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Page "A cappella" ¶ 2
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polyphony and cappella
A cappella was originally intended to differentiate between Renaissance polyphony and Baroque concertato style.
By the 16th century, a cappella polyphony had further developed, but gradually, the cantata began to take the place of a cappella forms.
16th century a cappella polyphony, nonetheless, continued to influence church composers throughout this period and to the present day.
Since “ a cappella ” singing brought a new polyphony with instrumental accompaniment, it is not surprising that Protestant reformers who opposed the instruments ( such as Calvin and Zwingli ) also opposed the polyphony.
The third is an archaic type of modal " a cappella " vocal style in which a phrase sung by a soloist is answered by a choral phrase in 2-or 3-voice vertical polyphony / heterophony / harmony.
All regional styles of Georgian music have traditions of vocal a cappella polyphony, although in the most southern regions ( Meskheti and Lazeti ) only historical sources provide the information about the presence of vocal polyphony before the 20th century.
His earlier music is clearly in a Renaissance style, strictly a cappella with balanced polyphony between the voices, but after 1602 he wrote increasingly in an early Baroque style, with frequent concertato passages, and always with a basso continuo.
Often, sacred music in the concertato style in the early 17th century was descended from the motet: the texts that a hundred years earlier would have been set for a cappella voices singing in smooth polyphony, would now be set for voices and instruments in a concertato style.

polyphony and music
In the 19th century a renewed interest in Renaissance polyphony coupled with an ignorance of the fact that vocal parts were often doubled by instrumentalists led to the term coming to mean unaccompanied vocal music.
This taste for structural clarity worked its way into the world of music, moving away from the layered polyphony of the Baroque period, towards a style where a melody over a subordinate harmony — a combination called homophony — was preferred.
He found, in Haydn's music and later in his study of the polyphony of Bach, the means to discipline and enrich his gifts.
He has had a lasting influence on the development of church music, and his work has often been seen as the culmination of Renaissance polyphony.
This produced a smoother and more consonant type of polyphony which we now consider to be definitive of late Renaissance music, given Palestrina's position as Europe's leading composer ( along with Lassus ) in the wake of Josquin ( d. 1521 ).
20th and 21st century scholarship by and large retains the view that Palestrina was a strong and refined composer whose music represents a summit of technical perfection, while emphasizing that some of his contemporaries possessed equally individual voices even within the confines of " smooth polyphony.
The most obvious of these is the development of a comprehensive notational system ; however the theoretical advances, particularly in regard to rhythm and polyphony, are equally important to the development of western music.
* Medieval music: end of the Notre Dame school of polyphony
The first evidence of polyphony with more than one singer per part comes in the Old Hall Manuscript ( 1420, though containing music from the late 14th century ), in which there are apparent divisi, one part dividing into two simultaneously sounding notes.
The interaction of sung voices in Renaissance polyphony influenced Western music for centuries.
He wrote in many of the forms current in England at the time, including various types of sacred and secular polyphony, keyboard ( the so-called Virginalist school ) and consort music.
He was ideally equipped to provide elaborate polyphony to adorn the music making at the Catholic country houses of the time.
Martial school of organum, the music of which was often characterized by a swiftly moving part over a single sustained line ; the Notre Dame school of polyphony, which included the composers Léonin and Pérotin, and which produced the first music for more than two parts around 1200 ; the musical melting-pot of Santiago de Compostela in Galicia, a pilgrimage destination and site where musicians from many traditions came together in the late Middle Ages, the music of whom survives in the Codex Calixtinus ; and the English school, the music of which survives in the Worcester Fragments and the Old Hall Manuscript.
Although ledger lines are found occasionally in manuscripts of plainchant and early polyphony, it was only in the early 16th century in keyboard music that their use became at all extensive ( Anon.
Like his contemporary, the Finn Jean Sibelius, he studied Renaissance polyphony closely, which accounts for much of the melodic and harmonic " feel " of his music.
But other kinds of sacred music, especially polyphony, are by no means excluded from liturgical celebrations, so long as they accord with the spirit of the liturgical action ".
The choir's extensive repertoire ranges from the earliest church music and Gregorian chant, through the polyphony of Byrd and extending to 19th and 20th century composers such as Vierne and Stanford.
Some commonalities are near universal among Native American traditional music, however, especially the lack of harmony and polyphony, and the use of vocables and descending melodic figures.
Through its subsidiary label Archiv Produktion it also stimulated interest in Western medieval and renaissance music, 15th – 16th century choral polyphony, Gregorian chant, and pioneering use of historical instruments and performance practices in recordings.
Bach makes extensive use of choral fugues and imitative polyphony, often shifting the tempo and character of the music within movements very quickly to accommodate a new musical idea with each successive phrase of text.
The only restrictions actually given by the 22nd session was to keep secular elements out of the music making polyphony implicitly allowed.

polyphony and began
In the late 9th century, plainsong began to evolve into organum, which led to the development of polyphony.
Pure homophony became more common in his works, and he began to exploit registral and textural contrasts rather than switch from polyphony to homophony ; in addition, his lines became more lyrical.
Over time, composers began to write added parts that were not just simple transpositions, thus creating true polyphony.
Homophony began by appearing in sacred music, replacing polyphony and monophony as the dominant form, but spread to secular music, for which it is one of the standard forms today.

polyphony and develop
Apart from these common techniques, there are also other, more complex forms of polyphony: pedal drone polyphony in Eastern Georgia, particularly in Kartli and Kakheti table songs ( two highly embellished melodic lines develop rhythmically free on the background of pedal drone ), and contrapuntal polyphony in Achara, Imereti, Samegrelo, and particularly in Guria ( three and four part polyphony with highly individualized melodic lines in each part and the use of several polyphonic techniques ).

polyphony and Europe
Some of the better-known composers of this time include Dufay, Josquin des Prez, Giovanni Pierluigi da Palestrina, and William Byrd ; the glories of Renaissance polyphony were choral, sung by choirs of great skill and distinction all over Europe.
Each of the major nations of England, Ireland, Scotland and Wales retained unique forms of music and of instrumentation, but British music was highly influenced by continental developments, while British composers made an important contribution to many of the major movements in early music in Europe, including the polyphony of the Ars Nova and laid some of the foundations of later national and international classical music.
Situated on the border of Europe and Asia, Georgia is also the home of a variety of urban singing styles with a mixture of native polyphony, Middle Eastern monophony and late European harmonic languages.
Ars antiqua, also called ars veterum or ars vetus, refers to the music of Europe of the late Middle Ages between approximately 1170 and 1310, covering the period of the Notre Dame school of polyphony and the subsequent years which saw the early development of the motet.
Cardoso's works are models of Palestrinian polyphony, and are written in a refined, precise style which completely ignores the development of the Baroque idiom elsewhere in Europe.
The style of the compositions varies from simple homophony to polyphony and virtuoso passage-work ; unusual chromaticism also occurs, including strange double-inflections which were quite rare in music from other parts of Europe at the same time.
While this was also a technique which developed in Venice, it was widespread by the end of the 16th century: almost all composers of sacred polyphony used polychoral techniques at some time, especially those working in large acoustical environments ( such as most cathedrals in Europe ).
However, when Western Europe adopted polyphony, the music of the Roman Rite did become very elaborate and lengthy.

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