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Zeitschriftenartikel zum Thema "Church music europe 16th"
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Pister, Aleksandra. „Printed Music as a Medium of International Representation for the Magnates of the Grand Duchy of Lithuania: A Case Study of Music Prints Dedicated to Jan Karol Chodkiewicz and Aleksander Chodkiewicz“. Lietuvos istorijos studijos 49 (04.07.2022): 8–29. http://dx.doi.org/10.15388/lis.2022.49.1.
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The article deals with the collections of printed music dedicated to the distinguished nobles, statesmen and military commanders of the Grand Dutchy of Lithuania, brothers Jan Karol and Aleksander Chodkiewicz. These collections were printed in Venice in the beginning of the 17th century and dedicated to the Lithuanian magnates by Italian composers Giovanni Valentini and Giulio Osculati. However, it was not in their home country where composers became acquainted with the above-mentioned noblemen who had studied and travelled extensively in Italy but in the Polish-Lithuanian Commonwealth. In fact, both composers had served for certain periods of time as musicians in the Polish court chapel under Sigismund III Vasa. The said collections of motets are being examined here with an emphasis on publicity and international representation. The author notes that besides the reasonable expectations of both Italian composers to raise their public profiles, to publish and disseminate their work in Europe, these personal aspirations also resonated with the interests of other public figures. They both represent Sigismund III Vasa, King of Poland and Grand Duke of Lithuania, as a generous patron and a leading social figure. The dedications were intended to glorify the Chodkiewicz and raise their profile within the Polish-Lithuanian Commonwealth and beyond. They account for the magnates’ victories in major military campaigns of the time, such as those achieved during the Polish–Swedish war of 1600–1611, as well as Chodkiewicz’s merits in defence of the state. Within the context of shifting confessional identities at the turn of the 16th and 17th centuries (i.e. the Reformation and the Counter-Reformation movements) these notated sources should be considered as a reflection of the magnates’ confessional identity. The very genre of printed works – motets for Catholic church service – reflects Chodkiewicz’s firm self-determination as Roman Catholics.
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Apanavičius, Romualdas. „Upowszechnianie się polskiej etnicznej kultury muzycznej na Litwie w XVI–XX wieku“. Analecta Cracoviensia 40 (04.01.2023): 323–44. http://dx.doi.org/10.15633/acr.4021.
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Influence of Polish ethnic musical culture in Lithuania is evident mainly in usage of European musical instruments and of folk dances repertoire as well in the religious ethnic music.European musical instruments were spread in Lithuania at the beginning of 16th – 17th cc. These instruments were adopted by Lithuanians from Poland or from Western Byelorussia, where the Catholic Church and strong traditions of Polish culture were prevailing. European folk dances were performed by the Lithuanians at the beginning of 18th – 19th cc., and the main part of these dances was spread to Lithuania from Poland. Noticeable part of folk dances repertoire consists of Polish dances. These new dances were lead by the music of the European instruments; it was the noticeable innovation, because until this period, Lithuanian games and round games, as well as in all the other nations of Europe, were performed by singing.We can notice less Polish influence in Lithuanian ethnic songs, while researching monody of Lithuanians and Poles is evident, that songs of this style of ethnic music of both nations were spread from Great Poland to Southern and Middle Lithuania, most probably, marking the common area of former culture of ethnic music. The roots of this former culture could reach the pre – historical times.Polish influence is evident in the traditions of co – called “literary” songs, which were popular in 19th – beginning of 20th cc., and in the repertoire of latest centuries of ethnic musical instruments.The ethnic music from Poland of the Additional service in Lithuania: devotions and songs of Advent Little hours of St. Mary the Virgin, devotions and songs of Mournful Whining and devotion and songs of the Žemaičių Kalvarija (Samogitia in Latin) – are the reflection of the Polish origin.In Poland and Lithuania from time immemorial on Advent Sundays, as early as before the sunrise, early Mass (Matins) has been held which begins with the words Rorate coeli and therefore it is called Rarotos (in Lithuania). Its origin in Lithuania is linked to Poland. Their basis was The Little hours of St. Mary the Virgin or Godzinki (in Poland). This cult has come to Lithuania from Cracow in the 17th century.The customs of Mournful Whining or Gorzkie Żale (in Poland) prayers and songs is known only in Lithuania and Poland. The liturgy of Rome does not have this customs. The earliest manuscript text of Gorzkie Żale was founded in Poland (Calvaria Zebrzydowska, War- saw) in 17th century. Having this religious practice originated in Poland, finally is spread in Lithuania as late as mid-19th century.The devotions and songs of the Žemaičių Kalvarija (Samogitia) are established by the model of Polish Calvaria Zebrzydowska. The cult of Žemaičių Kalvarija was born in 1637. Its religious ethnic music – the analogue Polish religious culture.Roots of the Polish influence arose not only because of the neighbourhood of the both nations, but also because of living in the common state and the same Catholic faith, which was one of the strongest common feature of the ethnic and musical culture of Lithuanians and Poles.
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Dubka, O. S. „Sonata for the trombone of the second half of the 16th – the beginning of the 19th centuries in the context of historical and national traditions of development of the genre“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, Nr. 54 (10.12.2019): 55–70. http://dx.doi.org/10.34064/khnum1-54.04.
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The present article is devoted to the general characteristics of the historical process of the formation of the sonata for the trombone (or with the participation of the trombone) in the European music of the Renaissance – Early Classicism era. A particular attention in the research has been paid to the study of the national stylistic, which was the main driving force in the evolution of the trombone at the level of the chamber instrumental and concert genres. It has been noted that since the time of A. Willaert and A. and J. Gabrieli brothers, the trombone and trombone consorts have been the permanent components of the concerts da chiesa, and later – da camera. Due to its construction and melodic-declamatory nature of the sounding, the trombone was in good agreement with both the voices of the choir and other instruments. Gradually, along with collective (concert) varieties of trombone sonatas, solo sonatas with bass began to appear, and they reflected the practice of the Baroque-era concert style. The article reviews a number of trombone sonatas of the Italian, Czech, Austro-German schools, which later became the model for composers of the Newest Time, who fully revealed the possibilities of the trombone semantics and techniques in the sonata genre. The article has noted that the formation of the instrumental sonata in Europe was associated with the practice of concerts in the church, which was for a long time practically the only place where academic music could be performed. The term “sonata” was understood then as the music intended for the instrumental performance, which, however, was closely connected with the vocal one. Therefore, the first samples of sonatas with the participation of the trombone were mixed vocal-instrumental compositions created by the representatives of the Venetian school of the second half of the 16th century – A. Willaert and A. and J. Gabrieli brothers. It has been noted that the key and largely “landmark” composition opening the chronicle of a concert sonata with the participation of trombones was the sonata called “Piano e forte” (1597), where the functions of trombone voices are already beginning to the counterpoint independence, rather than to duplicating the vocal ones. G. Gabrieli is the creator of one of the most large-scale, this time exclusively trombone compositions – “Canzon Quarti Toni” for 12 trombones, cornet and violin – one of the first trombone ensembles based on the genre of canzone as the progenitor of all the baroque instrumental-concert forms. It has been emphasized that among Italian masters of the subsequent period (the early Baroque), the trombone received a great attention from C. Monteverdi, who in his concert opuses used it as the substitute for viola da brazzo (three pieces from the collection called “Vespro della Beata Vergine”). It is noted that in the era of the instrumental versioning, when compositions were performed by virtually any instrumental compound, the trombone was already distinguished as an obligate instrument capable of competing with the cello. Sonata in D minor Op. 5 No. 8 by A. Corelli is considered a model of such a “double” purpose. It has been proved that the Italian schools of the 16th – 17th centuries, which played the leading role in the development of the sonata and concert instrumentalism, mainly the stringed and brass one and the brass one as well, were complemented by the German and Austrian ones. Among the masters of the latter one can distinguish the figure of G. Schütz, who created “Fili mi, Absalon” for the trombone quartet and basso-continuo, where trombones are interpreted as instruments of cantilena sounding, which for a long time determines their use in opera and symphonic music, not to mention the sonata genre (introductions and slow parts). Along with the chamber sonata, which was written in the Italian style, German and Austrian masters of the 17th century turn to “tower music” (Tower music), creating their own opuses with almost obligatory participation of one or several trombones. Among such compositions there are the collection by G. Reich called “Quatricinua” of 24 tower sonatas (1696) for the cornet and three trombones, where, modelled on A. Corelli’s string-and-bow sonatas, the plays of a homophonic and polyphonic content are combined. The article notes that the creation of a solo sonata with bass for the trombone was historically associated with the Czech composing school of the second half of the 17th century. The first sample of such composition is the Sonata for the trombone and the thorough-bass (1669), written by a certain monk from the monastery of St. Thomas in Bohemia, where the instrument is shown in a wide range of its expressive possibilities. A significant contribution to the development of a trombone sonata was made by the Czech composer of the late 17th century P. Y. Veyvanovsky, who created a number of sonatas, which, despite the typical for that time performing versioning (trombone or viola da brazzo), were a milestone in the development of the genre in question. The traditions of the trombone sonata-quality genre in its three main expressions – da chiesa, da camera, “tower music” – have been preserved for a certain time in the era of Classicism. This is evidenced, for example, by F. Schneider’s 12 “Tower sonatas” for 2 pipes and 3 trombones (1803–1804). In general, in the classic-romantic era in the evolution of the trombone sonata genre there is a “pause”, which refers to both its collective and solo varieties. The true flourishing of the trombone sonata appeared only in the Newest time (from the end of the 19th century), when the instrumental music of a concert-chamber type declared itself not only as the one demanded by the public, but also as the leading, “title” field of creativity of a number of the leading composers. Among the instruments involved in the framework of the “new chamber-ness” (B. Asafiev) was also the trombone, one of the recognized “soloists” and “ensemblers” of the music from the past eras. The conclusions of the article note that the path travelled by the sonata for the trombone (or with the participation of the trombone) shows, on the one hand, the movement of the instrument to the solo quality and autonomy within the framework of “little-ensemble” chamber-ness (the sonata duet or the solo sonata without any accompaniment), on the other hand, the sustainable preservation of the ensemble origins of this genre (the trombone ensemble, sometimes in combination with other representatives of the brass group).
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Ting, Liu. „Aesthetic principles of interpretation of early arias in the vocalist’s concert repertoire: air de cour“. Aspects of Historical Musicology 27, Nr. 27 (27.12.2022): 73–96. http://dx.doi.org/10.34064/khnum2-27.05.
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Statement of the problem. Nowadays, there has been a high demand for historically informed performance, including in the educational process. However, a young performer often faces not only technical problems, but also a lack of understanding of the performance style. So, the relevance of the topic of the article is caused by urgent needs of modern concert and stage practice related to historically oriented performance as well as by the task of modern music education to introduce the Baroque styles into the educational process of vocal performers. The article offers the experience of musicological reception of the early aria genre using the example of the French “air de cour” as the personification of European Baroque aesthetics. The genre, which is little known to both Ukrainian and Chinese vocalists, is considered from the standpoint of a cognitive approach, which involves a combination of practical singing technology with the understanding of the aesthetic guidelines of the baroque vocal style as an original phenomenon. One of the manifestations of it is the “sung dance” (singing in ballet) as the embodiment of artistic synthesis rooted in the musical and theatrical practice of France during the time of Louis XIV with its luxurious court performances, a bright component of which were “airs de cour”. To reveal the chosen topic it was necessary to study scientific literature in such areas as the issues of performing early vocal music (Boiarenko, 2015), the history and modernity of vocal art (Shuliar, 2014; Hnyd, 1997; Landru-Chandès, 2017); peculiarities of the air de cour genre, which are highlighted with varying degrees of detailing in different perspectives in the works of European and American scholars: 1) in publications on the synthetic opera and ballet genres in the time and at the court of Louis XIV, in particular ballet-de-cour (Needham, 1997; Christout, 1998; Verchaly, 1957; Harris-Warwick, 1992; Cowart, 2008); 2) special studies (Durosoir, 1991; Khattabi, 2013; Brooks, 2001); 3) monographs on Baroque music (Bukofzer, 1947); 4) reference articles by authoritative musicologists (Baron, 2001, the editors of Encyclopaedia Britannica and others). A study that would focus on the aesthetic principles of the modern vocal interpretation of air de cour as a sample of the early aria genre has not been found. Research results. Air de cour, the origins of which are connected with the secular urban song (voix-de-ville) in arrangements for voice and lute and lute transcriptions of polyphonic vocal works of the Renaissance, was popular in France, and later, in Europe at the end of the 16th and 17th centuries. As part of the popular synthetic theatrical spectacle – ballet-de-cour, which combined dance, music, poetry, visual and acting arts and flourished at the court of Louis XIV as an active means of sacralizing the king’s person, “air de cour” even in its name (which gradually replaced “voix-de-villes”) alludes to the social transformations of the French Baroque era with its courtly preferences. With the transition to an aristocratic environment, the link of the genre with its folk roots (squareness, metricity, melodic unpretentiousness) weakens, giving way to the refined declamation style of musique mesurée; the strophic repetitions of the melody with a new text are decorated by the singers with unique ornamentation (broderies), which is significantly different from the Italian. The poetic word and music complement the art of dance since air de cour has also adapted to ballet numbers, providing great opportunities for various forms of interaction between singing and dancing and interpretation on the basis of versioning – the variable technique of combinations, which were constantly updated. Vocal numbers in ballets were used to create various musical imagery characteristics. When choosing singers, the author of the music had to rely on such criteria as the range and timbre of the voice. As leaders, the creators of airs de cour used high voices. This is explained by the secular direction of the genre, its gradual separation from the polyphonic traditions of the past era: the highest voice in the polyphony, superius, is clearly distinguished as the leading one in order to convey the meaning of the poetic declamation, to clearly hear the words, turning the polyphonic texture into a predominantly chordal one with the soprano as the leading voice. Hence, the modern performing reproduction of air de cour, as well as the early aria in general, requires a certain orientation in the characteristics of the expressive possibilities of this particular singing voice; for this purpose, the article provides a corresponding classification of sopranos. So, despite the small vocal range and the external simplicity of the air de cour form, the vocalist faces difficult tasks, from deep penetration into the content of the poetic text and reproduction of the free declamatory performance style to virtuoso mastery of the technique of ornamental singing and a special “instrumental” singing manner inherited from Renaissance polyphonic “equality” of vocal and instrumental voices. Conclusions. What are the aesthetic principles of vocal music of the European Baroque period that a vocalist should take into account when performing it? First of all, it is an organic synthesis of music, poetry and choreography. The connection of singing with dance plasticity is inherent in many early vocal works. Hence the requirement not only to pay attention to the culture ofrecitation, pronunciation of a poetic text, understanding of key words-images, which precedes any performance interpretation of a vocal work, but also to study the aesthetic influences of various arts inherent in this or that work of Baroque culture. Air de cour differs from the German church or Italian opera aria as other national manifestations of the psychotype of a European person precisely in its dance and movement plasticity. Therefore, the genre of the early aria requires the modern interpreter to understand the socio-historical and aesthetic conditions of its origin and existence and to rely on the systemic unity (polymodality) of vocal stylistics. The prospect of research. There are plenty of types of vocal and dance plasticity in early arias; among them, rhythmic formulas and dance patterns of sicilianas, pavanes, and tarantellas prevail; movement rhythm (passacaglia). And they received further rapid development in the romantic opera of the 19th century. This material constitutes a separate “niche” and is an artistic phenomenon that is practically unstudied in terms of historical and stylistic integrity, continuity in various national cultures, and relevance for modern music and theatre art.
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Tomalska-Więcek, Joanna. „ICONS, SMUGGLING AND MCDONALDIZATION OF CULTURE“. Muzealnictwo 58 (02.11.2017): 0. http://dx.doi.org/10.5604/01.3001.0010.5025.
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Culture undergoes constant changes. Although today, Poland is an almost ethnically homogenous country, ages ago, the dialogue of cultures took place not only on the borderlines of the First Polish Republic but also in the then capital city of Cracow. In 1390, Slavic Benedictine monks who used Old Church Slavic language settled in the church of the Holy Cross in Krakow. Francis Skaryna (Francysk Skaryna), a pioneer of Belarusian printing and later the founder of the first printing house in Eastern Europe in Vilnius, published the first Cyrillic prints in the world in Cracow and in the early 16th c. also studied there. Poland was a great example of a multicultural society. In the early 16th c. the Catholics and the Protestants, the Jews and the Armenians, the Tatars and the Karaims lived in Poland. After the Union of Lublin, the Crown of the Kingdom of Poland and the Grand Duchy of Lithuania formed one of the biggest countries in Europe at the time; it was inhabited by the Poles, the Lithuanians, the Ukrainians and the Belarusians. In the mid-16th c. Poland became a shelter for multitudes of religious dissenters in Western Europe, such as the Lutherans, the Calvinists, and other Protestants. Today it is useless to seek traces of such multiculturality in many museums. In museums which collect paintings related to the Eastern Orthodox Church, places of monuments connected with Polish culture are frequently occupied by late icons of mediocre artistic value smuggled from Russia. The article attempts to explain this phenomenon in the context of the transformation of modern museology.
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Bertoglio, Chiara. „Cats, bulls and donkeys: Bernardino Cirillo on 16th-century church music“. Early Music 45, Nr. 4 (November 2017): 559–72. http://dx.doi.org/10.1093/em/cax081.
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Supady, Jerzy. „Nursing care organizations in Western Europe from the 16th to 18th centuries“. Health Promotion & Physical Activity 6, Nr. 1 (04.04.2019): 8–10. http://dx.doi.org/10.5604/01.3001.0013.1520.
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From the 16th to 18th centuries in Western Europe care and nursing institutions for the sick were created by the faithful of the Catholic Church. The greatest successes in that field were achieved by three persons: Juan de Dios, Camillo de Lellis and Vincent de Paul. They established charity, care and nursing congregations, orders and convents which conducted wide charity activities in Europe before the French Revolution.
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Plemmenos, John. „The Rosary and the Rose: Clergymen as Creators of Secular Poetry and Music in Early-modern Balkans“. Musicological Annual 50, Nr. 2 (03.04.2015): 77–91. http://dx.doi.org/10.4312/mz.50.2.77-91.
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This paper deals with the involvement of Greek clergy in secular poetry and music in early-modern Balkans. This trend began in late-16th century, and involved the production of large anthologies and treatises on Ottoman music. This paper offers insights into the motives of those clergymen, the reception of their works by laymen and clerics, and the reaction of the official church.
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Jeż, Tomasz. „Studies on the reception of Italian music in central-eastern Europe in the 16th and 17th century, ed. Marina Toffetti, Kraków 2018“. Muzyka 64, Nr. 1 (01.04.2019): 155–58. http://dx.doi.org/10.36744/m.250.
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Slivka, Daniel. „Reformation versus Council of Trent and Rules for Interpretation from 16th to 19th“. E-Theologos. Theological revue of Greek Catholic Theological Faculty 3, Nr. 1 (01.04.2012): 28–37. http://dx.doi.org/10.2478/v10154-012-0003-z.
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Reformation versus Council of Trent and Rules for Interpretation from 16th to 19th Council of Trent confronts "sola Scriptura" the Holy Scripture and Tradition without explaining their mutual relation. At that time, the term Tradition was considered to refer to customs of the Church which dealt with the faith and practice of homily. The council emerged at the time of difficult social, agricultural, and political situation in Europe. Religious disputes were connected with the reformation which took place in Europe. Catholic reformation started even before Protestant one and Council of Trent and its findings were results of it.
Dissertationen zum Thema "Church music europe 16th"
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Giselbrecht, Elisabeth Anna. „Crossing boundaries : the printed dissemination of Italian sacred music in German-speaking areas (1580-1620)“. Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283907.
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Cichy, Andrew Stefan. „'How shall we sing the song of the Lord in a strange land?' : English Catholic music after the Reformation to 1700 : a study of institutions in Continental Europe“. Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:0bdfe9b2-b5c6-48fe-a565-ddb699b72312.
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Research on English Catholic Music after the Reformation has focused almost entirely on a small number of Catholic composers and households in England. The music of the English Catholic colleges, convents, monasteries and seminaries that were established in Continental Europe, however, has been almost entirely overlooked. The chief aim of this thesis is to reconstruct the musical practices of these institutions from the Reformation until 1700, in order to arrive at a clearer understanding of the nature of music in the post-Reformation English Catholic community. To this end, four institutions have been selected to serve as case studies: 1. The Secular English College, Douai. 2. St Alban’s College, Valladolid. 3. The Benedictine Monastery of Our Lady of the Assumption, Brussels. 4. The Augustinian Monastery of Our Lady of Nazareth, Bruges. The music of these institutions is evaluated in two ways: firstly, as a means of constructing, reflecting and forming English Catholic identity, and secondly, in terms of the range of influences (both English and Continental) that shaped its stylistic development. The thesis concludes that as a result of the peculiarly domestic nature of religious practice among Catholics in England, and interactions with Continental Catholicism, the aesthetic and ideological bases for English Catholic music were markedly different from those of its Protestant counterpart. The marked influence of Italianate styles on the sacred music of English Catholic composers and institutions in exile demonstrates a simultaneous process of cultural alignment with the aesthetic and theological principles of the Counter-Reformation, and dissociation from those of English Protestantism. Finally, it is clear that music was an important formational tool in both the seminaries and convents, where it shaped both community and self-identity, and created affinities with the locales in which these institutions were situated – although it is also clear that these uses of music had the potential to conflict.
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Gilday, Patrick E. „Musical thought and the early German Reformation“. Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:0ac3d705-c00e-4fc9-b90c-4902f9b54f8f.
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German musicology has customarily situated a paradigm shift in musical aesthetics some time during the first half of the sixteenth century. This dissertation examines the suggestion that German Reformation theology inspired a modern musical aesthetic. In Part One, the existing narrative of relationship between theological and musical thought is tested and rejected. Chapter 1 analyses twentieth-century music historians' positive expectation of commensurability between Luther's theological ideas and the sixteenth-century concepts of the musical work and musical rhetoric, concluding that their positive expectation was dependent on a Germanocentric modernity narrative. Chapter 2 assesses Listenius' Musica (1537), the textbook in which the concepts of the musical work and musica poetica were expounded for the first time. I argue that, since Listenius' textbook was intended as a pedagogical tool, it is inappropriate to read his exposition of musica poetica and opus as if logical sentences on musical aesthetics. Part Two investigates the treatment of musica in the theology of early German Reformation disputants. Chapter 3 finds that Luther's early musical thought was borrowed from the late mediæval mystics, and resisted the influence of the Renaissance Platonists. Chapter 4 shows that, far from embracing humanist ideas of musical rhetoric, Luther's Reformed musical aesthetic became increasingly anti-rational and sceptical of music's relation to verbal meaning. Chapter 5 examines the discussions of music by the German Romanist polemicists. It finds that their music-aesthetic assertions were opportunistic attempts to situate the Lutherans outside the bounds of orthodoxy. The dissertation concludes that the discussions of music in early German Reformation texts ran counter to the general sixteenth-century trajectory towards a humanistic or modern aesthetic of music. It further argues that the aesthetic proposals of sixteenth-century German theologians should be taken seriously in the formation of our present-day picture of sixteenth-century musical thought.
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Trocmé, Latter Daniel. „The singing of the Strasbourg Protestants, 1523-1541“. Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610281.
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Springer, Michael S. „Church building and the Forma ac ratio : the influence of John a Lasco's ordinance in sixteenth-century Europe“. Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/13591.
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Protestant church orders were a key tool for shaping belief and practice during the sixteenth century. These declarations of official religious policy were composed by both secular and ecclesiastical leaders, and reflected the shared interests of the church and state in managing evangelical reforms. Their constitutional nature and their role in articulating doctrine made them the most effective means for church building during the period. John a Lasco's Forma ac ratio was one of the most significant of these works. His text, which was published in 1555, provided a comprehensive blueprint for Protestant congregations. It also marked a pivotal point in the development of orders. Although the earlier documents varied widely in their form and scope, by the end of the century they had developed a common format and standard range of topics. The Forma ac ratio is one of the first to exhibit this trend, marking this crucial shift in the development of such works and setting the standard for the ordinances that followed. Although this text had much in common with other orders, it was distinguished by the reformer's unique vision for church organisation and ceremonies. The content reveals the various forces that shaped his ideas. For example, he modelled his ecclesiastical administration after the episcopacies found in the German lands. He added to this Zwingli's Eucharistic rite and Calvin's ecclesiastical discipline. This work also contained a Lasco's own innovative contributions including his emphasis on congregational authority. In addition, the ordinance included extensive commentary to explain, justify and defend the prescribed practices. This comprehensive nature set the Forma ac ratio apart from other orders. A Lasco's tome had a significant impact on Protestant congregations throughout Europe. Originally, he had written the work for the London Strangers' Church, which was comprised of religious refugees in England's capital city. These exiles played a key role in transmitting his ecclesiastical model, when they returned to the continent in the 1550s, they established new refugee congregations following the reformer's example. They later carried his innovative order to their native lands when they returned home in the subsequent decades. The Forma ac ratio's widespread impact across Europe makes it one of the key ordinances from the Reformation period. In addition, as this thesis demonstrates, it was these qualities - its function in church building, the innovative form, and the refugees' role in transmitting his model - that ensured its influence and significance in sixteenth-century Europe.
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Marsh, Dana Trombley. „Music, church, and Henry VIII's Reformation“. Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670102.
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Kirk, Douglas Karl. „Churching the shawms in Renaissance Spain : Lerma, archivo de San Pedro ms. mus. 1“. Diss., McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=77431.
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Numerous studies have shown that in the sixteenth and seventeenth centuries Spanish churches (both metropolitan and monastic) employed bands of wind instrumentalists to play frequently in liturgies and processions throughout the church year. Exactly what this music was, though, beyond colla parte participation in masses and motets has remained conjectural because not a note of it has been found. This dissertation is a study and edition of a major, newly-discovered manuscript which contained part of the repertory of the minstrels who served the Duke of Lerma, c. 1607, in the collegial church of San Pedro in Lerma. By comparing the repertory in the manuscript with sixteenth- and seventeenth-century instructions to minstrels in Le6n and Palencia, it has been possible to establish typical ecclesiastical performance responsibilities of minstrels and deduce how such a collection of instrumental music would have been used. Furthermore, after study of the surviving inventories of San Pedro, it has been possible to reconstruct the entire polyphonic musical repertory of the church. This enables us to see the sort of musical library available to the typical succentor or chapelmaster of the time, and the place that minstrel repertory occupied. Finally, a significant number of the original Lerma manuscripts and prints have been traced into modern collections, allowing us to know much more about their origins and history than heretofore.Plusieurs etudes ont demontre qu'au seizieme et au dix-septieme siecle, les eglises espagnoles (metropolitaines et monacales) employaient des ensembles de musiciens utilisant des instruments "hauts" pour jouer dans de nombreuses liturgies et processions tout au long de l'annee. Ce que cette musique etait precisement, au-dela de la participation dans l'accompagnement des choeurs des messes et motets, ne reste que conjectures puisqu' au aucune note n'a ete trouvee. Cette dissertation est une etude et une edition d'un manusmt d'une importance majeure et nouvellement decouvert, identifie comme ayant fait partie du repertoire des menestrels servant le duc de Lerma, c. 1607, qui etaient engages pour jouer a l' eglise collegiale de San Pedro a Lerma. En comparant le repertoire dans le manuscrit avec les instructions des menestrels du seizieme et du dix-septieme siecle a Le6n et Palencia, il a ete possible d' etablir les responsabilites musicales liturgique des menestrels et de deduire comment toute cette collection de musique instrumentale avait pu ~e utilisee. De plus, apres l' etude des inventaires subsistants de San Pedro, on a pu reconstruire le repertoire musical polyphonique dans son entier. Ceci nous permet de voir la collection musicale disponible du chantre ou maitre de chapelle typique du temps, ainsi que la place qu' occupait le repertoire des menestrels. Finalement un nombre significatif de manuscrits et imprimes a ete retrace dans les collections modemes, nous permettant d' en connaitre. fr
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O'Regan, Thomas Noel. „Sacred polychoral music in Rome, 1575-1621“. Thesis, University of Oxford, 1988. http://ora.ox.ac.uk/objects/uuid:daa9a67e-cf31-4a1b-8d74-4b814acb6957.
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The object of this thesis is to lay open a repertory of music which has long been ignored, the music for two and more choirs composed by Roman composers of the generation of Palestrina and his immediate successors. Polychoral music is taken to mean music in which two or more independent and consistent groups of voices take part, singing separately and together; the parts should remain independent in tuttl sections, with the possible exception of the bass parts. By this definition, the first real polychoral music to be published in Rome was that by Giovanni P. da Palestrina in his Motettorum liber secundus of 1575. This is taken as the starting point for this study. Music which might have influenced Roman composers is examined, as well as eight-voice music by Roman composers which is not polychoral according to the above criteria. The development of polychoral music in the city is then traced through the reigns of the various popes from Gregory XIII to Paul V, whose death in 1621 is taken as a convenient place to end the study. Particular emphasis is laid on structural and textural aspects and the way these were adapted by successive composers. The ground for the Roman concerts to style was laid in the early experiments by composers such as Giovanni Animuccia, Palestrina and Tomas Luis de Victoria; this is traced through what is termed the 'fragmented' style of the last two decades of the sixteenth century to the full flowering of the large-scale concerts to motet after 1605. The music is studied in the context of the institutions for which it was written. The archives of these Institutions have been researched for information on performance practice, which is presented here. The broader cultural, social and religious background which spawned the idiom is also examined and polychoral music related both to the new propagandist attitude of church leaders from Gregory XIII onwards, and to a general expansion in musical activity in the city of Rome through the period under investigation. The various printed and manuscript sources for this music have been researched and the resulting catalogue of pieces by fifty or so composers who worked in the city is presented. A more detailed examination is carried out of the primary manuscript sources, from which valuable information on various aspects of the music can be obtained.
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Curry, Robert Michael 1952. „Fragments of ars antiqua music at Stary Sącz and the evolution of the Clarist order in central Europe in the thirteenth century“. Monash University, School of Historical Studies, 2003. http://arrow.monash.edu.au/hdl/1959.1/5720.
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Raynes, Christopher David Harlow. „Robert White's "Lamentations of Jeremiah": A history of polyphonic settings of the Lamentations in sixteenth century England“. Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185400.
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The Lamentations of Jeremiah inspired the development of a formal musical structure that is unique in music. Based on texts and forms used in the Roman Catholic Tenebrae service, settings of the Lamentations developed in continental Europe into a distinct form by the late fifteenth century. Early polyphonic composers of the Lamentations began the tradition of setting the opening Hebrew letters in a florid style, while maintaining a more restrained style for the verses of the text. In England, however, little apparent use was made of the Lamentations forms and texts until the middle of the sixteenth century, when a surprising number of settings appeared. The single extant earlier example by John Tuder has heretofore been considered a monodic piece, but appears to be one voice of a polyphonic work. English religious upheavals prevented liturgical use of Latin texts after 1549, but the Lamentations (and other works in Latin) continued to be written, possibly used as anthems, or for certain special occasions. The English polyphonic settings generally make use of the Lamentations forms established on the continent, but at least one example exists of an English formal model being adapted to the Lamentations texts. One of the least well-known major English composers of the period, Robert White, wrote two extensive settings of the Lamentations. These and his other works are often ignored by contemporary musicians, but provide an alternative repertoire to the more usually programmed Renaissance works.
Bücher zum Thema "Church music europe 16th"
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Majestas Mariae: Studien zu marianischen Choralordinarien des 16. Jahrhunderts. Stuttgart: Franz Steiner Verlag, 2012.
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Østrem, Eyolf. Medieval ritual and early modern music: The devotional practice of lauda singing in late-Renaissance Italy. Turnhout: Brepols, 2008.
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Hascher-Burger, Ulrike. Gesungene Innigkeit: Studien zu einer Musikhandschrift der Devotio moderna (Utrecht, Universiteitsbibliotheek, ms. 16 H 34, olim B 113) : mit einer Edition der Gesnge. Leiden: Brill, 2000.
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Pennington, Anne Elizabeth. Music in medieval Moldavia, 16th century. Bucharest: Musical Pub. House, 1985.
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1913-2003, Fischer Kurt von, und Fischer Kurt von 1913-2003, Hrsg. The Passion from its beginnings until the 16th century. New York, N.Y.]: [Graduate School and University Center, CUNY], 1989.
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Craig (Craig A.) Monson. Disembodied voices: Music and culture in an early modern Italian convent. Berkeley, CA: University of California Press, 1995.
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Tomlinson, Gary. Music in renaissance magic: Toward a historiography of others. Chicago: University of Chicago Press, 1993.
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Tomlinson, Gary. Music in renaissance magic: Toward a historiography of others. Chicago: University of Chicago Press, 1993.
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Tomlinson, Gary. Music in renaissance magic: Toward a historiography of others. Chicago: University of Chicago Press, 1992.
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Lewis, Mary S. Antonio Gardano, Venetian music printer 1538-1569: A descriptive bibliography and historical study. New York: Garland Pub., 1997.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Church music europe 16th"
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Küster, Konrad. „The Impact of Liturgy on Church Music. Observations in the ‘Long’ 16th Century“. In ‘Church’ at the Time of the Reformation, 189–206. Göttingen: Vandenhoeck & Ruprecht, 2021. http://dx.doi.org/10.13109/9783666570995.189.
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Vaduva, Lois, und Simona Popoviciu. „The Compatibility Between the Music Expectations of Church Leaders and the Training of Church Musicians in Romania: A Case Study“. In Solutions for Business, Culture and Religion in Eastern Europe and Beyond, 151–62. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63369-5_12.
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Carm, James John Boyce O. „Consecrating the house: the Carmelites and the office of the dedication of a church“. In Music in Medieval Europe, 129–45. Routledge, 2017. http://dx.doi.org/10.4324/9781315090863-10.
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Morvan, Haude. „Observant Reform and Dominican Church Interiors in Italy (15th-16th Centuries)“. In Observant Reforms and Cultural Production in Europe. Radboud University Press, 2023. http://dx.doi.org/10.54195/xfrb6134_ch06.
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This chapter investigates the modification of liturgical space in Italian Observant Dominican houses in the fifteenth century and after, which in various cases meant new choir arrangements and rood screen removals. The chapter analyzes the various determining factors behind the transformation (or not) of church interiors, including how this was related to the religious and pastoral commitments within Observant congregations.
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Puchner, Walter. „A Typology of Western Music and Theatre Activity in South-East Europe, the Eastern Mediterranean and the Black Sea Region in Premodern Times (16th–19th Centuries)“. In The Music Road, 279–95. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0014.
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This chapter provides an overall picture of theatrical and musical activity of western origin in south-east Europe and the Eastern Mediterranean from the 16th to the 19th centuries, focusing on religious theatre in the archipelagus, Italian opera on the Ionian Islands as well as ambulant ensembles of prose theatre (mainly Greek) and amateur performances. The investigation focuses on cities such as Constantinople, Odessa, Bucharest, Jassy, Smyrna, Alexandria and islands such as Crete, Corfu, Zante, Chios, Naxos and Cyprus. Moreover, the significant role of translations of libretti by Pietro Metastasio is discussed as well as the activity of Giuseppe Donizetti, who introduced western music to the Ottoman court.
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Horz, Andrea. „Conrad Celtis’s Melopoiae (1507) and Metrical Singing in the Church“. In Music and Religious Education in Early Modern Europe, 121–42. BRILL, 2023. http://dx.doi.org/10.1163/9789004470392_007.
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Feldman, Walter. „The Position of Music Within the Mevleviye“. In From Rumi to the Whirling Dervishes, 135–61. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474491853.003.0007.
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The Mevlevi musicians had been among the principal pracitioners and theorists of music within Anatolia during the 15th century. They continued these skills in Ottoman Istanbul from the early 17th to the 20th centuries. Mevlevis wrote books of musical theory dealing with what they termed ‘the science of music,’ roughly equivalent to the Western term ‘ars musicae’ or ‘art of music.’ In the pre-Ottoman period they had practiced a musical art linked to Greater Iran. As court patronage for art music declined by the later 16th century in both Iran and Turkey, Mevlevis played a leading role in Istanbul as performers and teachers. In addition, they were among the leaders in creating a Turkish poetic ‘avant garde’, responding to the new ‘fresh style’ of Persian poetry, coming mainly from Mughal India. Ibrahim Cevri (d. 1654) was one of the most influential of these Turkish poets. By the early 18th century, Mevlevis were creating a new musical discourse, and also experimenting with forms of indigenous musical notation. By the end of the 17th, and continuing into the ‘long’ 18th century, they became the principal means through which secular musicians and cantors of the Greek Church and the Sephardic Synagogue became acquainted with the ‘science of music’ in its Ottoman form. The interaction particularly with the Church cantors (psaltes) led to structural changes within certain genres of Greek Church music and within the core repertoire of Ottoman court music.
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Spink, Ian. „London“. In Restoration Cathedral Music 1660-1714, 290–303. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198161493.003.0025.
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Abstract London’s cathedral was St Paul’s·····a great medieval secular foundation and in 1660 the largest Gothic church in Europe. Just over a mile up-river was Westminster, where the abbey church of St Peter, dissolved at the Reformation, had been re-established in I 560 as a ‘Royal Peculiar’ with Dean and Chapter and a lavish choral and educational foundation. A few hundred yards to the north was the palace of Westminster, where the king had his court and Chapel Royal.
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Timms, Colin. „The Chamber Music“. In Polymath of the Baroque, 250–309. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195154733.003.0009.
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Abstract In 1681, the year of Steffani’s first opera, the theorist and composer Angelo Berardi divided music into three styles—da chiesa, da camera, and da teatro (for church, chamber, and theatre).In seventeenth-century Europe, chamber music was generally composed and performed by professional musicians who were employed by wealthy or educated patrons to provide entertainment, even if the patrons themselves occasionally took part as ‘dilettanti’. Although chamber music was also sold to the public and performed in churches and academies, it was intended primarily for rooms in princely palaces and courts. In the words of a biographer of Queen Christina of Sweden, one of the greatest patrons of the period in Rome, music at court was the ‘ornament of princes and delight of salons’.Berardi went on to identify three kinds of chamber music: The chamber style is divided into and considered under three different styles.
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Webster, Peter. „Augustine ‘falleth into dispute with himself’: The Fathers and Church Music in Elizabethan and Early Stuart England“. In The Search for Authority in Reformation Europe, 171–87. Routledge, 2016. http://dx.doi.org/10.4324/9781315553085-10.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Church music europe 16th"
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Рidhorbunskyi, M. A. „South-eastern influences the formation and establishment of church music in Kievan Rus“. In IX International symposium «Humanities and Social Sciences in Europe: Achievements and Perspectives». Viena: East West Association GmbH, 2016. http://dx.doi.org/10.20534/ix-symposium-9-23-27.
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Николов, Александър. „Св. Седмочисленици и формирането на българската „протонационална“ идентичност“. In Кирило-методиевски места на паметта в българската култура. Кирило-Методиевски научен център, 2023. http://dx.doi.org/10.59076/5808.2023.03.
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THE SEVEN APOSTLES OF THE SLAVS AND THE FORMATION OF THE BULGARIAN “PROTO-NATIONAL” IDENTITY (Summary) Some historians assume that the emergence of national identities in Europe is a result of social changes occurring in the Early Modern era, while others claim that this process was set in motion already in the Later Middle Ages. Similar disputes on the beginnings of the modern Bulgarian nation are also present in historiographic works. The Slavo-Bulgarian History of Paisiy Hilendarski is usually presented as the first clear sign of the emerging Bulgarian nation. The aim of this article is to confirm a proto-national stage in the development of the Bulgarian medieval ethnic community, which was instrumental for the survival and continuation of the Bulgarians as a separate ethnie and, despite the interruptions in the independent existence of the Bulgarian state and church, led to the transformation of this ethnie into a modern nation. The development of the Bulgarian medieval state, founded in 681 (widely accept¬ed date), lacks continuity. It has been interrupted in 1018 by the Byzantine conquest, which provoked deep social, economic and cultural changes and was followed by ethnic changes too. However, former Bulgarian lands, especially the core area around the last capital of the First Bulgarian Empire, Ohrid, retained certain level of ecclesiastical and economic autonomy. In the diocese of the Ohrid Bishopric began to emerge a “proto-national” pantheon, centered around the figures of St Clement of Ohrid and St John of Rila, and promoted by Byzantine prelates like Theophylactus of Ohrid and George Skylitses. The Bulgarians were regarded as a separate ethnie (according to the theory of Anthony Smith) within the limits of the Byzantine Empire, identified by their traditions, culture, language, and by their own patrons and spiritual teachers, who formed their “proto-national” pantheon. This tendency was successfully continued after the restoration of the Bulgarian state in 1185 (again a widely accepted date). The Second Bulgarian Empire had a multieth¬nic composition, including not only Slavic-speaking Bulgarians, but also Pecheneg and Cuman migrants, Vlah population, etc. All these groups, engaged very often in the gov¬ernment of the re-established empire, were centered around the political and state ideol¬ogy of the Bulgarian ‘proto-nationalism”. In the newly formed “pantheon” of national saints were included as “Bulgarians” also people with non-Bulgarian or at least disputed ethnic origin. In their Vitae, written after the liberation from the Byzantines, the question about their ethnic origin was of growing importance. Special place was given to the holy brothers Cyril and Methodius, (whose Bulgarian origin and direct links with Bulgaria are at least obscure) and five of their most prominent disciples. They were venerated as Bulgarian saints and became important part of the “proto-national” ideology of the Sec-ond Bulgarian Empire. This attitude has been transferred successfully into the national ideology of the modern Bulgarian nation. Later, in the 16th century, this group of saints was stylized as the Seven Apostles of the Slavs and acquired popularity even among the Greek-speaking clergy. Consequently, Cyril and Methodius, who were representatives of the universalistic Christian culture of the Second Rome entrusted with the task to enlighten the Slavonic peoples and to introduce them to the Holy Scriptures, together with their most prominent disciples, became emblematic figures, actively engaged in the formation of one of the Slavonic “proto-nations” during the Late Middle Ages.