vere princeps musicae
TRANSCRIPT
VERE PRINCEPS MUSICAE
HOW PALESTRINA IS A MODEL FOR EVERY COMPOSER OF SACRED MUSIC
___________________
A Paper
Presented to
Dr. Alanna Keenan
Franciscan University of Steubenville
___________________
In Partial Fulfillment
of the Requirements for the Course
MUS301 Music History I
___________________
by
John Brodeur
December 2010
Box #217
2
VERE PRINCEPS MUSICAE
HOW PALESTRINA IS A MODEL FOR EVERY COMPOSER OF SACRED MUSIC
On January, 27, 2001, Pope John Paul II gave an address to the participants of the
International Congress of Sacred Music. Within the course of his remarks, the two hundred
sixty-fifth Roman pontiff made a bold statement – he publicly endorsed Palestrina as a model for
the composers of sacred music:
“Although the Church recognizes the pre-eminent place of Gregorian chant, she has
welcomed other musical forms, especially polyphony. In any case, these various musical
forms should accord "with the spirit of the liturgical action" (ibid.). From this standpoint,
the work of Pierluigi da Palestrina, the master of classical polyphony, is particularly
evocative. His inspiration makes him a model for the composers of sacred music, which
he put at the service of the liturgy.”1
While it is true that Palestrina has been highly regarded in the Church since before his
death in 1594 as one of its greatest composers of Church History, never has any other pope so
boldly proclaimed him as a model for composers of sacred music. While Pope Pius XII places
classic polyphony, especially that of the Roman school, “side by side” with Gregorian Chant,2 he
neither upholds Palestrina as “master” of classical polyphony, nor offers him as a model. The
nuance of the statement is also striking. Pope John Paul II does not just merely offer his works
as a guideline for composition, but rather offers his very character as a model for composers to
emulate. It is an intensely personal instruction, which, if taken seriously, requires very serious
follow-up. If Palestrina‟s inspiration makes him a model for composers of sacred music, what
then was his inspiration? What virtues did he possess which ought to be widespread among
1 http://www.adoremus.org/JPIIsacredmusic.html
2 http://www.adoremus.org/TraLeSollecitudini.html
3
composers? And if the pope specifically encourages composers to emulate Palestrina, what must
they understand about his style in order to faithfully adhere to the principles which guided his
delicate art of composition? These questions can only be answered by a further study of his life
and work, with particular attention to how his style reflects the inspiration so highly acclaimed
by Pope John Paul II. This paper will thus aspire to this same purpose: a journey into the very
person of Palestrina, Prince of Music.
Biography
Born on February 3, 1525 to the town whose name he bears, Giovanni Pierluigi da
Palestrina grew up a true Roman, bound by a myriad of ties to the “Eternal City” so near his
birthplace.3 From age 14, Palestrina studied music in Rome with the Netherlander, Gaudio Mell.
When he was 18 years old, he became chapel master at the cathedral in his native town4 where he
played the organ, directed the choir at daily mass, and taught singing.5 Although Palestrina lost
the full power and richness of his voice early on,6 he nevertheless remained successful as a
director. In 1550, at the age of 35, he became choirmaster of the Julian choir,7 and then in 1555,
he was appointed for a short while as the director of the Sistine Choir by Pope Julius III until
Pope Paul IV recalled him. 8 As compensation, Palestrina received the title of Composer of the
Papal Choir, the maestro di capella della basilica vaticana9 – an honor only ever accorded to one
other person in history – his successor, Felice Anerio. Soon after this, he was made chapel
master of the basilica of St. John the Lateran where he remained for a little more than three
3 Jeppesen, p. 13.
4 Nemmers, p. 118.
5 Angoff, p. 14.
6 Angoff, p. 22.
7 Nemmers, p. 118.
8 Nemmers, p. 118.
9 Angoff, p. 19.
4
years.10 In 1561, he became the master of the Liberian Chapel of Santa Maria Maggiore where
he accomplished his most enduring work.11 Finally, in 1571, he was restored as chapel master of
the Sistine Chapel, and remained there until his death in 1594.12 While at the Sistine Chapel, he
also served as chapel master of the oratory founded by St. Philip Neri.13 At the oratory,
Palestrina collaborated with Animuccia and St. Philip Neri to develop his oratorio, a solemn
religious form which was extra-liturgical. This form would become especially important during
the breakdown of 16th
century thought and life.14 St. Philip Neri was a counselor, admirer, and
friend of Palestrina for many years, and they would often discourse about the mysterious ways of
God.15 Palestrina died in the arms of his friend and confessor on February 2, 1594.16 His coffin
was marked with the words, “Prince of Music.”17 Palestrina‟s output includes 93 Masses for 4 to
8 voices, 139 motets, Lamentations, Offertories, Magnificats, Litanies, and Vesper-psalms.18 His
two most famous works are the Missa Papae Marcelli and the Improperia.
Historical Context
The music of Palestrina is first and foremost recognizably distinguished from the
“passionate” music introduced in Italy toward the end of the 16th
century by Monteverdi. To
help differentiate between the two, Palestrina‟s music was assigned the term “la prima practica”
10 Angoff, p. 27.
11 Angoff, p. 29.
12 Nemmers, p. 118.
13 Angoff, p. 48.
14 Brunner, p. 100.
15 Angoff, p. 54.
16 Weinmann, p. 116.
17 Squire, p. 99.
18 Weinmann, p. 116.
5
– a style of music which maintains a strict yet delicate command of the dissonant element.19
Palestrina‟s music is so unimpassioned, in fact, that it can hardly be compared with either the
Renaissance or the Baroque!20 Thus, rather than trying to classify it in accordance with sweeping
historical trends, it is most helpful to observe it in the specific context of Post-Tridentine
reforms. As its order and concise nature plainly show, Palestrina‟s music stands in direct
contrast with the verbosity of the Middle Ages.21
Jeppesen writes that “the music of the Palestrina era is what it is because of its
covenant with the dissonance; the breaking of this covenant meant the annihilation of that
ancient art.”22 In the context of history, Palestrina represents a turning point in the treatment of
dissonance. Up until his own time, the rules became stricter and stricter, and afterward, they
were gradually relaxed. Indeed, his works might even be considered a summary of centuries‟
worth of musical development: the melodies of chant, traced back through the more primitive
phases of polyphony are marvelously united with all the forms of dissonance treatment handed
down from France to England, from England to the Netherlands, and from the Netherlands to
Italy. These various currents of music are each fully represented, simplified, and refined in a
remarkable unity.23 Thus, the canonic and proportional devices of the Netherlanders and the
smooth flowing melodies of his Italian and Spanish predecessors met in Palestrina.24
This union which takes the form of classical polyphony is not without its unique set
of challenges. The listener of a polyphonic piece of music has the difficult task of either mentally
condensing the parts into a total impression or allowing himself to be enticed into following and
19 Jeppesen, p. 11.
20 Jeppesen, p. 16.
21 Jeppesen, p. 17.
22 Jeppesen, p. 11.
23 Jeppesen, p. 3.
24 Nemmers, p. 119.
6
spiritually immersing himself in single voices or parts. The more he concentrates on the tonal
impression, the less he will be able to follow the individual lines, but the more he concentrates
on the melody of a given part, the more his conception of the collective effect will recede into
the background.25 This more philosophical difficulty along with practical difficulties of the day
resulted in extensive discussion about polyphony.
At the time of Palestrina, Church music was primarily regarded as an “ecclesio-
liturgical art.”26 Thus, the liturgical link to church music, reiterated more and more frequently at
synods and provincial councils of the time, characterized personal interpretation and purely
music embroidery of a text as being inappropriate.27 The abuses of choral music during
Palestrina‟s lifetime stemmed from the influence of themes and words from secular tunes used as
cantus firmus. An even more prominent complaint, however, involved the rhythmic
interferences in polyphonic textures which led to such a garbling of the text that it was rendered
unintelligible.28 At the Council of Trent, although, polyphony was formally recognized along
with the medieval liturgical melodies as fit for liturgy, it included the condition that the texts
remain intelligible and that profane traits would be avoided.29 In Palestrina‟s music, the conflicts
between text and music, horizontal and vertical tensions, and counterpoint and harmony began to
reach important solutions.30 Especially in regard to the words of the longer, wordier texts of the
mass such as the Gloria or Credo, Palestrina prioritizes the text. 31 Most markedly in the Gloria,
25 Jeppesen, p. 27.
26 Brunner, p.92.
27 Brunner, p. 92.
28 Squire, p. 99.
29 Brunner, p. 93
30 Brunner, p. 94.
31 Jeppesen, p. 41-42.
7
Palestrina uses note-against-note techniques to provide distinctness of text and intelligibility of
declamation.
The consideration of a liturgical ideal brought about stylistic compromise: horizontal
and vertical tensions were equally stressed, and words were marked according to grammatical
accentuation. Within the constraints of polyphony, textual declamation was provided for, and
instead of personal interpretation, general stylizing provided for a more objective interpretation –
which definitively set it apart from secular music of the time which reached its highest
development in a subjective evaluation of the text.32 Brunner asserts that the novum genus
musicum (mentioned in the 1567 preface to Palestrina‟s masses) meant assembling all the
stylistic tendencies of his time and bringing them together in an ideal style which was capable of
producing a more balanced text-music compromise specifically desired by the Council of Trent.33
Indeed, Palestrina‟s music is characterized by an acute understanding of and sustained reflection
upon the spirit of Roman Catholic Reformation. The mood was thus one of meditation, mystery,
awe, and elation, all characteristics of the new Roman Catholic religious paradigm. In this, he
establishes a new church style, and the a cappella idiom of the Roman church ultimately derives
from the school of Palestrina, not the Venetian school.34
Ultimately, then, the Palestrina style led to a cultivation of vocal polyphony in its
more original form, called the stile antico.35 Palestrina is also considered the first of the Roman
school, and musically derives from the Netherland School.36 Squire comments, “like the name of
Moses in his age, or of David in his, Palestrina‟s name above all others, has stood for the best in
32 Brunner, p. 94.
33 Brunner, p. 95.
34 Squire, p. 103.
35 Brunner, p. 99.
36 Nemmers, p. 117.
8
sixteenth-century choral writing.”37 The great achievement of music on the part of Palestrina
reflected the better forces of the Roman Catholic Reformation. It stood in direct opposition to
the rising sensuality, emotional indulgence, and luxurious debauchery which much of the
hierarchy had become entangled with.38
The Pope Marcellus Mass
In the Missa Paipae Marcelli, more than in any other mass setting, Palestrina
endeavored to make the text as distinct as possible, and since he maintained that mode of writing
with such consistency throughout, it suggests that Palestrina was largely inspired by the views
concerning liturgical music at the council of Trent: “ut verba ab omnibus percipi possint.”39 The
problem of the Missa Paipae Marcelli was how to secure textual intelligibility without impairing
artistic value. He solved this by exhausting the many rich possibilities which writing for 6 parts
afforded him. He combined and recombined groups of voices, refreshing the ear with ever-
changing sound-combinations and shades of varying colors. While employing note-against-note,
he imparted a particularly special beauty to the upper voice.40
Concerning the Pope Marcellus mass, Burney makes the observation, “I can venture
to assert, that it is the most simple of Palestrina‟s works: no canon, inverted fugue or complicated
measures have been attempted throughout the composition, the harmony is pure, and by its
facility the performer and hearer are equally exempted from trouble.”41 Squire himself says, “in
purity, chastity, and technical subtlety, it represents one of the mountain peaks in the age of
37 Squire, p. 97.
38 Squire, p. 100.
39 Jeppesen, p. 44-45.
40 Jeppesen, p. 46.
41 Jeppesen, p. 41.
9
choral music – an age which began at least as early as the fourteenth century.”42 Fr. Baini is also
reported to have said, “It is always well balanced, always noble, always vivacious, always
logical, always full of sentiment, always growing more powerful and lofty; the words easy to
hear, the melodies suitable for prayer; the harmonies touch the heart, delightful and not
disturbing, pleasing and not distracting; lovely with the loveliness of the sanctuary.”43
Thus, by means of the Pope Marcellus mass, Palestrina provided proof that the arts
were not to blame for the incomprehensibility of liturgical texts, but rather the whims of
composers who preferred to make the music their first priority at the expense of the intelligibility
of the text.44 As a result, the Missa Papae Marcelli was set down for all generations as
Palestrina‟s finest and most renowned work.45
Style
Foundations
The leading sense of Palestrina‟s art was a natural genius for harmony paired with a
near ancient sense of the art of limitation.46 Repose and harmony stand out as the distinctive
features of his art.47 His purpose was to keep the linear character of the music as fluent and
elastic as possible. He zealously avoided anything that would produce too harsh an emphasis or
too extreme an effect. In order to keep the accent from becoming too strong, he either places it
on the weak part of the measure or equalizes the rhythm by another means.48 Additionally, he
42 Squire, p. 100.
43 Angoff, p. 41.
44 Weinmann, p. 114.
45 Weinmann, p. 114.
46 Jeppesen, p. 12.
47 Jeppesen, p. 13.
48 Jeppesen, p. 22.
10
will not stand for a free dissonance set in upon the accented half note; he absolutely prohibits it
as being rude and violent.49 Already, in the mere foundations of his style, the virtue of
temperance is so remarkably observed.
Modes
Palestrina bases his music upon the ecclesial modes in a remarkably conservative
way, especially with respect to the historical context. His attitude toward chromatic efforts was
critically revisional, and chromatic notes were known and employed which Palestrina avoided.50
Palestrina‟s music is decisively diatonic, and the use of any chromatic alteration he employs does
not substantially exceed what was valid in Gregorian chant. His art, however, is undeniably
polyphonic. He understood well the nature of the triad and the mutual relations of chords, most
especially the dominant.51 Palestrina consciously restricted himself to the modal church style
which was based on diatonic progressions.52 Just as in Gregorian chant, accidentals could be used
for melodic reasons, either to avoid direct tritones or tritone-like phrases, to follow the rule “una
nota super la,” or to render leaps possible which ordinarily were prohibited.53
Additionally, the unity of the mode is preserved by using endings which are peculiar
to each of the psalm tones of Gregorian chant. This left him the variety of twelve modes with
three or four endings characteristic to each mode.54 Nemmers makes the comment: “So perfectly
are separate melodies developed that it is difficult to realize that each is also merely a part of the
plan with its neighboring melodies.”55
49 Jeppesen, p. 29.
50 Jeppesen, p. 30.
51 Jeppesen, p. 32.
52 Squire, pp. 102-103.
53 Jeppesen, p. 33.
54 Nemmers, p. 119.
55 Nemmers, p. 119.
11
In agreement with the general inclination of his time, Palestrina preferred the major
chord over the minor. Whenever he employed a third in the final chord, it was the major, and
whenever he infrequently begins with a full chord, it is most often a major chord. This desire for
a major third causes a chromatic raising of the thirds in the Dorian, Phrygian, and Aeolian tonic
triads. To obtain major thirds for the dominant effect, exactly the same notes are required on the
fifth interval of the Dorian, Mixolydian, and Aeolian modes. In the Phrygian mode, the major
triad is avoided upon the fifth of the scale because the whole-tone interval between the 7th
and 8th
of the scale is principally characteristic to the mode.56 All accidentals are employed out of
consideration for harmony. Otherwise, only the lowered seventh scale degree is ever employed,
just like in Gregorian chant.57 Thus, Palestrina takes special care to imitate the art of Gregorian
chant as much as he is able to. His work is a practical example of how any style of music can
take seriously the mandate to treat Gregorian chant as a model for sacred music.
Treatment of Words
Palestrina‟s techniques especially demonstrate that the text holds a dominant position
in his musical composition.58 To achieve this purpose, he divides the composition according to
phrases of the text, creating melodic phrases according to the words, selects a rhythm
proportioned to the verbal accent, and maintains the independence of each vocal line within the
structure required for declamation.59
The declamation of text is artistically more significant and finely characteristic of
Palestrina than his rather superficial word-painting, and this shows its advantages mainly in
homophonic textures – which have been considered especially characteristic of the Palestrina
56 Jeppesen, p. 32.
57 Jeppesen, p. 32.
58 Brunner, p. 95.
59 Brunner, p. 95.
12
style because of the way he employs note-against-note to distinguish the text.60 Palestrina music
always uses syllables which belong together in obvious proximity to each other, avoids
separating syllables of the same words by overly prolonged ornamentation, and also avoids the
dismemberment of words through pauses.61
Melody
The starting point for Palestrina is the melodic line, and his art mainly consists in
developing and combing independently conceived lines.62 Since it is polyphonic in nature,
Palestrina‟s music is characterized by tension between the melodic and harmonic elements; two
conflicting powers whose outcome ultimately constitutes his style.63 Although Palestrina‟s
melodies form both ascending and descending curves, they tend mostly toward the broader,
downward tendency of Gregorian chant64 as one might expect. Jeppesen comments: “Proportion
and serenity are the principal tendencies of Palestrina‟s music, and there is perhaps no other
musical style in which the passionate momentum, (in the sense of violent and extreme
excitement) seems to be so restrained – even so consciously excluded – as in this field of art….
The attitude of Palestrina towards the accent is characterized by the strictest self-control and the
most exquisite refinement.”65
Only the following intervals are regularly used: the major and minor second and third,
the perfect fourth, the perfect fifth, the minor sixth (ascending only), and the octave. These are
identical to the intervals used in Gregorian chant except for the minor sixth ascending and the
60 Jeppesen, p. 41.
61 Jeppesen, p. 43.
62 Jeppesen, p. 48.
63 Jeppesen, p. 48.
64 Jeppesen, p. 50.
65 Jeppesen, p. 51.
13
octave, which are exclusive to the polyphony. This further signifies a return to the stricter
melodic fashion of Gregorian chant.66 Augmented and diminished intervals are never employed.67
Palestrina has an obvious disposition to place high notes on dynamically accented
points.68 In this practice, Palestrina is exploring a common origin of spoken language and music.
It is a philological fact that stress and high notes are frequently related, and thus there is a
phonetic rule that “the more weight the thought places upon the word, the higher the note it will
be given” and “the higher the pitch of a melodic point, the stronger the impression of mental
energy.”69 Again, Jeppesen says, “the greater delicacy with regard to these psychic tendencies
gives the style a certain character of naturalness and dispassionate calm, (not identical, however,
with apathy), while the opposite makes a more active – even defiant – impression.”70
When ascending, larger movements are most often placed at the beginning of the
curve, and the smaller ones come later. On the contrary, when descending, smaller movements
are most often placed at the beginning of the curve, and the larger ones come later. This creates
a natural dome-shaped curve:71 the ascending movement increases the projection of attention.72
The whole structure strikingly imitates the rise and fall (the élan and repos) of Gregorian
melody, the natural trajectory of a gravitational pull, or even the undulations of the waves of the
sea. This is why Vincente Galilei called Palestrina “the great imitator of nature.”73 He has a
delicate ear for what motions most accurately represent natural phenomena.
66 Jeppesen, p. 52.
67 Jeppesen, p. 57.
68 Jeppesen, p. 60.
69 Jeppesen, p. 57-58.
70 Jeppesen, p. 69.
71 Jeppesen, p. 73.
72 Jeppesen, p. 74.
73 Angoff, p. 47.
14
Since most ascending leaps are succeeded by the second below, this custom makes it
possible to perceive the minor sixth in relation to its second below – the perfect fifth. Thus, it
isn‟t so much an independent interval but an energetic expansion, a kind of logical function of
the perfect fifth which is not natural in the case of descending leaps (hence why it is never
employed).74
In his final remarks about the melody of Palestrina‟s style, Jeppesen poignantly
summarizes the genius of Palestrina‟s melodic structure:
“A noble repose and simplicity are the foremost and fundamental criteria of Palestrina‟s
melody. Here is indeed an art of fine transitions which keeps every vulgar element at
distance, - but without weakness or degeneracy, a style which pursues its expressional
aims with the marvelous energy and consistency peculiar to all great art. Above all it is,
however, characterized by its directness of aim, always seeking the shortest way and
employing the simplest and least conspicuous means, never failing in its wonderful
obedience to the claims of nature. Out of these springs a serene gentleness –
unmistakable token of supreme culture. Palestrina‟s style is an art of placid movement –
without harsh effects or violent contrast. In an elementary psychological mode of
expression, it might be designated as a certain equalized absorption of the attention –
translated into musical terms: a free and unobstructed flow of melody without sudden
effervescent outbreaks or forced climaxes, with no unprepared cessation or exhausted
fall, - a calm alternation, as devoutly accepted and borne as the alternation of the hours of
the day”75
Harmony
For Palestrina, the vertical ideal was Consonance, and more particularly the full triad
whenever possible.76 He attaches special importance to contriving a means for the imitation in
the third voice so that it is able to form a full triad with the preceding two. He accomplishes this
either by supplementing a previously placed third or in a movement of all three voices to the
triad.77 Additionally, the “fresh-notes” rule forbids the use of previously employed notes on all
74 Jeppesen, p. 78.
75 Jeppesen, pp. 83-84.
76 Jeppesen, p. 85.
77 Jeppesen, pp. 86-87.
15
important melodic points, since interest in the melody is weakened whenever these notes are
repeated.78
The existence of a vertical macro-rhythm naturally affects individual rhythms, and
thus lessons the independence of the individual voices.79 Jeppesen describes further how “the
rhythm of one voice fits into the others in such a manner as to avoid stoppage, and that the
greater note-values in one voice are offset by shorter notes in the others, – the whole to result in a
uniform, steadily flowing stream.”80 Once the movement has begun, Palestrina assures that at
least one note marks every single beat with either a new note or a new syllable, and it is not
considered good musical form for two or more voices to remain stationary at the same time:81
“In Palestrina one of the voices would for the most part be required to move, while the
others at the same time lie stationary to form the syncopation, so that it would always be
perfectly clear where the accented or unaccented beats lie. The rhythm of one voice is
thus contingent upon the other, and the one voice influences the other‟s course, so that we
can, strictly speaking, no longer talk of independence.”82
This complementarity of dependence and independence within the macro-rhythm and within
individual lines respectively further illustrates the genius of Palestrina‟s ability.
Character
As to the character of Palestrina, Squire writes, “Judging from his art he seems to
have been of an earnest, quiet disposition, and to have been characterized by a certain gentle
manliness combined with aristocratic reserve, and a pronounced natural aptitude for the
78 Jeppesen, p. 89.
79 Jeppesen, p. 90.
80 Jeppesen, p. 90.
81 Jeppesen, p. 90.
82 Jeppesen, p. 91.
16
harmonious.”83 Angoff echoes this sentiment by referring to Palestrina as “a man who wrote
sincerely, devoutly, majestically, and in greatest purity”84 In addition to these virtues, truly
Palestrina was a man of perseverance and hard work. Despite the enormous amount of
responsibilities he had at any given time, he still became, after Orlando de Lasso, the most
prolific composer of the Masters. Additionally, almost all of his compositions are dedicated to
the use of the Church and her different feasts – pure vocal music without instrumental or organ
accompaniment.85
This singular focus on the sacred is striking, and it begs many questions with regard
to Palestrina‟s spirituality. Biographers and analysts alike acknowledge the necessity for it.
Jeppesen, for example, attributes the early climax of Palestrina‟s style – at least in part – to his
spiritual disposition.86 Angoff, who has much to say with regards to these things, reports that
Palestrina was a very spiritual man and that the slightest trespass on religious propriety caused
him difficulty;87 he also attests to his wife‟s good character.88 Angoff even records these words
as penned by Palestrina‟s own hand:
“There are too many poems, the themes of which are love profane and unworthy of the
name and profession of Christians. These very songs, written by men filled with madness
and corrupters of youth, very many musicians have chosen for the subject-matter of their
art and industry. And by their very success with them, they have offended good and
serious men. I both blush and grieve that once I also belonged to the same class. But
since the past cannot be changed, nor what has been done undone, I turned over a new
leaf.”89
83 Jeppesen, p. 12.
84 Squire, p. 97.
85 Weinmann, pp. 115-116.
86 Jeppesen, p. 17.
87 Angoff, p. 15
88 Angoff, p. 17.
89 Angoff, pp. 14-15.
17
Despite how the secular street singers once attracted him with their songs of love and
adventure, Angoff shows that ultimately, his heart was set upon the service of God:90
“Palestrina was first and last a true believer. His music is but another form of prayer. It
has nothing to do with personal or other worldly feelings. It is addressed wholly to God;
its sole aim is to praise Him and to serve His church. All of Palestrina‟s music „breathes
the holy spirit of devotion.‟ That is why his masses and hymns will be sung as long as
there are genuine Christians and music lovers on the face of the earth.”91
Conclusion
After considering this brief survey of Palestrina‟s life, style, and character, several
conclusions can be drawn concerning how Palestrina acts as a model for composers of Sacred
Music. First, the composer must be diligent and hard working. He must never allow himself to
strain under the eight of his task, but ever push forward. Secondly, the composer must learn to
emulate and uphold explicit and particular principles of Gregorian chant in his work. By this, he
guarantees himself the truest union with the Church‟s mind and heart. Finally, he must live a life
of faith, and he must first and foremost be a man of virtue. He must take upon himself the
inspiration which so influenced Palestrina: he must take Christ to dwell in his life and work so
that whatever he does, he does for the greater honor and glory of God, and not himself.
90 Angoff, pp. 11-12
91 Angoff, p. 63-64.
18
BIBLIOGRAPHY
Angoff, Charles. Palestrina: Savior of Church Music. Illustrated by William Brady.
New York: Bernard Ackerman, 1944.
Coates, Henry. Palestrina, The Master Musicians. Edited by Eric Blom. London: J.
M. Dent & Sons Ltd., 1938.
Fellerer, Karl Gustav. The History of Catholic Church Music. Translated by Francis
A. Brunner. Baltimore: Helicon Press, 1961.
Jeppesen, Knud. The Style of Palestrina and the Dissonance, 2nd
ed. New York:
Dover Publications, Inc., 1970.
Nemmers, Erwin Esser. Twenty Centuries of Catholic Church Music. Milwaukee:
The Bruce Publishing Company, 1948.
Squire, Russel N. Church Music: Musical and Hymnological Developments in
Western Christianity. St. Louis: The Bethany Press, 1962.
Weinmann, Karl. History of Church Music. Translated. Westport: Greenword Press,
1910.