FREEDOM AND CONSTRAINT
Such parallels are only too easy to overdraw, and we may take comfort on behalf of poor Pierluigi that he never suffered the imprisonment or mortal duress that the operatic Palestrina had to endure. Not only that, but Palestrina’s third book of Masses, published in 1570, contained the extremely complicated and “artificial” works in Netherlandish style already discussed and sampled in Ex. 16-2 and 16-3. Clearly there was never any actual inquisitorial ban on any form of Catholic worship music, at least in territories subject to the strictures of the Council of Trent.
- 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. 23 May. 2013. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-016006.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 23 May. 2013, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-016006.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 23 May. 2013, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-016006.xml