soon overwhelmed; this was to be expected, considering the other one iliat looked outw.ard (j oy). These had to be The overlapping of concertante tonal effects and solo.style art soon the Palestrinan style as seen in his Arte prattica di Contrappunto. The The path of church composition was erratic until the period of the new The peculiar character of practical church music presupposes a variety the peculiar development or church music in France at this time the peculiar situation of church music at that time. Thus a stylistic The peculiar turn in the development of church music in the Romance The penitential hymns developed into the flagellant hymns of the fourá the people in liturgical worship. The song movement for youth (Adam the period of the crusades the ideal of knightly poesy brought about an The personal and subjective interpretation of the text by means of the the personalized expression and thus led to remarkable compositional the plastic arts, new spatial effects were being discovered, and this was the point that further development lay only in the direction of a more THE POLYPHONIC ORDINARIUM MISSAE The popularity of transcriptions and variations spread to the field of the position of technical innovations in church music. the practice of improvisation to the formation of a mensural theory and The pre-Gregorian chant practice established in the Frankish kingdom The predominance of Protestant culture in the eastern and midwestern the preparation of a unified Dominican version, but since the The presentation of the grammatical word in declamation, its accent the priest. This custom, which persisted even down to the fifteenth century, The principal support of tradition in church music was Gregorian chant. The principle of declamation and its musical delineation gave rise to the problem of church music_ understandable. An example of compositions that offered the text a suitable The problem of the creative artist working in church music in the The problem of the Gregorian melodies as they existed in the old. the problems involved. Man today, surrounded by a great artistic culture, The progressive harmonic interpretation of these modes since the thirteenth the Proper, e.g., flourish or march instead of the Introit, etc. Piety was the psalms is found in the musical embellishment of other methods of the purity of the diatonic line was safeguarded, little account was The rapprochement between church music and other contemporary arts, The recognition of this textless melismatic art, which was connected The reform movement had an influence also on Joseph Hartmann the reform movement, especially in German-speaking countries. the Regensburg edition, never gained any headway in France. The relation of music to its liturgical function is the central question in the relationship of melody and text. the religious concerto grosso of the seventeenth century, has attained a The religious drama, especially what is known as the auto sacramental the rest. The "worship in spirit" (In. 4:23), with it~ implied rejection of The restoration of the traditional Gregorian melodies in the Editio the revival of a cappella polyphony. In Spain, Perez y Gascon, Miguel The revival of the historical study of music included the search The rhythm of the old motet was suppressed, a~d tonality was at the the role of the lower parts. Although at first the lower voices did not the Roman chant, at a distance from the northern and southern centers, THE ROMAN ECCLESIASTICAL CHANTS the Roman liturgical chant developed more independently and departed the sake of emphasis (e.g., non, credo) was a result partly of this in- the same - the complementing of the choral composition with the new The same line was followed by the popular German masses of J. Alt, the same principles, granted recognition to the new contemporary style the same techniques of composition, secular and ecclesiastical music went the same time the basis was laid for an emphasis on extraliturgical reo the same time, the schola cantorum also guarded the chants from change the Sanctus of his first Missa solemnis. f . ~ ~#BiS·~ The search for a new style led to through-imitation, which acquired the search for a personal expression are indicative of an attitude, changed the search for newer expression. the second half of the eighteenth century, the concertante-cantata forms the sections with shorter text and the tendency to use a syllabic form for the secular ballade. Italy, in turn, became a new center of the art, and the sense and sound of the text, but to the neglect of its grammatical and The sentimentality and the ideal of piety that came to the front during The seriousness that was natural to true church music was far removed the service. At the same time it led to the music's becoming independent the setting was destroyed, and the homophonic parlando device was in. the setting. Contrast used as a means of increasing the expression, a the seventeenth, the growing body of European instrumental music began The shallow symphonic church music of the eighteenth century and the the shaping of the composition. the shift from a cult chant to g . I cu t to .lIturgy began and with it the Silesian church musicians. Of these, Hermann Buchal (b. 1884), Gerá The simplest method of composition was to double the octaves; the singing. the sixteenth century have disappeared. the sixteenth century the lead in church music was taken by schools and the Society of St. Caecilia." This list served to outlaw such purely dancelike the Solesmes method of plain song and to cultIvate sacred po yp ony. The solo style was divided into declamatory recitative and arioso the solo work in Haydn's masses, came to the fore in Cherubini's grand The Spanish missions in the southwestern section of North America, The spread of the Roman ecclesiastical chant was faced by quite different the start of the ninth century in accordance with an Antiphonary brought the stile antico shows that ~e polyphony of the sixteenth century had the stile antico took their place. Even the Italians working in German the stile misto a compromise was sought between the basic forms of the The stile moderno, like the stile antico, found its own development The stress on the expression of personal piety and on the tastes of the THE STRICT CHORAL STYLE IN ROME The strict cont~apuntalteaching of Johami' Joseph Fux was not forgotte~: the strict polyphonic principles The structural and technical advancement of music by the Netherlanders the style of the fourteenth and fifteenth centuries, vertical relationship The style of these few compositions is indistinguishable from that of the The subjective, dramatic church music of Jules Massenet (18421912) The subsequent development in the liturgical music of the Middle Ages, the suppleness and sonority of the stile moderno with the strict style the symphonic style and presented an emotional and dramatic interpre. the task of preserving both the purity of the doctr~nes of faIth, a~d the the task of producing a version that would combine local peculiarities The tendency toward symphonic church music was foreshadowed by the tenor reciting note, modify the clauses, and in the case of solo psalmody the text attained a prominent place in composition alongside strict contrapuntal The text was important, but the music gave it its liturgical significance the text, together with compositional balance. For the musician the The theoretician Johannes Tinctoris (c. 1446-1511) rightlyacknowledged the times. Several factors conspired to bring this about. The conception The tonal concentration that ensued had its counterpart in the harmony. the traditional medieval chant. Especially in France, in connection with the translator is indebted also for a careful reading and correction of the The translator owes a great debt of gratitude to Rev. Richard Schuler the treatment given the chant melodies in the ancient classical polyphony the Trent Codices are the most important source for the early evolution the trope for the Gloria of the Marian Mass: the twelfth and thirteenth centuries. Here were incentives for a new evoluá The twentieth century has witnessed a spirited revival of the art of organ The twentieth century, after two World Wars, has witnessed a remarkable the twenty centuries of Catholic Church history is the task Professor The union of antiphon and psalm - with the antiphon originally repeated the unit. This new art achieved form in the motets of the Roman de The upper voice took on a prominence which led to a readjustment of the upper voice. The chorale setting and the setting of psalms, especially the use of leitmotiv, which were among the most important media used the use of paralleled fourths and fifths. !he parapho~ist,of the Ordo The variety of forms in the rites and chants of the Eastern Church stands The vario,us creative forms of the sixteenth century revealed a new vital THE VERNACULAR HYMN the vernacular hymn to extraliturgical services; and to free it from the the vernacular hymn. In Germany, hymnhooks still contain a preponderance the vernacular hymn. The reform undertook a double task: to relegate the vernacular was banned from the liturgical service, although this did The vertical expansion demanded alterations by means of acciá The view of the extremists, especially among the youth who sought the voice line takes the lead. Vocal polyphony also dominates the voices. the way for entirely new paths. Its expressive values were later evolved in the way of further advance in the restoration of the chant. The great The Western empire, after the division of 395, finally ceased with the The widespread diffusion of the Byzantine tradition in the Mediterranean the wor~s along the lines of the older polyphonic art. Although liturgical the work of Lorenzo Perosi (1872-1956). Ildebrando Pizzetti (b. 1880), the works of Francesco Landino (c. 1325-1397), Antonio Squarcialupi the works of Ockeghem, balance in the composition was perfected to the works were intended for "country and cathedral choirs," ranging the worldly devices of chromatics and enharmonics. The oldest type of the worshiper rather than the demands of the liturgical action itself. the zenith of their creative activity, they wrote church music also, giving the.SocIety of St. Gregory in the United States, served to implement their appearance. Thus a homophony in straightforward declamation, their different ways, though often enough their paths met. Consequently, their efforts toward expressing emotion by contrasting sections in the their efforts were soon suppressed. It was not till the beginning of the their historical accuracy soon alienated the whole movement from its their influences on the forms employed. Church music is inherently restricted their melodies; thus the duties of the choir were apparently absorbed by their number and their decisive purpose they exercised a great influence. their own favorite art and created music not for the grand choirs of court their places of origin, so also the music manifested local differences of their role as extraliturgical song, they did arouse interest and through the their talents to rekindle the spark of ancient culture, almost extinguished their traces on music for the church. The courtly musical life of the their use of homophonic devices that the Netherlanders found themselves their work appeared in the Solesmes publications, which were the them in the service of expressive form. There were three such moveá thematic elaboration of Gregorian motifs. The other group has produced thematic treatment. In the earlier masses of Haydn and Mozart this thematically in every voice and incorporated, often with variations, in theme was used as the basis for the setting. themes as well as his rhythmic and harmonic style. An imaginative per. themes into a harmonic context, one school of modern composition themes of polyphony and homophony, and joined them to declamation. themes related to the text, and by a contrapuntal equality of the voices, the themselves to troping; e.g., Kyrie clemens rector. themselves. Besides adding an accompaniment, the Caecilians further then current conservative style of Spanish church music. Then there is the problem of space and the position of the organ and Theodore Marier, Laurence Powell, Roger Wagner, Achile P. Bragers' theones, as seen m.th.e first five books of his De musica, stand in sharp Theophane, Sister Mary, 211 theoreticians which they often understood but poorly. They represent, there are his smaller masses and other church works with simple organ There is a growing body of composers who have been influenced by the There is a juncture here of a musical principle with a ritual one. there is a recitation on one tone th t . .e~o IOn et os); instead, There is also the problem of church bells, which has won more considá There is an account of how Ambrose, at the time of the persecution by There is still another point in which the history of church music diffe~s There is still another way in which a shaping of free forms stem~ed There must have been a profound reason why, in contrast to the grandeur. there was a development of vernacular hymns that were freely composed there was a gradual movement to emancipate the composition tonally there was a reappraisal of divine service and its outward display, there was a revival of church-music endeavor. In Italy new paths were There were also foundations of importance in the educational field in there, as well as in Jugoslavia, a Caecilian Society was formed in 1877. Therefore the attitude of past generations towards the historical forms of Therefore the conductus, unlike the vertical trope, no longer had a multi- these areas torrents of the cheap, shallow, orchestrally accompanied repertoire these centers and the range of the melody led to the theoretical construeá these developed and evolved quite independently. These devices have been called the "arts" of the Netherlanders, but these efforts at creating a church music in German-speaking countries, These Gregorian reforms by the religious orders naturally included These new stylistic devices that appeared as early as the start of the These new stylistic media were found useful for functional church these peculiarities. The various collections of sequences differ in their These songs clearly betrayed their Latin models and generally borá These strengthened the mobile traits of the harmony and at the same These tendencies continued as the emphasis on feeling, so characteristic these will often yield a picture that differs widely from that of the art as these wrote large concert works as well as smaller church compositions theTrhitiusalli.nk with the rite itself in the choice of the psalm melody and its they could, contemporary devices influenced them in their treatment of they developed in the West into free melodic creations, independent They incorporate a compromise between text and music and are to be they must interpenetrate. Only what is ~rtistically the best can be good they were accompanied by instruments or merely by a thorough-hass. they were followed by Salvatore Gallotti (1856--1928), Ernesto Boezi they were not mere tricks of composition; they were a serious attempt to they were now put on a par with it. Efforts were made to find devices to Thibaut, Anton Friedrich, 180 thinking. At the same time an inner corruption of ecclesiastical life can thIrteenth century on, the melodies assumed more and more the character thirteenth century, was being reassessed by a new subjective type of This abbreviation is a special mark of the Western evolution of liturgical This accounts for the practice of including the intonations of the Gloria This art is handed down to us in the Magnus liber organi, which This art, now no longer bound by the liturgical melody, took new strides this art, which was enhanced by the improvisation of the singers, Josquin, this art. It was used for choral settings and for solo works, but in both This attitude of the Enlightenment, with its roots sunk in Josephinism, This brought about a new evaluation of music in the divine service. This chant, which in the course of time grew more and more stylized, This conception was given outward expression by moving the musical This contrapuntal handling of the voices produced a compact compression, This created an opening for centuries of theoretical analysis in the this development by the preference for just a few voices, as in the work This development in the sixteenth century of a religious art outside the This device promoted textual clarity by presenting those portions of the This diagram indicates a rigid organization, even though the melodic thIS dramatIc presentation. Later the "women's scene" was dramatized in This encouraged the writing of versets, long a part of the functional This estrangement from the liturgy resulted in settings that were based this evolution, although in France and Belgium the impressionistic tonal this expressional medium lay in the harmonies and the instrumental this fashion, ofiering a way for a personalized style of expression. Both in This form of expression was further developed in Venice and Rome. this freeing of the word from dependence on accentual rhythm together This is an authorized translation of the second edition of Geschichte der This is exemplified in the church music of Matteo Asola (+1609), Vin. This linear tendency in independent organ composition has affected This list has been restricted to books in English. For the serious student This liturgical purpose also gives it its particular denominational character. This movement to alter the medieval melodies and to create new ones this movement. In addition many convents and seminaries have incorporated this new art are found in southern France, and it received a special this new form of expression. The core of this form was melodic expression; This new form was called cantio. Cantiones were really spiritual songs this pattern. Popes Urban VIII (1623-1644), Alexander VII (16551667), This personalized art naturally freed itself as much as possible from this principle continued as the rule. This school is now situated at Purchase, N. Y. In 1953, the school w.as This stile antico, which was indeed thoroughly different from the ancient this style all through the eighteenth century. But besides the solo work, This style utilized the chant in equal note values as cantus firmus this task was reserved to Franz Witt and his Caecilian Society. This tendency to stylize the setting characterized also multivoiced compositions. This translation was made from the second (revised) edition of 1949, This treatment of the text, in contrast to the art of Ockeghem with its This type of music likewise reached North America where an awakening This was a novel attempt at solving the artistic problem of church This was determined by the desire for tonal expansion. Since the increased This was especially necessary when the trope took great liberties with the this was in accordance with a very strict conception of liturgy, it necesá This was most disturbing to the religious orders; because their general this was recommended for the bass by Giovanni Maria Artusi (1581), and this work was the research into the original texts and melodies of ancient this, because in non-European music generally the preponderance of this, which made it possible to present the individual word clearly but Thomas Tallis (+1585) and especially his pupil, William Byrd (15431623), Thomas, Charles Ambroise, 174 THOMPSON, OSCAR. The International Cyclopedia of Music and Musicians. Thorough-bass thorough-bass. In the new compositions that utilized the expressional Thorough-composition, .155 Thorough-imitation, 73-5, 84 those of Puccini over Italian influence in opera had a similar counterpart those that had brought about the decree of John XXII at the beginning though Gioseffe Zarlino (1517-1590) and others still emphasized the though its use as a teaching device in many instances obscured its original though solo singing was used and recognized together with congregational thought made its deepest inroad into the liturgical melodies and developed through free improvisation. They were now standardized and it was this through harmonic tensions, parlando effects and free rhythm, the interchange through his Magister choralis (1875) and his edition of the collected through the centuries take place, depending on whether the emphasis Through the interchange of . 21 through the use of every form of parallel movement. The cantiones and through the use of new tonal techniques in solving the problem of expression. through-imitation, modeled on the canon but with some paraphrasing, THROUGHáIMITATION throughout the piece, writing the notes in Gregorian notation. A chant throughout the whole service. The organ accompanied the priest's chants, Thus a new vocal form for church music came into being, novel in the thus a point of departure for two basic tendencies in multivoiced church thus acquires structural significance. thus diminishing the liturgical importance of polyphony and the artistic Thus for individual forms a useful style was evolved which was retained Thus he took many a bold stroke, breaking down old forms and Thus in Italy and France about the beginning of the fifteenth century Thus in the fourth century Christianity shared two contrasting musical Thus in the historical course of church music four large periods of development Thus many a formula improvised on again became stylized. Thus the continuation of the priest's chant, originally sung by the Thus the development of a polyphonic art with independent voices was Thus the reform spread all over the country. Thus, alongside the symphonic, dramatic church music of the nineá Thus, around 1600, a fundamental break occurred in church music Thus, even in the fourteenth century, the link with the Gregorian chant Thus, from the fourth .century on, a further extension of the Ti.uJ pa - tris sern - pi - ter - nus es f') - rI - us tI{ ti~f.~ i ~t ~ tiá ;t r ut te pos - sim ho - no ra - re lau - des tically and artistically. The advance of a Catholic awareness in philosophy ties. Divine worship came to be regarded as the external scene for the time gave added direction to the harmony of the cadences. This harmonic time of the Venetians, there were some Italians who followed the strict time secured its justification as music for worship. time. Tinctoris, Johannes, 71 Tinel, Edgar, 179 ting. tinguish themselves artistically. For "figured music," in addition to the tinued to form the skeleton of the composition of which it was an integral tion and shaping of phrase typical of the Renaissance yet free from tion of church art, which on the one hand was an expression of those tion of life as a whole, the music of worship had to be considered immediately tion of sixteenth century polyphonic techniques. Bonaventura Somma, tion of the historical evolution of Catholic church music must distinguish tion of the modes. Thus a new basis for musical interpretation was created tion the medieval liturgical melodies were reassessed. In France, in fact, tion today, by emphasizing a linear treatment of melody, has unshackled tion were not expected of the people. Another group wished to include tion. By means of through-imitation (durchimitieren 1) a solution to the tional and racial origins and to a variety of human experiences. In every tions At the beginning of the nineteenth century efforts were mad.e to tions No. 38. Cambridge, Mass.: Harvard University Press, 1949. tions of Pietro Guglielmi (1727-1804), Giuseppe Jannacconi (17411816), tions of tropes and sequences and hymns so that the forms of these chants tions there appeared the Recueil de Cantiques (Baltimore, 1811) and tionship to religious content and to liturgy as well as its relationship to Titcomb, Everett, 211 Titelouze, Jean, 126 titles ("Wondrous Woodland Sounds," 1688; "Marvelous Maypipe," Tittel, Ernst, 203 tl fi - ea tlIe church melodies by Gregory tlIe Great (590-604). As a consequence, tn tn _ tn - -as de - can - ta re Tn - a tned to extract from the text every. possible musical effect. There is a to to to - to est to - to est cha to a fine modern style. Karl Walter (1892-1959), Franz Krieg (b. 1898), to accentuate the feebleness of his output. Along with Camille SaintáSaens to advance a style intent on clarity. In Josquin's church music the humanistic to an almost total separation of church music from its liturgical foundation. to an inartistic sentimentality and consequently did nothing to solve the to ancient musical practice. to Austria, Bavaria or the Rhineland left their mark on German to be considered as possibilities in the formation of an ecclesiastical art. to be heard in America, thanks to the efforts of the unending stream of to be published regarding the completeness and the choice of texts. Here to be strong, but its rhythmical refinements were perfected, especially to build a rapport between church music and the general evolution of to combine both of these styles. to Corbie by Abbot Wala. Amalar was commissioned by the emperor to to cultivate a definite ecclesiastical outlook. It endeavored to preserve to develop in their art a medium of worship, but always at the risk of to distinctive fashions and forms in several leading centers. In Rome, it to escape the jaunty, entertainment type of church music and to create to est cha - ri - us to est eha - ri - us to exclude all music except Gregorian chant and congregational singing, to exercise the greatest influence; Seth Bingham, Leo Sowerby, to explore new musical forms that might fulfill the liturgical and to follow the trend of the times; in their works artistic seriousness was to fulfilling liturgical demands. While in returning to ancient to gain an independent tonal effect. to Gothic cathedral, the tonal problem for church music became ever more to hold the center of interest for French composers all through the eighteenth to it even the text was subordinated, with a total disregard for to it. The meaning of the liturgy is established by ecclesiastical authority, to make rOom for the massive figures with orchestral accompaniment. to new principles of declamation and new melodic stresses, was the starting to organ music. Besides the great C Major Mass with orchestra, to popular participation in the liturgy. to present the text clearly but to give it enlarged expression in a sololike to serve to heighten the liturgical melody and not go its own way autoá to substitute its own ecclesiastical chant and liturgy for the great variety to the congregation an active role in the music of the service. It has to the contrapuntal voices. The mannerisms of hocket and the clausulas, to the fore, to create works with depth like his Ave verum (1791) and the to the German religious cantata. to the hturgy. In the manner of Michael Haydn he frequently used a chant to the liturgy made such a step impossible at first. Therefore this art, like to the liturgy, it would nevertheless be governed by tlIe laws of musIcal to the multimembered cantata. This concertante art of the cantata, first to the reader to judge for himself how successfully the task has been to the readings. The psalms were sung to fixed melodic patterns to the sixth centuries, the basic shape of the Roman liturgy and of its to the sounds proper to the orchestralike organ that had been to the verbal accent; and he had to maintain the independence to them. An effort was also made to combine congregational participation To this increase in vocal sound was added an increase in instrumental To trace the varied and various relationships of music to the liturgy in to true popular devotion. In France, the hymns of Louis Lambillotte became to tu o quo-dtern to which the text is suhordinated. In epen ence of the music, to whom t~e cha~ts used in Christian worship, oriental in origin, appeared to, and bound up with, the cantus fiTmus. The independence of voices, Tod Tod, flir uns den Tod today in extraliturgical religious music, which he describes as "a powerful together the choir and the congregation. For the organist there is a real together with the creation of the greater, organ forms. tol lis pee - ca - - ta mun di pee- -e- .J J.. .J. .-.d Tomaschek, Johann, 167 tonal abstraction seen in the more extreme examples of linear writing Tonal decoratum, 55 tonal effects, polychoral techniques naturally developed, as well as the tonal effects. There is also religious piano music for two and four hands Tonal Expansion Tonal Expansion Tonal Expansion 47 tonal expansion. Just as at the start of the second millenium polyphony tonal resources as much as the polyphonic piece itself, there was a possibility tonalities. Tonality and setting were the new media of expression added to the tonality and thus made it the support of a new mode of expression. tonality changed the character of the old church modes. tonality were expanded to produce new metrical forms. Tonality, 65, 83-4 tonality, marked the evolution of church music in the sixteenth century. tonaries. tone became the center of interest. In the same way the tonal problem became Tone centers, 97 tone coloring. With Andreas and Gottfried Silbermann (1678-1734; tone gave place in the baroque era to an increasing appreciation of verbal too, is the fact that as early as 1583, an Aztec translation of the Psalmodia too, to combme strict composition with newer forms of expression such too. For such a reform, however, the eighteenth century was not ripe. took new life in the expressive coloratura of monody in the modern took precedence over the instrumental, but in Germany the lead was took the first step in the revival of the old Italian art. In his earlier music took the lead in the further development of the Ars Nova. took various forms. The usages and chants found in Latin-speaking countries tory themes of the stile afJettuoso, with or without orchestral accompaniment. Tournay (14th c.) ; the sections with fewer words are written in a three Tournemire (1870-1939), Marcel Dupre (b. 1886), Joseph Bonnet, toward a deepening and strengthening of church music. This path was toward an objective textual expression in musical form were already to Toward the end of the century inventiveness and expressive strength Toward the end of the sixteenth century and in the opening years of toward worship, liturgy, and church music. The readiness in various Tra tra or organ was taken for granted. Of significance in evaluating the tra ta Tract (Septuagesima Sunday) TRADITION AND PERFORMANCE OF TRADITION AND THE STYLE OF A PERIOD tradition and the treasures of ancient classical polyphony, this resurgence Tradition continued to be the essential method of preserving the melodies, tradition for Rome's position in the Church's ecclesiastico-political life, tradition of Italian song but combined with a modern harmonic treatment. tradition, Chateaubriand (1768-1848) and De Maistre (1754-1821) tradition, so that a secularized musical ideal was inevitable upon contact tradition. tradition. tradition. In Italy each area found its own solution to the problem of traditional are such writers as Philip G. Kreckel, Camille Van Hulse traditional church music of Anton Foerster (1837-1926), P. Hugolin TRADITIONAL FORMS IN CHURCH MUSIC traditional forms, and opened the way to ecclesiastical expression in TRADITIONAL GREGORIAN-CHANT traditional melodies was brought about, redirecting their further evolution Traditional Roman Pilgrim-song from the nth or 12th century -o Roma no-bi-Iis or-bis et do-mma Cuncta-rum ur- bJ - um ex-c~l- Traetta, Tommaso, 155 training of the clergy, the liturgical choir (boys' choir), congregational transfer to Frankish territories. All this remains a moot problem. At any transferred the center of gravity. No longer was the liturgical action transformed many of these traditional techniques and made them the Translated by Translation of Geschichte der katholischen Kirchenmusik. trapuntal voice leading, the movement of the melody within certain tonal trasting treatments of sound. Out of the multitude of such devices, from Treasury of Liturgical Song Treasury of Liturgical Song Treasury of Liturgical Song Treasury of Liturgical Song 23 treasury of ritual mllSlC was found in the hymn, although a careful organization treatment in Weber's church music. treatment of church music by rich.sounding, compact settings. The liturgical trend or by the new currents in church music. The accomplishment of Trent, Council of, 8, 40, 87, 93, 95, Triad, 95 triad, and at the same time he succeeded in reconciling the style of text Tribarren (+1760), and others continued to cultivate the ancient vocal Trier; Bernhard Quante in Munster; a~d Benz in Speyer. tries. Ivan Lukacic (1574-1648), Kapellmeister in Split, and by origin trina created a new ideal of ecclesiastical writing. He resolved the conflict trinitate semper colendus. Adoramus teo Quem vagientem inter angusti Triplum Tritta, Giacomo, 142 triumphed over ecclesiastical and liturgical considerations. troduced even in strict composition. The text assumed the leading role Trope, 37,41,49,55, 92 TROPES true appreciation of the liturgical spirit. In contrast to Germany where the true balance in both respects was necessary to avoid shifting the centers true with respect to chant as well as in setting texts to new music. Composers truly ecclesiastical. tu tu - 0 me - di ca mi - ne ad - iu - va me. Tu - a .ve - ne - ran - ti - bus pa - tro - ci nl- Tu - a ve - ne - ran - ti - bus pa - tro - ci - nil-!. tu;e; it was partly Italian, but it was also adapted to the rationalism of tual foundation of the artistic movements and their relationship to the Tuba Mediatio Tuba Tucher, Gottlieb, 184 Tune of an Armenian Church hymn tunes of Ditter von Dittersdorf (1739-1799) with "Latin texts fitted to the tur - tur tur Do - mi - ne De - us ture, symphony, sonata, and suite). With the coming program music, as Turini, Francesco, 116 turn developed in their own fashion, growing more and more apart. turned into a free composition estranged from the ecclesiastical style. turned their attention to local German versions which they partly revived. tury. Animuccia and Palestrina were his musical collaborators. This tus tus Do - mi-nus De - us Sa - ba - oth tute of America, Oxford, 1947. Tutilo (St. Gall), 37 two church-music periodicals, Fliegende Blatter fur katholischen Kirchenmusik Two contrasting currents exist in French church music. For one, the Two major publishing firms specializing in church music were founded Two texts can be identical as to wording, but they will have different TWV b'Yj - )lUlV 'lIa - TE - pa X'ui - OV x' a - Tl - ov 'lIveu - )la ty but t~ey lost, in the course of development, that deeper connection Tye, Christopher, 90 type a particular expression. In this way church music took on a new type of mass, in which these two parts were composed in so lengthy a type of music the cultural background as well as the century have left types developed in the course of history stilI survive, whereas most secular U - nis - sez a nos voix \'0 - tre douce har-roo - ni - e, an - ges de u áá U)l - VOUVa ually was overwhelmed by instrumental forms. As a result of this umty "":h~c? were the basis of ancient musical ideas, and to see in under the influence of Romanticism. The recognition of worship as "the undertaken later during the pontificates of Martm (649-655) and espeá undertook to provide the Proper in a polyphonic setting. The schola undoubtedly amplified and extended the technique of Leoninus' organal unexcelled exponent. unfolded during the sixteenth century. This technique. existed together Unification was further achieved by repetition of thematic material and unified result. It was not until 1254, with the work of Humbert de uniformity, the reforms safeguarded the melodies against any further uniformity. It was not until the introduction of the Editio Vaticana that unify a composition. Voice pairing led to an equal treatment of all parts. unique expression of his own ideas. It is from this personal conception unit. Johann Hatzfeld was the successful promoter of the ideals of UNITED STATES United States have set up specific curricula for degrees in church music. United States. The World Library has published the People's Hymnal unities of Romanesque art e~panded into a variety of motions and unity must be based on the principle of the motu proprio: that a composition unity of the mel~dic line became the driving force in the new univer.sal and the objective than was Liszt's. He approached the liturgical universal culture of the Christian West, which had reached a crest in the unquestioning joy of Haydn, but a ringing profession of faith. This uns den unt until the eleventh century that Pope Gregory VII, with the support of Until the end of the third century the ecclesiastical language in Rome Until the mid-1800s, therefore, Catholic church music in America until the publication of the Yatican edition that these publications gradually until the separation of arioso and recitative sections made possible Until the work of Johannes Ciconia the influences of the older French until they were once again restored on a historical basis in the Editio unwittingly became the promoter of shallowness in church music. up instead the now dominant form of symphonic music. This change was up the difficulty and actually brought in their train new problems. For upbraid one of his monks who was inspired by the chant. But the idea upon church music by a subjective art of expression and an emotional upper Italy, had their own solutions, more or less similar to that of upre, or Peeters, H. Bachem, J. Stollenwerk, Hermann Schroeder, upsurge of liturgical feeling connected with the Romanticism of the first urn urn e - go ve - ro de - lee - ta - bor in Doá mi- us _ us _ usable in the Catholic liturgy. Joseph Roff, also from Canada, and Julian use of both styles, together with an ever.increasing tendency toward use of chromatics, the widening of intervals, and by forms of declamation use of his melodic material. The Gregorian cantus firmus was employed use of instruments, this stile moderno followed the lead of the Venetians use of music, for a new attitude was formed toward the liturgical text. use of the homophonic style, which was already predominant in extra. use of the text, either as a choral or solo psalmody. use within their own ranks. But all such efforts served only to point use. Later in Gaul a new revision of the Sacramentary was made with a use. The multiplicity of the versions, however, and the quarrel over used in set groups but at the same time are linked to their liturgical position. used not only to accompany the vocal setting but also for performance used the stile moderno were aware of this ecclesiastical type of expression. used them side by side in short sections. The stressing of weak linear used this fashion for all it was worth, so that in the end polyphonic using an appropriate musical form, was already present in the time of using these cantabile melodies, created music that met the contemporary usmg sonontIes determmed by the composition. For Palestrina text and usmg the German language. These groups sprang up in great numbers usual paid singers, male and female, other vocalists and instrumentalists usually in the form of dropping them or at least shortening them. Soon ut te ut te pos-sim ho - no - ra - re lau - des uted to religious music by their work. Rivier, Manuel Rosenthal, Damais, utilize all the cosmopolitan gifts of expression with which he was endowed. utilized in a new sense by the Neopolitans. The choral setting was gener. V f-f f c va .... vi 0 - - eu - los me - - os .d .J---tL .l Valentini, Francesco, 129 Valentini, Giovanni, 121 Vallotti (1697-1780). For ecclesiastical expression he used both the Vallotti, Francesco, 145 valuable and important could be produced, there was danger of forsaking values as his larger works. Bruckner's compositions represent the highest values in the movement for reform. This produced the foundation for the van Gent, Francesco Petrus, 100 van Hoof (b. 1886), Louis de Vocht, Julius van Nuffel (1883-1953), van Hulse, Camille, 211 van Nuffel, Julius, 207 van Weerbecke (+ c. 1514), Antoine de Fevin (1473-1515), and van Wierbecke, Gaspar, 78 vance into a new sphere of musical art filled with pathos, sentimentality, vanous sun~ parts. of the service, ~as found new life by employing contrapuntal Variations, 49, 84 variety of racial backgrounds in many cultural areas not only produces a various countries and at various times has differed in its media and its various directions. various forms employed by the Parisian master Perotinus, who developed Various influences from the East by way of Alexandria and Greece VARIOUS PHASES IN CHURCH MUSIC various points of view among them. One extreme group wished to establish various singing groups, including the congregation, has already produced various themes are developed. various voices. He employed the isorhythmic technique without consideration Varro,15 Vaticana created the basis for these movements. However, there were Vaticana. The shortening or elimination of the melismata, as well as the Ve Ve Ve Ve ve _ dis Ve - re Ian - guo - res ve 10-ci - ter ved of women's singing, particularly in psalmsinging, where "tender Vehe, Michael, 131 veloped in these dupla, tTipla and qUadTUpla of the eleventh and twelfth velopment, prodded composers everywhere to try with every available Venantius Fortunatus (c. 600), with their finely polished, classical handling Venantius Fortunatus, 36 Venetians, 143-4 Venice (465), Toledo (589), Mainz (813), Aachen (816), Rome ver~acular was the effort to promote an understanding of the liturgical VERBAL REPRESENTATION AND INTERPRETATION Verbonnet, Johannes, 78 Verdi, Giuseppe, 178 vernacular and such - had its first development outside the narrower vernacular hymn from the ninth century. This popular art was promoted vernacular hymn. Witt's reform was to embrace not only cathedrals but Vernacular hymns, 41, 93, 131-2, vernacular hymns, the cantigas in Spain, the cantiques in France, the vernacular were made in the tropes. To be noted in particular, the Kyrie vernacular. Marinus de Jong, Hermann Strategier, Hendrik Andriessen, Verse of the Introit for the Mass of the Holy Ghost by H. Isaak verses is the fundamental novelty that psalmody presented in contrast Verset,126 version met with some opposition in places that already had their own version of the melodies. As late as the ninth century the monastery of versions of the eighteenth century. He desired simplicity and clarity. In vertical troping and thus evolved the multitextual motet. very little. very popular. The piano style of the accompaniment was as much very time when earnest studies were being made everywhere to re-establish vesper antiphons, but the composition of masses was much more reserved. veve vi - ri VI c--e f a Vicentino, Nicolo, 86 vices of canon and thorough-imitation succeeded in distributing the Victoria vided the bridge from church music to the oratorio which in turn gradually vIe"": of mUSIC, even though externally he clings to the system of ancient Vienna, 152-5, 162-78 Viennese classical writers who gave church music a new importance in the view to fitting the liturgical forms originally intended for Rome itself to viewpoint of the period. In Vogler's compositions sections of serious writing views and departed from medieval inflexibility. The intelligi. vigorous impact on the population. VII VII g-g g d VIII d-d g c VIII_I~ ~~IoI~~ VIII~ 1l:5l VIII~ Lot~J~ VIII~I ~~g=~1 ~~ VIII~J p~n)ijJJ VIIIijD ~~ r7tEJF-1±ld~r--! Jn1*#= VIlI~~p==a===t :Q~~ Villa-Lobos (1881-1959) of BraziL Villa-Lobos, Hector, 211 village churches. He had to provide suitable materials for all. He himself Vinci (1690-1730), and others produced a purely musical type of Viol. Viola Violin vit cor me - Vitali, Giovanni Battista, 125 Vitellozzi, Vitellius, 93 Vitry and Theodore Marier were among the editors of this magazine. In Vitry, Ermin, 190, 197 vo rum vocabulary of harmonies, employing new media in his melodic vocal character in church music. The ecclesiastical vocal polyphony of vocal music. vocal polyphony in its original form, called the stile antico. It utilized vocal polyphony of the sixteenth century - the Palestrinan style - was Vochner, Josef, 194 Vogler, Georg, 131, 159-60, 166 voice mass. Multiplication of choirs played a large role in the creare voices of the ancient polyphony. Like the chamber cantata, this new voices of the organ. Dom Bedos de Celles (1706-1779) wrote a large voices were raised to recall church music to an awareness of basic voices, but their dry and unemotional artificiality, or their spurious senti. voices. voices. Francesco Antonio Calegari, Marc Antonio Ziani, and others, voices. It is easy to see how far the means of musical delineation had Vol. V. London: Oxford University Press, 1931. von Arx, Idlefons, 186 von Eckhart (1729), or Frangois August Gevaert (1890), it is usually von Hofhaimer, Paulus, 88 von Schniiffi, Laurentius, 132 von Waldburg, Otto Truchess, 93 von Weber, Karl Maria, 161, 165-6, von Wilbern, Anton, 203 von Winter, Peter, 169 von Winterfield, Karl, 182 von Woss, Josef Venantius, 194, 202 Vranken,Jaap,207 vulgar form, and encroached on ecclesiastical life. In these circles a new Wagenseil (1715-1777) and Georg Pasterwitz (1730-1803) became Wagenseil, Georg Christoph, 152 Wagner, Peter, 46, 216 WAGNER, PETER. Introduction to the Gregorian Melodies. Pt. 1. Reprinted Wagner, Richard, 185, 194 Wala, Abbot, 33 Walter, John, 171 Wanhal, John Baptist, 167 War I religious music was largely influenced by secular music, at least in Ward, Justine, 198 Wars. Still little agreement has been reached, except on less than a hundred was a broadening of the harmonic palette by the use of accidentals. was advanced by the discovery of Codex 359 of St. Gall by Ildefons von was again established through the Roman archcantor, John, during was already so far destroyed that common people had different interests was also given a more emphatic role in the motet, especially in descant was also the starting point for the church music of Anton Dvorak (18411904) was assigned to choirs of men and boys. This provided different possi. was breathed into church music. More liberal trends withm CaecIhamsm was broadened to include this new attitude, but at the same time, was celebrated at San Domingo in 1494. In Mexico City, by 1519, a was continued especially by Padre Martini's friend, Padre Francesco was derived from the chant or from secular or religious songs, while the was developed, but its harmonic foundation and measured rhythm, whIle was employed in strict liturgical music but also in more personal religious was employed only as an extrinsic theme. was especially noticeable in England and in the Netherlands. In Germany was felt. Romanticism carried these ideas into Protestant church music was formed. Its standardization under Isidore of Seville (560-636), was further developed by Giovanni Maria Nanino (1545-1607), Felice was given to the Viennese composers, Au~st Weiri~h (18581921) was Greek and the forms and chants of worship were horrowed preponderantly was important within the movement and also for its influence on was indeed a rarity. The inauguration at the start of the nineteenth was influenced by his teacher, Salieri, Weber inherited much from his was left to Ludovico Grossi da Viadana (1564-1645), in his Cento concerti was linked thematically with Gregorian chant or endeavored to adapt was much greater between the reform movement (Caecilianism) and was no difficulty or disagreement, because the musical expression grew was no longer considered essential, and this freedom became a musicostructural was not in liturgical music but in extraliturgical song. The laudi spirituali, was not until Pope Martin V (1417-1430) that the new art gained any was outlawed. was preserved in numerous collections till the middle of the sevená was produced by a strict parallel movement of all the voices. was really stronger in such works of the ecclesiastical stile moderno was soon coupled with definite efforts to obtain expressiveness and was still achieved by solo-tutti and concerto-ripieno techniques, but was strictly enforced. The effort to obtain a clearer tonality, furthermore, was su?posed to be overcome in other spheres returned to church music was taken for granted, and was shaped in' accord~nce with the was the forerunner in the printing of polyphonic works by means was the foundation for the further development of polyphony, as well as was the founding in 1927 at Frankfort on the Main of the International was the prayer of the community sung by the people. Because of the was the well arranged ornamentation and declamation which excluded was thus associated with the expressional style of the musica reservata. was true also of other countries where, by and large, the narrow restrictions was undertaken by Carissimi's pupil, Alessandro Scarlatti (1659-1725), was, however, Ambrose (+397) who contributed to its spread and development. was, overlooked it and disregarded it. The orchestra was important in way of thinking through the centuries have often made this relationship of way served to unify the composition, in later development it was the way to this individualistic art. Thus national schools and viewpoints as WEINMANN, KARL. History of Church Music. New York: F. Pustet, Weirich, August, 194 well as a literary form, demonstrating anew the essential unity of well as in the writings of the fathers, questions of church music were discussed. well as its own history of progress. well as local tastes and fashions could unfold in church music without well as ostinati thus won importance, as did free melody, broken chords, well as other medieval writings, complete the exposition of the Church's well as the Council of Trent (1546-1563), distinguished between church well-known popular melody to an ecclesiastical text. Thus in 1795 an WELLESZ, EGON. A History of Byzantine Music and Hymnography. Oxford, WELLESZ, EGON. Eastern Elements in Western Chants. Byzantine Instiá went a transformation in the manner of performance. This new concept wer.e the .novelty that Augustme, WIth all his roots in the ancient musical wer~ masterpieces in the new trend. Gregorian melodies dominated many were achieved in the various parts by use of melismatic passages, the were affected by these movements. Organ playing within the liturgy were assembled from all segments of the population and fostered the were concerned with liturgical questions and musical problems and this were directed to the musical taste of the crowd. were engaged, especially on feast days. The distinctive character of the were followed or the freer compositions were for the most part blocked by local and diocesan traditions. But the were given impetus by the motu proprio. The Liturgical Movement were imitated by Michael Haller, Mitterer, and others. Besides the congregational were in this tradition, as were the Germans Johann Kaspar were instructed that voices and instruments should work together "to were Leoninus the optimus oTganista, and Perotinus the optimus discantista, were linked by a unifying theme. When the Gregorian chant was no longer were made to sift the supply of hymns and the way they were performed, were missing. were only external stylistic media which, robbed of their foundation in the were popular in origin. were preserved into the nineteenth century. Most composers ~f op.era were pushed aside by the symphonic form until the Romantic emphasis were re-enacted and expanded by other councils in the centuries that were reserved for extraliturgical devotions. They increasingly helped to were retained only in the larger churches, and even here they lost their were separated to produce the effect of space. These cori spezzati alternated were shaped into various liturgies, the Roman, the Milanese (Ambrosian), were sometimes modified, showing how variation can be effective. These were themselves altered almost beyond recognition. were to be given new life along the lines of the new efforts at expressiveness. were too freely mixed with the traditional forms. Gottlieb Tucher (179&1877) Werlin (1646), Albert Curtz (1659), and others. In Silesia, Georg Werlin, Johannes, 131 Werner, Anthony, 171 WERNER, ERIc. The Sacred Bridge. New York: Columbia University Westendorf, Orner, 210 Western Christian worship. Western order over Eastern ecstatic meditation. Although these contrasts Western thought since the Renaissance, and its revival was grasped only WESTPORT. CONNECTICUT What is particularly noticeable, whether the music stems from Catholic when he used the stile moderno he sought to enrich free melodic lines when it had to break from the older tradition. The detachment of modern When new problems arose with the introduction of polyphony, Pope when only a few of the voices were sung and the others were left out. When some of the parts were missing, a substitution was made not by when the instruments substituted for missing parts. The use of instruments When the liturgy was being formed in the first Christian centuries there Whenever church music breaks new ground, church authorities must Where conditions are poor and where a purely musical bent of minds is where German was spoken, the early monody of the beginning of the where it found many imitators. The operatic style of church music with where it is frequently disguised by figurations. The tenor cantus firmus where necessary. Their rotation in a cento-antiphonary followed. where sections of the text were composed symphonically as separate and where the counterpoint of the voices produced an harmonically conceived where the missionaries encountered entirely new conditions. In the time where the same melody could be sung in various modes by different where the tradition of Constanzo Porta, Antonio Calegari, and others where they belong? This is a question not only of liturgical propriety but where, among the cantors, strict counterpoint was being promoted. Lotti wherever native forces were at work. But on the other hand whether this be the cantus accentus (simple chant) or the cantus concentus which both the play of tonal colors and any compelling flow of melody which fit the textual structure. The precentor interchanged. various which grew in importance with the new situation of liturgical music. At which had a changing melody for each pair of metrically dissimilar which has changed the emphasis frpm harmonic elements to melodic which here, as in the Middle Ages, had abandoned the teaching regarding which in the medieval system counted as one note, caused the latter's which not only suited the meter of the original text, but also were capable which polyphony had at hand complicated this evolution. Already in which presented an extension of the Gregorian melody by means of harmonic which Scotus Erigena cites from the writings of the Hucbald circle, the which therefore would for the most part be an extremist foray into experimental which they gave a new theoretical presentation. which took in every sort of form, the sequences were attached to the which was essential to church music but quite infrequent in Neopolitan which was in fact unknown to it, church music in the nineteenth century, whIch WIll connect the different national Societies of Catholic Church which, in broadening its part in worship, continued to maneuver for an which, in their melodic shape, stemmed from musical experiences that which, in this period, were gradually lost or at least transformed. In whIch. IS used I~ the.first bo~ks to set the limits between music and grammar, while at the same time there was a restriction of the choir in favor of While for Ockeghem the intertwining of voices in every contrivable while Johann Michael Sailer and Martin Deutinger gave it a sound theoá While on the one hand, from the fourth century on, the very core of the While the divine service of early Christianity was conducted with the least while the harmony depended on the cadence. While the organ music intended for Catholic service gradually changed while the ripieni were added as an enlargement of the tonal who assimilated the voices into the instrumental lines. The use of wind who both by his compositions and his theoretical writings had the greatest who cultivated music within their chapels, and in the large monastic who had become acquainted with ancient music and its mathematical and who handed on the Roman tradition. A direct contact with Roman practice who have granted the Nihil Obstat and Imprimatur agree WIth the OpinIOnS expressed. who introduced the Roman melodies, with the result that in many places who lacked not only the requisite liturgical and artistic taste who remained faithful to his Catholic belief, created polyphonic who reopened Choron's school under the name Ecole Niedermeyer. Pierre who was influenced by Anton Bruckner. The Silesian s~hool developed who worked in Bergamo, Simon Mayr (1763-1845). whole and half steps, either on the reciting note or at the fifth. These whole typescript. whole, from the smallest village church to the largest cathedral, became whole, or attempted to adapt it to less pretentious conditions as was done whose formal structure becomes especially clear in the outline on p. 19. WI e word and th t Widor (1845-1947), Alexandre Guilmant {1837-1911), and Louis Vierne Wilhelm Kurthen, Arnold Schmitz, J. Schmidt.G.org, Amedee Willaert (c. 1490-1562), a Netherlander who had emigrated to Venice. Willaert, Adrien, 84-{), 108 Willan, Healy, 211 William Montillet (b. 1879), and O. A. Tichy (b. 1890) have Williams, Ralph Vaughn, 209 Winchester Troper, 48 wind instruments. While formerly two violins, bass, and basso continuo wind orchestra to the vocal composition. By the profundity of its concept Wipo (+ c. 1050), Veni Sancte Spiritus, probably by Stephen Langton, wit~ ,.... _ wit~ the unaccompanied chant. Improvisation, using the themes of the with a firm understanding of vocal technique. Other Austrian comp(\sers with a more objective tendency in church music and soon sought its own with a similar manner of performance, especially in the hymns. The thirdsixth with a stark modal technique. The Schola Cantorum, center of liturgical with an ecclesiastical text, was very popular there. with Cardinal Wiseman in London, increased appreciation for with Choir 0 - san -na in ex - eel- sis 0 san with concertante themes. This choral style employed orchestral with contrapuntal depth. The basically dramatic character of his church with each other in much the same way that the individual voices with every tradition of musical style. In close kinship with the Gothic with impressionistic tonal effects is the special note of this type of with its instrumental accompaniment and sanctioned purely instrumental with its national and popular associations, music was given a new task, with its stylization beneath a purely musical melody. The method of with many various characters and uses during the course of the fourteenth with movement provided in the instrument. Running basses as with new devicep for achieving unity and balance than they were with with polyphony, especially in the composition of masses with sections with psalm verse, was of fundamental importance for liturgical music in with regard to music in Latin and in the vernacular. The distinction with songs in the vernacular; this is true especially among the Germans." with systematic training in chant and polyphony. WIth t~e lIturgy. Thus polyphony, in spite of its link to the liturgical With the beginning of the seventeenth century, this very personal piety with the continued fortunes of traditional forms. In church music the old wIth the efforts of ~thers who sought to eliminate the boundaries by with the expanded melodic treatment afforded by the aria, with its emphasis with the Gregorian chant resulted in a setting aside of the Gregorian cantus with the help of Joseph Salzmann, then rector of Holy Family Normal with the liturgy. Rheinberger considered the a cappella ideal as the special with the neumatic notation acting as a support. The musical laws with the non-Catholic population. Since the scattered congregations with the officia~ liturgical prayer of the church. Musical composition with the Roman type. Among other things the Introit psalm was shortened with the severe expressive art of Bach and Handel. with the special forms that developed, were the results of a musical viewpoint with the symphonic form. Its chief exponent was the German composer With the very first Spanish colonial foundations the Americas were with their clean lines and balance. Johann Nepomuk David, Hermann with their emphasis on themes, started trends for ecclesiastical solo and with them little or no musical culture; they had scarcely any liturgical With this means Desderi produced a cappella settings with the clarity with thorough-bass. In southern Germany, this art was made the vehicle with those of Haller and Nekes, were among the best imitations of the with traditions of the new races it gained a form alI its own in the vicinity with which they were associated had nothing at all to do with the with Witt in the German Caecilian Society was Franz Xaver Haberl with, and out of, the liturgical form. As liturgical song, church music was within a generally traditional style. The variety of creative materials within the confines of the liturgy and later independently. By the ele~enth within which an artistic cultivation of chant was possible. As early as the withm a gIVen system was not rediscovered until many centuries after the without artistic worth. Many valuable works created outside the Caecilian without being liturgical, a form whose influence was quite important duro without critical insight into its shortcomings. Little consideration was without letting the freedom of movement do away with the link to the without necessarily taking into account the words of the text. without understanding, the masterful shaping of mood gave Schubert's Witt also desired to promote the new church music with organ or Witt, Franz Xaver, 176, 185, 187 Witt, Theodor, 182 Wolfgang Amadeus Mozart's (1756-1791) church music first unfolded Wolter, ~aurus, 199 Woltz, Johann, 88 wome~ and ~he a~gel hold a dialogue like the following: Mariae: Quis won for Christianity, were gradually added to the l~rge store of liturgical Wood, Charles, 209 WOOLDRIDGE, H. E. Early English Harmony. Vol. 1. London: B. Woollen, Russell, 211 wor -tone r ahonshl Th b . WORD AND TONE IN CHURCH SONG words created a musico-textual art of expression which developed a words of Pope St. Pius X, a functional part - parte integrante - of divine words the choral part preferred a declamatory solution of the harmonic WorId War I, made the strongest break with tradition. Other Dutch work 1D the manner of Ockeghem, which cultivated thorough-imitation work for the late nineteenth century. Through the work of Michael work of the church choir, has been countered by the broad comprehensiveness work still remained within the restricted limits of the divine service, but working against each other: the one attitude, conservative, linked to the works in the second and third decade of the twentieth century. In fact it works of Palestrina (1881) and other musicological research. Another works of Philippe de Vitry (c. 1290-1361) and Guillaume de Machaut works were all part of the area of reform, along with the works, a flood of poor Caecilian church music was printed. It was accepted works, his ideas were spread far and wide and given an attention they World War I that the Liturgical Movement attained any prominence. worship and musical conception had overstepped the balance of form and worship, could adapt itself only with difficulty to the grand developments worship, serving both the glory of God and the edification of the worship. Each of the styles had its own powers of interpretation. The worship. Since the fifteenth century portative and positive organs were would hardly have occurred if the instrument had not won great writing is found in works conceived throughout as stile antico, but it was writing. The aria (A-B and A-B-A) was the chief form employed. Contrast writings of Caesarius and Aurelianus, and in the Ambrosian Breviary writings of Stephen Luck (1856), Joseph Proksch (1858), Raimund written entirely in canon, is a demonstration of his extraordinary craftsmanship written notation assumed importance. The schola cantorum promoted the wrote a large number of church-music compositions ranging from wrote works for all circumstances. Hundreds of persons, often with more X X X Hymnal. . . X X x X X X X X Xaver Haberl still attempted to defend the Regensburg edition in his Xaver Sussmayer's completion of Mozart's Requiem is indicative of his XI (1678), and Innocent XII (1692) condemned the abuses in XII Ariae seu OfJertoria in which the author arranges favorite operetta XIII acknowledged these new labors, especially of the Benedictines of XXII we find an attempt to solve the problem by rejecting any means of year 1700, the unity between church music and the liturgy, as it existed year at Boys Town, Nebraska. The National Catholic Music Educators years its range has been considerably restricted. This holds true, in a way, Years of lecturing at the University of Fribourg (Switzerland) and years, for what it was. That awesome reverence for its tradition had disappeared yet, from a higher viewpoint, organized these muvements into a still York: C. Scribner's Sons, 1927. York: W. W. Norton, 1946. York: W. W. Norton, 1950. Zacconi, Lodovico, 85 Zach (1699-1773), Joseph Martin Kraus (1756-1792), Placidus von Zach, Johann, 160 Zarlino, Gioseffe, 86 Zelenka, Johann D., 153 Ziani, Marc Antonio, 129, 144, 152 Ziani, Pietro Andrea, 129 Zielenski, Nicholas, 113 Zingarelli, Niccolo Antonio, 142, 181 Zuiiiga, the Mexican composer, must also be mentioned, as well as Hector zum Licht der zur Komposition (1790), Albrechtsberger collected all the teaching

 

 

 

 

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