PALESTRINA AND THE BISHOPS
Palestrina placed the ancient elite and ecumenical art to which he claimed the key at the service of “the one holy, catholic and apostolic church” at the very moment when the church, under pressure from the northern Reformation, was renewing its age-old mission as the “Church Militant” (ecclesia militans). As we will see in a later chapter, that rekindled militancy was ultimately subversive of the ars perfecta. But in its early stages it created the demand for a new clarity in texture that could be seen as the ultimate refinement—the ultimate perfecting—of the traditional style. Clearly that was how Palestrina saw it. By seizing the opportunity to satisfy that demand, he created a prestigious masterwork, an influential style he could call his own, and a durable personal legend.
- Citation (MLA):
- Richard Taruskin. "Chapter 16 The End of Perfection." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 29 May. 2015. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-016005.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 16 The End of Perfection. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 29 May. 2015, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-016005.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 16 The End of Perfection." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 29 May. 2015, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-016005.xml