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. 1 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 1 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 1 Jun. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-016007.xml