THE REFORMATION - San Jose State University › people › gordon.haramaki › courses › ...THE...

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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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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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MARTIN LUTHER (1483–1546)��Professor of biblical theology at the University of

Wittenberg in Germany��

City of Wittenberg

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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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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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Sale of indulgences ��

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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 theses are translated into German in 1518��

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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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Martin Luther translates the Bible into German ��

Printed in 1522 and sells 2000 copies in 2 months. ��

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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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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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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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Did not do away with church music or even Latin church music��

�� “Music is a gift from God”��

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“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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Texts were in the vernacular, ��but much of the��

Latin Catholic liturgy was retained.��

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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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Adaptation of existing Gregorian chants ��

Veni redemptor gentium �� =��Nun komm, der Heiden Heiland

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Newly composed melodies ��

Ein feste burg��

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Newly composed melodies: Ein feste Burg��

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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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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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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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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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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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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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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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The final statement was vague, leaving it to��bishops to regulate music.��

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Catholic Church Music: 1520–1550��

Franco-Flemish composers dominated the��generation active��

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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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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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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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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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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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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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The resulting harmonic style comprises an��alternation between ��

consonance and “allowable” dissonance ��

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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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Pope Marcellus Mass: Credo��

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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

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