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Music for the Mass in seventeenth-ce...

Miller, Stephen R.

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Music for the Mass in seventeenth-century Rome: Messe piene, the Palestrina tradition, and the stile antico.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Music for the Mass in seventeenth-century Rome: Messe piene, the Palestrina tradition, and the stile antico./
作者:	Miller, Stephen R.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1998,
面頁冊數:	1259 p.
附註:	Source: Dissertations Abstracts International, Volume: 61-02, Section: A.
Contained By:	Dissertations Abstracts International61-02A.
標題:	Religion. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9910949
ISBN:	9780599093041

Music for the Mass in seventeenth-century Rome: Messe piene, the Palestrina tradition, and the stile antico.
Miller, Stephen R.

Music for the Mass in seventeenth-century Rome: Messe piene, the Palestrina tradition, and the stile antico. - Ann Arbor : ProQuest Dissertations & Theses, 1998 - 1259 p.

Source: Dissertations Abstracts International, Volume: 61-02, Section: A.

Thesis (Ph.D.)--The University of Chicago, 1998.

This item must not be added to any third party search indexes.

Composers in seventeenth-century Rome were very active in producing settings of the mass. Although mass composition declined in many other locales in post-Renaissance times, Rome was an exception. Previously, some scholars have focused efforts on the Roman polychoral repertory, and others have looked to the repertory as a hallmark of the stile antico. This dissertation questions these stereotypes. Three composers of masses seem especially prominent in Rome during the century-Gregorio Allegri, Francesco Foggia, and Bonifatio Gratiani-and none was particularly inclined towards the polychoral medium. Neither do they represent a monolithic approach that could be characterized as "stile antico." Foggia and Gratiani are both maestri at important cappelle in the city and immerse themselves in the activities of the musicians' guild (the Congregazione de' musici). Both draw on various rhythmic, harmonic, and textural elements of early baroque style, clearly distinguishing their approach from that of the stile antico. Allegri, the long-time member of the Cappella Pontificia, would seem a more natural fit for the stile antico yet pursues a polyphonic style that appears intentionally post-Palestrina. Better representatives of the stile antico in the mass at Rome must await developments later in the century, with figures like Alessandro Scarlatti. In the middle of the century, these Roman composers are still oriented towards liturgical occasion and setting rather than thinking in historicized terms. Despite focussing on Allegri, Foggia, and Gratiani, the dissertation deals broadly with the Roman repertory. Hundreds of sources are indexed in an appendix which goes to support the general contour of the repertory as described here. This investigation into sources results in some noteworthy musicological "finds." Some twenty anonymous manuscripts are identified with their rightful composers' names and tides, and no fewer than two dozen manuscript sources are shown to have incorrect attributions, including some of the most prominent composers-Felice Anerio, Orazio, Benevoli, Giacomo Carissimi, Alessandro Scarlatti.

ISBN: 9780599093041Subjects--Topical Terms:

516493
Religion.
Subjects--Index Terms:

Allegri, Gregorio

Music for the Mass in seventeenth-century Rome: Messe piene, the Palestrina tradition, and the stile antico.
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520 $a Composers in seventeenth-century Rome were very active in producing settings of the mass. Although mass composition declined in many other locales in post-Renaissance times, Rome was an exception. Previously, some scholars have focused efforts on the Roman polychoral repertory, and others have looked to the repertory as a hallmark of the stile antico. This dissertation questions these stereotypes. Three composers of masses seem especially prominent in Rome during the century-Gregorio Allegri, Francesco Foggia, and Bonifatio Gratiani-and none was particularly inclined towards the polychoral medium. Neither do they represent a monolithic approach that could be characterized as "stile antico." Foggia and Gratiani are both maestri at important cappelle in the city and immerse themselves in the activities of the musicians' guild (the Congregazione de' musici). Both draw on various rhythmic, harmonic, and textural elements of early baroque style, clearly distinguishing their approach from that of the stile antico. Allegri, the long-time member of the Cappella Pontificia, would seem a more natural fit for the stile antico yet pursues a polyphonic style that appears intentionally post-Palestrina. Better representatives of the stile antico in the mass at Rome must await developments later in the century, with figures like Alessandro Scarlatti. In the middle of the century, these Roman composers are still oriented towards liturgical occasion and setting rather than thinking in historicized terms. Despite focussing on Allegri, Foggia, and Gratiani, the dissertation deals broadly with the Roman repertory. Hundreds of sources are indexed in an appendix which goes to support the general contour of the repertory as described here. This investigation into sources results in some noteworthy musicological "finds." Some twenty anonymous manuscripts are identified with their rightful composers' names and tides, and no fewer than two dozen manuscript sources are shown to have incorrect attributions, including some of the most prominent composers-Felice Anerio, Orazio, Benevoli, Giacomo Carissimi, Alessandro Scarlatti.
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