University of Wisconsin-Green Bay

Literature and Styles in Music I

Music of the Reformation

I Musical Implications of Martin Luther's Movement (1517)

A. Luther, originally an Augustinian Monk, is a devoted amateur musician

plays lute, flute & sings; also composes
believes that music should have important role in worship

B. Believes in preserving tradition as well as adding to it

retains part of Roman Catholic Mass and makes some use of Gregorian chant
some changes: 1526 "German Mass" omits Gloria and condenses part of Proper of Mass; some new recitation tunes more suitable to German language; German hymns substituted for chant in many cases

II Lutheran Chorale as Basis of Lutheran Musical Tradition

A. Lutheran chorale melody is comparable to chant in its historical significance: a melodic and textural basis on which later, more elaborate forms are constructed

B. Sources of Lutheran chorale melodies

original compositions, e.g., "Ein Feste Burg" ("A Might Fortress is Our God")
Adaptations from chant: "Veni Sancte Spiritus" transformed into "Komm, Heileger Geist"
Adaptations from non-liturgical sacred songs
Contrafacta: secular songs with new texts

III Polyphonic Chorale Settings

A. Polyphonic settings of chorale melodies found in 1524 "Wittenberg Sacred Song Book," published by Johann Walther, Luther's musical advisor

38 polyphonic settings and 5 Latin Motets

B. "New German Sacred Songs" (1544) published by composer Georg Rhau

collection specifically for school use
contains works from 6 leading German and Swiss composers: Senfl, Stoltzer, Dietrich, Hellinck
chorale melodies set in a variety of ways:
- as in German lied: chorale melody in long notes surrounded by web of counterpoint
- like a Netherlands motet, e.g., phrase by phrase imitation
- simple chordal style, often with chorale melody in soprano and other parts functioning more harmonically than contrapuntally

C. Chorale Motet: most elaborate compositions based on chorale melodies

by end of 16th century, increasing tendency to incorporate choral melodies in more complex forms
just as chant became used as raw material on which to base elaborate new compositions, chorale melodies used in elaborate motets are often not recognizable
major composers: Hassler, Eccard, Praetorius

IV Protestant Music in Other Countries

A. Other Protestant leaders more suspicious of music

B. Calvinist Church's use of music general restricted to Psalters (i.e., musical settings of the Psalms)

melodies either new or adapted from chant
very simple settings: originally sung in unison; later, simple 4-part chordal settings
- more elaborate motet-like settings rare
Major Psalters:
- French Psalter (1564 & 1565) and Genevan Psalter
  - some melodies adapted as Lutheran Chorales
  - Dutch Translation of French Psalter replaces earlier 3-part settings of Clemens Non Papa in Holland
  - French Psalter also influences English Psalters (e.g., Sternhold & Hopkins Psalter, 1562) and Scottish Psalter
- English and French Psalters both incorporated into Ainsworth Psalter, used by English separatists in Holland and by the pilgrims in 1620, which remains in use in America even after publication of the first American Psalter in 1640, the "Bay Psalm Book"
Psalter melodies seldom used in elaborate compositions

C. England: Church of England (Anglican)

Edward VI encourages simple, homophonic settings in which the words are clear
Principal Anglican forms:
- Service includes Morning, Evening Prayer and Communion (Mass)
  - Service may be "Short" (relatively simple and homophonic) or "Great" (more elaborately contrapuntal)
- Anthem (two types):
  - "Full Anthem," in contrapuntal style for chorus
  - "Verse Anthem," involving soloists and organ or ensemble accompaniment as well as chorus
  - Principal composers: Tye, Tallis, Weelkes, Tomkins, Gibbons, Byrd
  Last Update 6/21/06
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