The final stage in Palestrina’s texturally clarified, harmonically saturated, motivically economical—in a word, “classical”—ars perfecta polyphony is reached in the book of Offertories that he published in the last year of his life. Tui sunt coeli (Ex. 16-13) is the one for Christmas. Compared with the Missa Papae Marcelli this pervasively imitative composition might seem a relapse into some bad old pre-Tridentine habits. But this is pervasive imitation with a difference. The points are tightly woven out of laconic motives that are precisely modeled on the pronunciation of the words.
- 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. 30 Jun. 2016. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-016007.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 30 Jun. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-016007.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 30 Jun. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-016007.xml