Download Concerto No.5 in A-Dur KV.219-Partitura completa by W.A.Mozart-Violin PDF

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Example text

In ancient Greek society, music was a requirement of every person’s education—educated persons were expected to be able to read music, sing music at sight, and take part in group forms of music-making. The ancient Greeks also saw an inseparable relationship between poetry and music. In the Renaissance, this translated to composers paying much closer attention to the organization and syntax of the text they were setting. They also placed importance on following the natural rhythm, pacing, and accentuation of the text.

Josquin’s renown comes mostly from his treatment of the texts, aiming to reflect the meaning of words through text depiction (instances where the music aims to paint an aural image of the words) and through text expression (where the overall musical work seeks to convey the emotional content of the words). The philosophy that music could convey extramusical meaning such as emotions was a common one for the ancient Greeks. But between antiquity and the late fifteenth century, this philosophy seemed to have been lost on composers of music—if they did attempt to convey emotion through music, they did so in a way that we cannot understand.

Thus, Calvinists stripped their church of all things superfluous, distracting, or ornamental: decorative paintings, sculptures, stainedglass windows, instruments, and polyphonic music were all banned from the church. In contrast to Luther who used various non-scriptural texts in music, Calvin asserted that only biblical texts, particularly the psalms, be sung in the church. Psalms, of course, are not uniform in length, making singing them quite difficult for congregations. Calvin’s solution to this was the metrical psalm— rhymed, metered, strophic psalms that had been translated into the vernacular and set to new melodies or existing chant tunes.

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