Guillaume Machaut's Notre Dame Mass

It was during this visit that Schütz made the acquaintance of Claudio Monteverdi. It was here that Schütz learnt about the new declamatory style that Monteverdi was seen to be pioneering. Schütz had a work of Symphonie Sacrae published in Venice in 1629, which were composed in this new declamatory style called monody. In this we can see the sudden change from Schütz’s original style of composing polychoral works to this new style. Schütz’s Symphonie Sacrae are scored for up to three voices, along with varied parts for winds and string as well as continuo accompaniment.

Although the quality was similar, this technique of writing had differences. The cantus firms was placed in the tenor voice and the upper voice was add a sixth above it. In order to create the parallel motions for all voices, an inner voice was place a perfect fourth below the upper voice. A famous composer associated with the development of this French style was Guillaume Du Fay.

Accompanied song was cultivated in Italy in the 16th and early 17th centuries, long before the word “cantata” was common terminology. Shortly after the conception of the recitative, the cantata began to combine the monadic style with new forms and the concept of systeme tonal (or the basis for the development of equal temperament) , which began to replace the ancient modes. The cantata had its origins in the same sources as opera and oratorio. The three forms are direct descendants of the madrigals of the sixteenth century.

Each room has different style of decoration to represent the different meanings. For example, “The Expulsion of Heliodorus from the Temple” symbolize the subjugation of all church’s enemies. It represents the power of the church and the honorable status of the church in the ancient time. “Liberation of St. Peter” represents a totally different idea from the first one, it represents the great and bad of the ancient pontificate. As we aforementioned, he hates the corruption of the former ruler very much.

Martin Luther’s love for music encouraged the singing and writings of hymnals in German for a more comprehensive appeal and understanding. His musical form of the chorale had a major influence on music and the reformation and was used as the standard for Protestants during the Reformation. His chorale became a vehicle for future composers with the use of voices, melodies, sounds and instruments. Due to the Catholic Church’s abuse of power and corruption, Luther’s Ninety-Five Theses was at best an attempt to layout his grievances against the Catholic Church to begin its reformation based on true spiritualism (Fiero 158). Though, some churches protested Luther’s standards by destroying organs and only sang certain portions of his hymnals while editing and deleting other portions, his A Mighty Fortress is our God was dubbed the “anthem of the Reformation” (Fiero 133).

In the year 1054, the Catholic Church had issues within the different parts of it. As these issues continued to pose a bigger problem, the church finally decided that it needed to separate and become different churches so that they could each conduct and run the church like they wanted to. The two branches of the Catholic Church that were feuding around this time were the Latin portion of the church, later known as Roman Catholics, and the Greek part, which were eventually known as the Orthodox Church. As we take a look back at these two branches of the Catholic Church, the differences and problems that they had with one another will be shown by evidence found in documents relating to the incidents and troubles that caused the church to have

One depicts Jesus’ act of washing his disciples’ feet compared to the high-and-mighty Pope displaying his grandeur whilst seated on a throne surrounded by his court (Document 2). The images are presented in such a manner as to draw attention to the humility of Christ juxtaposing his behavior with that of the distant, affluent Pope. This is significant because the Catholic Church traditionally emphasized a hierarchical progression driven by rank. This is evidenced by the extensive pecking order of cardinals, bishops, archbishops, etc. that made up the leadership of the church.

The artist combines iconography reminiscent his catholic upbringing and homosexuality throughout his work as his primary motif. The conflation of these symbols is particularly present within the photographic-performance piece

The painting appears to have levels of designs on both side of Saint Francis, giving impression of a library. This indicated to me and others that the teaching of religion is central to all group and class. Saint Francis is the main focus and the details shows his work during at time. (Finkelstien) Furthermore, the colors and details on the Saint Francis Altarpiece is aesthetically pleasing.

During the time of Dante, the Catholic Church was a major power of control and had ruled over a vast amount of land deemed the “Holy Roman Empire” when the Roman Catholic Church was at the height of its popularity. The ruling with papal influence caused much controversy throughout Italy and Western Europe and led to a great deal of discontent. People had either been pro-church control or anti-church control and the commentary throughout literature about politics and religion was very present. Dante, in Inferno, addresses his views toward the church and what he believes has gone wrong.

This work calls for flute, pairs of oboes, bassoons, horns in G and trumpets in C, timpani, and strings. Similar to Stamitz’s, “Oxford” symphony is written in four movements and has similar tempo structure; I. Adagio-Allegro Spiritoso, II. Andante Cantabile, III. Menuetto, Allegreto, IV. Finale: Presto.

“The Calling of Saint Matthew” by Caravaggio was the Counter-Reformation movement. Light pours in above Christ’s head on the right and reveals stunning detail in the painting. Light glints of the coins on the table and the tax collector’s glasses. The expressions on the faces of the collectors are varied and convey recognizable emotion. In “The Art of Painting” by Vermeer, light shines in from the left and glints off the tiles, chairs, and the chandelier.

This melody is the medieval chant Dies irae which is traditionally 8 sung in the mass ceremony for the dead. The chant melody is soon shifted up to a higher register and is played by woodwinds and pizzicato 9 strings in a quick dance-like rhythm (Kamien, 2014: 297). Alterations with the violas in the beginning of the witches’ dance, followed by low tubas and bassoons in forte playing the Dies irae in long even notes. Higher horns and trumpets starts the beginning of the Dies Irae, but this time played faster (Kamien, 2014: 298).

Introduction: The Roman Catholic Church was undoubtedly one of the largest and most dominating powers in the whole world, especially in Europe. During the Middle Ages, the Church’s influence extended so far to the point that it controlled and supervised the people’s physical and spiritual morality, philosophy, religion, and even education. For centuries, this large institution has played a major and dominant role in the history of many countries and civilizations; additionally, the Church provided a sense of unity for the people, especially during the Dark Ages. Throughout the Middle Ages, the Roman Catholic Church’s influence had a huge impact to the people and was seen as the ray of hope, mainly because the Church preserved knowledge and books during the Dark Ages where education and learning were almost non-existent.

There are several theories that regard where and when the music originated. The historiographers pointed out that there are different periods of music with each period having its own characteristics, its composers, its instruments, its rhythm and significance to the existing music today. The first three periods; Medieval, Renaissance and Baroque are expounded in this essay. The periods span through different times albeit some overlapped one another. The essay also focuses on the common factor that triggered the existence of the music periods and its impacts on each period.