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Music of the Church
The musical arts in Europe and America was strongly influenced and shaped by the institution we call the church (precisely, the Catholic Church), the government/court and the commercial institutions.
Church music has a long tradition and history in Western culture. It is said that in order to study the developments of music, one would imperatively refer to early records of church music because it is the church that has documents of this kind. Church music evolved from ancient Jewish traditions of psalms and canticles that trace its roots from the Mesopotamian period. ... This type of music is called monophonic, or one-voiced. Medieval Christian aesthetics stress that music was subordinate to the word. ...
It was during the Catholic Reformation, where the Roman Church’s puritan movement gathered around a charismatic and ascetic leader named Ignatius Loyola (1491-1556) and his followers called the Society of Jesus or the Jesuits, that the music in Catholic churches became focused on the changing Ordinary of the Mass . ... For example, Guilliaume Dufay (1400-1474) has made music different from the medieval music. ... The chant basis, called cantus firmus, might have some connection with the occasion of for which the Mass music was created, but would not have been sung in the service in its original form (Wilson, 1992). ... Though music was not one of the top priorities, it was given attention. ...
Court Music
The transfer of power brought about by
Sometimes, it is not only social conditions that determine the course of music, but also technical conditions of the period. ... Contact between the performers is no longer required and music is no longer dependent on conditions given by shape of the space in which it is performed (Blaukopf, 1992).
The musical work of art which comes out of a loud speaker is for many reasons no longer the same as that created by the artist, a clear distinction being required between music as art and transmitted music that seeks and finds its listeners under completely different conditions and objectives (Winzheimer, 1930)
The status of a musical work would definitely change when huge sum of investment money is concerned and when the creation of the musical piece itself would resemble an assembly line. ... The cathedral leaves its place to be accepted into the studio of an art lover; the choral work, which is performed in a hall or outdoors, is heard in a room (Benjamin, 1963)
The traditional presentation of music requires a tangible presence of a musician and a definite physical location and occasion of a performance.
Approximate Word count = 1959
Approximate Pages = 7.8
(250 words per page double spaced)
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