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THE REFORMATION ���Beginnings of Modernity���
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THE REFORMATION ������
Religious rebellion against the authority of the Catholic Church ���
���Germany and Scandinavia: LUTHERAN ���
Switzerland, Low Countries: CALVINIST���England: CHURCH OF ENGLAND���
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MARTIN LUTHER (1483–1546)���
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THE REFORMATION ������
MARTIN LUTHER (1483–1546)������
Trains as for Law profession������
Thunderstorm in the summer of 1505. A lightning bolt struck near him as he was returning to school. Terrified, he cried out, “Help! Saint Anne, I will
become a monk!” He left law school, sold his books, and entered the monastery.���
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THE REFORMATION ������
MARTIN LUTHER (1483–1546)���Professor of biblical theology at the University of
Wittenberg in Germany��������������������� ������
City of Wittenberg
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THE REFORMATION ������
MARTIN LUTHER (1483–1546)������
Believes salvation comes through FAITH, ���not good works or penance���
as taught by the Catholic Church������
Rebelled against nonbiblical practices in the���Catholic Church ���
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THE REFORMATION ������
Writes ninety-five theses (points or arguments)���A list of complaints against the Catholic practices,
posted on a door of the Schlosskirche in Wittenberg on���
October 31, 1517 ������������������������
Schlosskirche in Wittenberg
The door that Martin Luther nailed the 95 Theses to
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THE REFORMATION ������
Sale of indulgences ���������������������������������
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THE REFORMATION ������ ���
The theses are printed and widely disseminated—within two weeks it had spread throughout
Germany, within two months throughout Europe ���making Martin Luther famous ���
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Beginning of Martin Luther’s 95 theses
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THE REFORMATION ������
The theses are translated into German in 1518���������������������������������������
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THE REFORMATION ������
Pope Leo X writes a papal enclyclical in reply ������
When Martin refused to recant his theses, he was excommunicated from the Catholic Church ���
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THE REFORMATION ������
Martin Luther translates the Bible into German ������
Printed in 1522 and sells 2000 copies in 2 months. ���������������������������
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THE REFORMATION ������
Luther marries Katharina von Bora ���(a former nun) on June 13, 1535, ���
and reintroduces the practice of clerical marriage to the Western Christian traditions ���
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THE REFORMATION ������
New Evangelical, or “Lutheran” Church ������
German princes adopted Lutheranism, freeing them from Roman control.���
���The vernacular was used for the liturgy, but
Luther considered Latin essential for education.���������������
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THE REFORMATION ������
Music important in Lutheran Church because of Luther’s belief in its ethical power and his ���appreciation of composers such as Josquin���
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Thanks, Martin!
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THE REFORMATION ������
Did not do away with church music or even Latin church music���
��� “Music is a gift from God”���
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THE REFORMATION ������
“It is not my view that the Gospel should cause all the arts to be struck down and disappear; on the contrary, I should like to see all the arts, and especially music, used in the service of God who
gave and created them.”���������������������
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THE REFORMATION ������ ���
Texts were in the vernacular, ���but much of the���
Latin Catholic liturgy was retained.���������������������������
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THE REFORMATION ������
Churches were���free to use music as they wished ���
���Large churches with trained choirs kept much of
the Latin liturgy and polyphony.������������������������
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CHORALE������
Most important form of Lutheran church music������
Congregations sang several chorales at each service������
Luther wrote many chorales himself.������
Four collections were published in 1524.������������
“Ein neues Lied wir heben an” Geistliche gesang Büchlein, 1524
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CHORALE������
Metric, rhymed, strophic poetry ���for unison, unaccompanied performance���
by the congregation ���������������������������
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CHORALE MELODIES ������
Adaptation of existing Gregorian chants ��� Existing devotional songs in German���
Secular songs given new words ��� Newly composed melodies ���
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Secular songs were given new words ���
���CONTRAFACTA���
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“Why should the Devil have all the
good tunes?”���
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CHORALE MELODIES ������
Adaptation of existing Gregorian chants ��� ������������������������������
Veni redemptor gentium ��� =���Nun komm, der Heiden Heiland
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CHORALE MELODIES ������
Newly composed melodies ������
Ein feste burg���������������������������
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CHORALE MELODIES ������
Newly composed melodies: Ein feste Burg���������������������������������
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CHORALE MELODIES ������
Luther adapted Psalm 46 for the text������
Ein feste Burg became an “anthem” of the���Reformation ���
���The original rhythm suits the text, but���
modern versions use a more regular rhythm.���������������
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Polyphonic Chorale Settings ������
Group singing in home settings ������
Performance in church by choirs,���alternating stanzas with the congregation in unison���
���Luther wanted “wholesome” music for young���people, to “rid them of their love ditties and���
wanton song.”������������
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Polyphonic Chorale Settings ������
Lied Style������
“Lied” technique with melody in TENOR������
Three or more free polyphonic parts ������
Johann Walter was Martin Luther’s chief���musical collaborator. ���
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Johann Walter������
Ein feste Burg���������������������������������
Music Viva, “Ein feste Burg”
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Polyphonic Chorale Settings ������
Chorale Motets ������
Josquin-like motet style ������
Chorale appears as a cantus firmus in long���notes in some motets ���
���Some chorale motets use the chorale imitatively in
all voices ���������
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Polyphonic Chorale Settings ������
Cantional Style������
Homophony (cantional style, from the Latin���cantionale, “songbook”)���
���Tune in the highest voice���
���Accompaniment in block chords ���
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COUNTER REFORMATION ������
Catholic Response to the Reformation���(Counter-Reformation or Catholic Reformation)���
���Jesuits (Society of Jesus)���
Founded St. Ignatius Loyola (1491–1556) in 1534���Founded schools to teach proper Catholicism���Proselytized, reconverting Poland, southern���
Germany, and much of France������������
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COUNTER REFORMATION ������
Council of Trent (1545–1563)������
Series of meetings held in Trent (northern Italy)���Reaffirmed doctrines that Luther attacked���Purged the Church of abuses and laxities ���
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COUNTER REFORMATION ������
Council of Trent (1545–1563)������
Music was a subject for debate, especially the use of secular song in the composition of masses.���
���Eliminated tropes and all but four sequences ���
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COUNTER REFORMATION ������
Council of Trent (1545–1563)������
The use of secular music in sacred music���The density of polyphony���
The different musical practices ���The use of instruments in sacred music���The irreverent attitude of church singers ���
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COUNTER REFORMATION ������
Council of Trent (1545–1563)������
The final statement was vague, leaving it to���bishops to regulate music.���
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COUNTER REFORMATION ������
Catholic Church Music: 1520–1550������
Franco-Flemish composers dominated the���generation active���
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COUNTER REFORMATION ������
STYLE FEATURES ������
Clearly defined mode���Careful treatment of dissonance���
Equality of voices ���Five- or six-voice compositions, using���
contrasting combinations of voices ���Duple meter with brief passages in triple���
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COUNTER REFORMATION ������
STYLE FEATURES ������
Imitative polyphony ���Imitation mass the most common type,���
but composers still use ���paraphrase and cantus firmus ���
techniques ������������������
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Giovanni Pierluigi da Palestrina (c1525–1594)���
��� Born in Palestrina, near Rome���
���Educated in Rome, where he was a choirboy���
���1544–1551: Organist and choirmaster in Palestrina���
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Giovanni Pierluigi da Palestrina ������
1551–55 : Choirmaster of Julian Chapel���1555: Sang in Sistine Chapel briefly but could not
continue because he was married���1555––1566: Important posts in Rome���
1571–1594: Choirmaster of Julian Chapel ���������������������
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Giovanni Pierluigi da Palestrina ������
Spent his last forty years as choirmaster and���teacher at influential churches in Rome���
���Taught music at the new Jesuit seminary���
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Giovanni Pierluigi da Palestrina ��� ���
104 masses, more than any other composer���Over 300 motets ���
Participated in the reformation of chant-books, which were published after his death���
���Madrigals, which he later regretted ���
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Giovanni Pierluigi da Palestrina ������
Credited with saving polyphony from the���Council of Trent���
���According to legend, his Pope Marcellus Mass, dedicated to the pope, demonstrated that sacred words could be intelligible in polyphonic music.���
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Giovanni Pierluigi da Palestrina ������
STYLE ������
Long-breathed melodies ���Easily singable���
Moves mostly by steps ���Most leaps followed by stepwise motion in opposite
direction������������
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Counterpoint follows the rules ��� ���
Dissonances introduced in suspensions and resolved on strong beats ���
���Dissonances between beats are allowed if the
moving voice is doing so in a stepwise fashion or as a suspension ���
���Downward leap of a third, from a dissonance to a
consonance (later called cambiata), is also allowable.���
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Giovanni Pierluigi da Palestrina ������
The resulting harmonic style comprises an���alternation between ���
consonance and “allowable” dissonance ������������������������
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Giovanni Pierluigi da Palestrina ������
Palestrina makes the text intelligible by using���syllabic text-setting and homophony in���
movements with long texts ���������
Palestrina’s style was a model for subsequent���generations and is still the ideal in���
present-day textbooks on counterpoint������������
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Giovanni Pierluigi da Palestrina ������
Pope Marcellus Mass: Credo������������������������������
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Giovanni Pierluigi da Palestrina ������
Pope Marcellus Mass: Credo������
Each new phrase uses a different���combination of voices.���
���All six voices come together for important words,
cadences, and musical climaxes.������
Voice combinations sometimes used for text-painting, e.g., three voices to symbolize the Trinity.���
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Westminster Abbey Choir, Cappella Musicale Pontificia Sistina
St. Peter’s Basilica, June 12, 2012 St. Peter’s Basilica, June 29 2012