Palestrina (ITA) (1 janv. 1525 – 1 janv. 1594)

Description:

• Mixture of imitative counterpoint, canonic writing, and chordal writing
• Imitative polyphony in idealized state (like Willaert and other Franco-Flemish masters) o Balanced melodic shapes
o Prepared and resolved dissonances
o Structural symmetry
• Uses Point of Imitation (POI) (free echoing of a melodic idea) throughout all the voices o Resulting in several phrases of text and several POIs
• Reserved melodic treatment
o Augmented/diminished intervals prohibited
o No leaps of 7th, Major 6th, and intervals greater than an octave
o Long notes must be consonant; keep dissonances short and unaccented o Motives are often arpeggio-like
o If there is a leap, it should resolve downward
o If there are two leaps in a row in the same direction the higher interval is smaller than the lower one and then must resolve downward
• Music should not distract from the sanctity of the text
o Free of virtuosic effects
o Proper textual accentuation of the Latin
o Employs 4-voiced mass texture, when contemporaries favored 5 or 6 voices
Palestrina’s style is based largely on elements drawn from Franco-Flemish music Franco-Flemish music’s feature: a mixture of imitative counterpoint, canonic writing, and considerable amounts of chordal writing
Palestrina added some of the easy melodiousness characteristic of Italian music into Franc o-Flemish musical features.
There elements are so perfectly fused
So, enhance the understanding of the texts
His style is consistent, and completely free of virtuosic effects.
So, it fits well in liturgical texts.
A cappella church music
Melodic contours: show a close kinship to those of Gregorian chant
1. The melody should contain few leaps between notes
2. If a leap occurs, it must be small and immediately countered by stepwise motion in the opposite direction
3. Dissonances are to be confined to passing notes and weak beats. It one falls on a strong beat, it is to be immediately resolved.
His concern was always to minimize anything that would distract attention from
the sanctity of the text; his melodic procedures accomplished this purpose.

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