. Pope Marcellus Mass Palestrina's best known work, the Pope Marcellus Mass, was written during 1562 and 1563 and dedicated to Pope Marcellus II. The mass is freely composed, not based upon a cantus firmus or parody. The upper voice parts of thePope Marcellus Mass were sung by boy sopranos or adult males with high voices. What is the movement of the Pope Marcellus Mass? The rhythm flows continuously to the end of each section, when all voices come together on sustained chords. Copy. ANS: T DIF: Medium REF: 94 TOP: Counter-Reformation MSC: Factual We have textbook solutions for you! a. monophony b. imitative polyphony c. non-imitative polyphony d. homophony. ANS: F DIF: Medium REF: 94 TOP: Counter-Reformation MSC: Applied 8. It is sung in Latin, the official language of the Roman Catholic Church. Related questions. answer. The most momentous tale of all credits Giovanni Pierluigi da Palestrina's Missa Papae Marcelli ("Pope Marcellus Mass") with nothing less than single-handedly rescuing the future course of the art of Western music from a ban by the all-powerful Catholic Church. Christe eleison. The Missa Papae Marcelli consists, like most Renaissance masses, of a Kyrie, Gloria, Credo, Sanctus/Benedictus, and Agnus Dei, though the third part of the Agnus Dei is a separate movement (designated "Agnus II"). Study now. It was sung at the Papal Coronation Masses (the last being the coronation of Paul VI in 1963). See answer (1) Best Answer. . The dense counterpoint in thePope MarcellusMass obscures the words. Respecting the edicts from the Counter-Reformation, Palestrina composed a six-part polyphonic Mass called the Pope Marcellus Mass, to prove that counterpoint IS compatible with the criteria for acceptable church music. Marcellus II was succeeded by Paul IV, who did not share the same support for the arts as his predecessors Marcellus II (as if he really mattered) and Julius III. question. Crystallized in the Kyrie of the Pope Marcellus Mass, Palestrina's new direction pays great attention to cadences, which provide resting points for listeners. For example, the text for the Kyrie: Kyrie eleison. It's scored for six voices in a rich polyphonic texture filled with imitation, i.e., echoing of melodic motives. The Marcellus is a musical setting of the so-called Ordinary of the massthat is, the texts that remain constant throughout the annual church calendar. Describe the following: Rhythm Harmony Texture Medium Genre Stylistic Era Composer Date Title Question : After listening to Palestrina's Pope Marcellus Mass, Gloria and Handel's Messiah, "Rejoice greatly". 2012-09-07 21:05:53. achieving a wonderful variety of choral textures. In the Latin mass those include the "Kyrie," "Gloria," "Credo," "Sanctus" (sometimes divided into the "Sanctus" and "Benedictus"), and "Agnus Dei." b. used polyphonic lines in . . The text he harkens back to Gregorian Chant in that it only use the basic text for each song, without any filler, or elaborations. [Palestrina perhaps wrote his Pope Marcellus Mass in response to an event that took place on Good Friday in 1555, when Pope Marcellus II (d. 1555)three days after starting his reign . Kyrie. Cadences at keywords also reinforce the spiritual message and break up the entire narrative like scenes in a play or film. The texture of the entire massall five movementsis six voice polyphony. Palestrina's Pope Marcellus Mass was written to show that classical counterpoint and clarity of text setting could live together, and thus Palestrina "saved music." . Mass. Homophony. What is the predominant texture of "Qui tollis" from the Gloria of the Pope Marcellus Mass? Wiki User. Palestrina, so the legend goes, composed The Pope Marcellus Mass in order to save polyphonic music: not only to demonstrate its uncanny ability to conjure feelings of the divine, but to show that simultaneous and rhythmically independent vocal lines could be written in a manner that would allow the words to remain comprehensible. Which Of the following which best describes the texture of the Pope Marcellus Mass? Polyphony. Each of the three sections begins in a thin texture with only some of the voices sounding; but as the other voices enter, the music becomes increasingly full and rich. In the Gloria and Credo the full six-voice texture sounds less than one-fifth of the time, and it is contrasted with some 25 different choral combinations. answer. Palestrina, Gloria, from Pope Marcellus Mass0:09 The Gloria has many lines of text that vary in length, and a few phrases and lines of text are used more than once ("Domine Deus," "Jesu Christe," and "Qui tollis peccata mundi"). QUESTION. After listening to Palestrina's Pope Marcellus Mass, Gloria and Handel's Messiah, "Rejoice greatly". [citation needed This technique, employed as Palestrina did, was actually quite ahead of its time, pointing to the chordal, block-like . Coupled with moments of lock-step homophony (all voices moving . Published in 1567, the work is well known for its beautiful, intricate harmonies, and it has been studied for centuries as an example of polyphonic choral music. 11 Knud Jeppesen, "Problems of the Pope Marcellus Mass: Some Remarks on the Missa Papae Marcelli by Giovanni Pierluigi da Palestrina" (trans. What is the texture of the Pope Marcellus Mass? QUESTION "Simultaneous improvisation by all members of a group" is an accurate definition for collective improvisation. Lewis Lockwood), . In terms of texture, High Renaissance composers: a. focused on the horizontal aspects of music at the expense of the vertical aspects. answer. 2 answers. The result was Missa Papae Marcelli (the Mass of Pope Marcellus), a work so beautiful that it influenced officials to vote in favor of keeping music. His Pope Marcellus Mass is prime example of the clarity of text, and restraint required by the decisions handed down by the Council of Trent. The Missa Papae Marcelli makes the lyrics "comprehensible" because the phrases usually start out in chords before breaking into a more polyphonic texture. Missa Papae Marcelli, or Pope Marcellus Mass, is a mass sine nomine by Giovanni Pierluigi da Palestrina.It is his best-known mass, and is regarded as an archetypal example of the complex polyphony championed by Palestrina. Its texture is mixed mostly by homorhythmic and particular parts of polyphony. You may remember that Palestrina was THE musical voice of the Counter-Reformation. It uses more voices and alternates choirs; it is more homophonic. Published in 1567, the Mass was dedicated to Pope Marcellus II (1501-1555), who reigned only three weeks in 1555. How does the "Qui tollis" from Pope Marcellus differ from the "Qui tollis" in the Pange lingua Mass? What is the predominant texture of "Qui tollis" from the Gloria of the Pope Marcellus Mass? Palestrina wrote this mass most likely in 1562 to honor the late Pope Marcellus II, who reigned for 3 weeks during 1555. The Mass was so effective and so admired that the Council then . Marcellus had a weak constitution and he succumbed to illness shortly after being named pope. The Missa Papae Marcelli consists, like most Renaissance masses, of a Kyrie, Gloria, Credo, Sanctus/Benedictus, and Agnus Dei, though the third part of the Agnus Dei is a separate movement (designated "Agnus II"). Six-voice polyphony. The mass is freely composed, not based upon a cantus firmus, paraphrase, or parody. Gloria from Pope Marcellus Mass was composed by Palestrina as a sacred choral work performed purely in 6-part choirs including a soprano, an alto, two tenors, and a bass.