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In areas where Catholicism predominated, architecture [41] and painting, [42] and to a lesser extent music, reflected Counter-Reformation goals. [43] The Council of Trent proclaimed that architecture, painting and sculpture had a role in conveying Catholic theology. Any work that might arouse "carnal desire" was inadmissible in churches, while ...
Organ music would play a large role in Lutheran music later on. Luther said that music ought to be “accorded the greatest honour and a place next to theology” due to its great importance. [20] During the Reformation, Luther did much to encourage the composition and publication of hymns, and wrote numerous worship songs in German. [21]
In addition to a regulation of figural music, the Council of Trent (1545–1563) also gave instructions for the Gregorian chant. Thus, only four of the sequences of the late Middle Ages were admitted in the official Roman liturgy. The Counter-Reformation also recognized the importance of the vernacular hymn.
To effect a reformation in discipline or administration. This object had been one of the causes calling forth the reformatory councils and had been lightly touched upon by the Fifth Council of the Lateran under Pope Julius II. The obvious corruption in the administration of the Church was one of the numerous causes of the Reformation.
In his view, Catholic Reformation was "centered on the care of souls ..., episcopal residence, the renewal of the clergy, together with the charitable and educational roles of the new religious orders", whereas Counter-Reformation was "founded upon the defence of orthodoxy, the repression of dissent, the reassertion of ecclesiastical authority ...
Some subjects were given increased prominence to reflect Counter-Reformation emphases. The Repentance of Peter, showing the end of the episode of the Denial of Peter, was not often seen before the Counter-Reformation, when it became popular as an assertion of the sacrament of Confession against Protestant attacks.
As maestro di capella of St Philip Neri's Oratory and the Capella Giulia at St Peter's, he was composing music at the very center of the Roman Catholic Church, during the turbulent reforms of the Counter-Reformation and as part of the new movements that began to flourish around the middle of the century. His music reflects these changes.
Giovanni Pierluigi da Palestrina (between 3 February 1525 and 2 February 1526 – 2 February 1594) [n 1] was an Italian composer of late Renaissance music.The central representative of the Roman School, with Orlande de Lassus and Tomás Luis de Victoria, Palestrina is considered the leading composer of late 16th-century Europe.