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The Venetian school (1550–1610) and the extensions of the polychoral style
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The Venetian school (1550—1610) and the extensions of the polychoral style
Венецианската школа (1550—1610) и проекции на полихоровия стил
Language: Bulgarian with extended summary in English
Category: Western European Art
Venetian social-economic life of the 16th century makes the city an important cultural center, where arts and a fertile ground for development. In this ground appears the Venetian music school, whose style, called cori spezzati, strongly influences many composers from all musical époques after the Renaissance.
The phenomenon of the Venetian school and its style are analyzed in this study; its most characteristic technique is the antiphonal singing. The after glow of this style can be seen not only in the musica sacra tradition, and in the West European Protestant and Catholic music, but also in the musical inheritance that has come down to us from the Byzantine church.
The main purpose of this treatise is to systematize and clarify the main compositional characteristics of the Venetian polychoral style — executed by means of study of other musical treatises that are devoted to the Renaissance. The main source would be Zarlino’s Le institutioni harmoniche; it studies in detail the period’s musical pieces. Its terminology is the main one in use in this study, while it is also being compared with various commentaries in later treatises. A comparison is made between the compositional principles of the cori spezzati with the traditions of the Netherlands’ music school, using Josquin des Prez’ masses as main examples.Through this process a number of composition techniques would be better understood, especially the ones that are based on imitation; characteristic manner of this school.
In conclusion, we study the impact of the Venetian polychoral style on different musical styles and genres of later époques. For that purpose we analyze examples of the extensions of the cori spezzati techniques in the art of Palestrina, Monteverdi, J.S. Bach, Beethoven, Berlioz and Mahler, proving the fundamental role of the Venetian music school.
Table of contents
Introduction
I. Cori spezzati and the Venetian culture of the 16th century
1.1. The Venetian polychoral style within the traditions of musica sacra
1.2. Venice — light from a precious stone
II. The main compositional approaches to the polychoral style based on Zarlino’s system (Le institution harmonice)
2.1. Diachronous and synchronous relation between theory and practice in the second half of the 16th century
2.2. Pedagogical approaches of Zarlino's system (Le istitutioni harmoniche)
2.3. How a polychoral composition begins
2.3.1. The Polyphonic exposition of the choirs
2.4. Soggetti: Their use
2.5. Imitation and grouping of voices
2.6. Ostinato, sequence, ornamenting (“coloring”)
2.7. Canonic forms
2.8. Complex counterpoint
2.9. Vertical relations between the voices
III. Exrensions of cori spezzati
3.1. Giovanni Pierluigi da Palestrina. Missa ad fugam, Missa “Papae Marcelli”. Voice grouping and their interaction in the canonic forms
3.1.1. Missa “Papae Marcelli”
3.1.2. Missa ad Fugam
3.2. Claudio Monteverdi. Psalmus 126: Nisi Dominus, Psalmus 147: Lauda Jеrusalem
3.2.1. Psalmus 126: Nisi Dominus. The antiphon and cantus firmus technique
3.2.2. Psalmus 147: Lauda Jerusalem. Canonic and imitation forms on the basis of antiphon
3.3. J.S. Bach's baroque polychoral trend
3.3.1. Bach’s two-choir motets. Motet I: “Singet dem Herr ein neues Lied”; Motet II: “Der Geist hilft unsrer Schwachheit auf”. Baroque heteronomy and musical form of the text
3.3.2. Matthäus-Passion
3.4. Extension of the Venetian polychoral style after the Baroque
3.4.1. Ludwig van Beethoven's Missa Solemnis. The transformation of the Venetian polychoral principles in the context of the sublime and majestic
3.4.2. “Te Deum” of Hector Berlioz. The polychoralism in the context of the dramatic
3.4.3. Gustav Mahler's Eighth Symphony
Bibliography
| Details | |
| Publisher | Institute of Art Studies |
| Language | Bulgarian with a summary in English |
| Pages | 508 |
| Illustrations | b/w figures |
| Binding | paperback |
| ISBN | 978-954-8594-34-9 |
| Creation date | 2012 |
| Size | 16 х 24 cm |
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