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PRE BAROQUE MUSIC BEFORE 1650 Prepared by: Rommel Orbillo Maricel Asiao Geraldine Reyes

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Page 1: Pre baroque music

PRE BAROQUE MUSIC

BEFORE 1650Prepared by: Rommel Orbillo Maricel Asiao Geraldine Reyes

Page 2: Pre baroque music

Pre-Baroque Music history

Tracing the history of Western music in the church, one quickly realizes

how much change sacred music has undertaken from the Old Testament to the Baroque Era. Yet throughout the

history, Christian music always seems to return to one thing. We will see this

music used in thanksgiving, in worship, and in prayer and with all its uses, the one thing it all comes back

to is glorifying God.

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The full history of the origins of music in the

Church, "Nevertheless it is clear that although

medieval theoreticians accepted some of the

theoretical bases of ancient Greek musical theory, the practice of music was far more heavily indebted to the traditions of Jewish

music."

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Early on in the Bible, evidence of Jewish music and instruments is

found. We find a wonderful example of the Israelites using

instruments to praise and thank God for parting the Red Sea.

Exodus 15:20 says "Then Miriam the prophetess, the sister of

Aaron, took the timbrel in her hand; and all the women went out

after her with timbrels and with dances."

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However, a more detailed description of the style of

music in Israel is found in the book of Psalms. "Certain

headings to the psalms would seem to suggest that the use

of modes, one of the most marked characteristics of all Middle Eastern music, was well known to the Levites." These Hebrew psalms later

became significant in Christian liturgy under the name of "responsorial psalmody".

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In the early church, sacred music had chiefly a utilitarian purpose. "It was found that an excellent method of assisting worshippers to pray together was to base the prayer on a

very simple chant, very much in the nature of a recitation

designed on simple rhythmic and melodic lines.

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At first, a soloist sang the melody, but some psalms

ended with an alleluia or some short refrain that was easily

remembered, and it soon became ordinary for this to be sung in unison. The pinnacle of reform for the liturgy and the chant appears to have been largely due to Gregory I (The Great), Pope from 590 to 604.

As Pope for just fourteen years, his accomplishments were

amazing.

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"He recodified the liturgy and reorganized the Schola Cantorum; he assigned

particular items of the liturgy to the various services

throughout the year in an order that remained

essentially untouched until the sixteenth century; he gave impulse to the movement

which eventually led to the establishment of a uniform repertoire of chant for use

throughout the Church in all countries."

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That is why this entire body of music is called the Gregorian Chant. Three main types of chants existed, the reciting

formulas, the melismatic songs, and the refrains sung by the choir or congregation. The melodies of these were constructed according

to Jewish fashion and the traditional standard melodic

method within a given mode.

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Gregorian chants were the inspiration behind much of Western music up to the

sixteenth century. Continuing on in the Dark Ages, we find

the development of polyphony, "the simultaneous sounding of two or more melodic lines." In

the eleventh century, an Italian monk and musical theorist named Guido of

Arezzo wrote the "Micrologus", which was crucial to the

development of polyphony.

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Also, he revolutionized the meaning of pitch by notation when he used horizontal lines to show the relative pitch of particular notes. Early in the twelfth century, the center of musical liveliness moved to the church of Notre-Dame in Paris until the fourteenth century when it moved to Florence, Italy. Perhaps the greatest achievement of church music in the fourteenth century was Machaut's "Notre-Dame" mass for four voices.

 

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Entering into the Renaissance Period, we find that while secular music takes on as many new ideas as possible, the Church attempts to remain as conservative as possible. "Liturgical practice dictated

that the mass and the motet remain the chief forms of sacred vocal music.

Compared with secular music, their style was conservative, but inevitably some

of the newer secular techniques crept in and figured effectively in the music of

the Counter-Reformation within the Roman Catholic Church.

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." With the outbreak in the church caused by the

Reformation, many new forms of sacred music appeared in

Protestant worship services. The German Lutheran worshipped

with hymn tunes arranged from plainsong or a secular melody.

The Anglican Church had its own form of the motet, and the

Calvinist played psalm tunes.

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Into this environment, the Baroque era begins, and with it two of the most influential

composers of all time, Johann Sebastian Bach and George Frideric Handel. These two men received an incredible gift from God and they used it to glorify him. Both were raised

in the Lutheran Church, but because of different musical training, Handel was primarily a dramatic composer, writing

opera, oratorio, and secular cantatas while Bach works included Passions, cantatas for church services, liturgical organ pieces, and

harpsichord compositions. Their music impacted the church so much that several of

their songs appear today in hymnals.

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Throughout history, the wonder and beauty of sacred music

appears. Yet from the psalms of the Old Testament and the

Gregorian Chants, to the oratorios, Passions, and hymns

of the seventeenth and eighteenth centuries, the

beauty of sacred music is that it can mold to the preference

of the time and still be used to glorify God.

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PRE-BAROQUE COMPOSERS Josquin Des Pres

 

Thomas Tallis

 

Antonio Lotti

 

Giovanni Perluigi Palestrina

 

Giles Farnaby

Orlandus Lassus

John Bull

Jan Pieterzoon Sweelinck

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JOSQUIN DES PRES

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THOMAS TALLIS

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ANTONIO LOTTI  

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GIOVANNI PERLUIGI PALESTRINA

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GILES FARNABY

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ORLANDUS LASSUS

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JOHN BULL

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JAN PIETERZOON SWEELINCK

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