Sistine Chapel

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Words related to Sistine Chapel

the private chapel of the popes in Rome

References in periodicals archive ?
111), and a reorientation in the 1580s and 1590s that added new works with homophonic, declamatory, and polychoral textures, Thomas Schmidt-Beste deduces that "the choice between these two styles was apparently determined much less by aesthetic paradigms or by ecclesiastical decrees than by function and number of voices," both of which "quickly became archaic" to form "a kind of overarching stile antico which was the acknowledged domain of the Cappella Sistina" (p.
(1471-1484): die Chorbucher 14 und 51 des Fondo Cappella Sistina der Biblioteca Apostolica Vaticana, Capellae Apostolicae Sixtinaeque Collectanea, Acta, Monumenta, i (Vatican City, 1991); R.
(9) The official version of 1545 is the manuscript Rome, Biblioteca Apostolica Vaticana, Cappella Sistina (Capp.Sist.) 611, edited rather inaccurately by F.
Cappella Sistina 15 (probably though not certainly a single person).
Cappella Sistina 15, 23, 41, 42, 44, 49, 63 and 197.
In fact his 1541 print was known in Rome and is found in the Cappella Sistina collection, so the change of attribution does not lessen its relevance to the city, or its value as an example of the sort of music popular there up to the 1560s and beyond.
Some of the other startling work engages little-studied kinds of institutions or artistic expression: Gian Lodovico Masetti Zannini and Craig Monson offer carefully documented overviews of polyphony in Roman and Bolognese female monasteries, and Bonifazio Baroffio explores suggestively the changes to Gregorian chant in the Cappella Sistina and Cappella Giulia in the era of Catholic reform (Monson and Baroffio are the only authors to include music in their essays).
In fact, as far as the years 1585--90 are concerned, the diaries of the pontifical chapel (Diari sistini) and those of Paolo Alaleone de Branca, the pope's master of ceremonies, mention only the 'first Vespers' publicly held in the Cappella Sistina the day before Pentecost.
His opinion of the state of the choir is found in an undated motu proprio, the original of which is preserved in the fondo Cappella Sistina of the Biblioteca Apostolica Vaticana (see illus.4; the text is transcribed in appendix 1).(8)
Palestrina was employed by this institution for only a matter of months; nonetheless, the archives of the Cappella Sistina are dominated by his music, showing that there was a strong performing tradition even after he left.