Musical instruments in the fifteenth century church
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Musical instruments in the fifteenth century church

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Published by Bois de Boulogne in Cambridge .
Written in English


  • Musical instruments -- Religious aspects -- Catholic Church -- History,
  • Church music -- Catholic Church -- 15th century

Book details:

Edition Notes

Other titlesRevue de musicologie.
Statementby Yvonne Rokseth.
LC ClassificationsML465 .R64
The Physical Object
Pagination[5] p.
ID Numbers
Open LibraryOL5719550M
ISBN 100900998016
LC Control Number70393178

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: Early English Church Music: 15th Century Liturgical Music III: Brussels Masses (): Curtis, Gareth: BooksAuthor: Gareth Curtis. Fourteenth Century: The Church s Babylonian Captivity and John Wycliffe Fifteenth Century: The Renaissance, Huss, Savonarola, and Groote Sixteenth Century: Luther, Calvin, and the Reformation Seventeenth Century: Reforming the Church in England Eighteenth Century: The Great Awakening Nineteenth Century: Beginnings of Modern Theology and Kingdom /5(47). Introduction. Musical instruments had a constant presence during the Middle Ages. They were a part of many activities and occasions, both formal and informal, and were played by professionals and amateurs. Very few instruments survive from the period, and therefore, most of our information about instruments and their use comes from literature. During the 15th century the heterogeneous sound of medieval music gradually changes by a more homogeneous musical taste. Around the instrument makers started building instruments as “families” with different sizes for high, middle and low range. Gradually the families grew bigger by developing new members for higher and lower ranges.

Everett Ferguson, an authority on church history, in A Cappella Music in the Public Worship of the Church, said, "Recent studies put the introduction of instrumental music even later than the dates found in reference books. It was perhaps as late as the tenth century . Organs started appearing in some churches in the 7th century and were a staple by the 13th century. Still, many respected theologians, including John Calvin, John Wesley, Martin Luther, and Charles Spurgeon, disapproved of instruments in services, and the Greek Orthodox Church still does not use instruments.   The majority of Church Fathers between AD and did not accept the use of musical instruments in church and the Christians worshipped God with psalms, hymns and spiritual songs in a chanting fashion. The Orthodox Church today would claim to follow this pattern based on the New Testament and early church tradition. By the 15th century, organ music was widely accepted in the Roman Catholic West, though it never caught on the Orthodox East. The Coptic and Ethiopian churches, by contrast, have their own musical traditions, which make use of ancient percussion : Elesha Coffman.

This combination of instruments was still in vogue in the time of Haydn and Mozart, and was used in most of their works for the Church except that they sometimes added two flutes, two clarinets (woodwind instrument of ancient origin, so called on account of the resemblance of its tones to the high tones of the clarino, or trumpet), and two trumpets. Musical instrument - Musical instrument - Classification of instruments: Instruments have been classified in various ways, some of which overlap. The Chinese divide them according to the material of which they are made—as, for example, stone, wood, silk, and metal. Writers in the Greco-Roman world distinguished three main types of instruments: wind, stringed, and percussion. During the 15th century, the sound of full triads became common, and towards the end of the 16th century the system of church modes began to break down entirely, giving way to the functional tonality (the system in which songs and pieces are based on musical "keys"), which would dominate Western art music for the next three centuries. Church Music in the Nineteenth Century, in series, Studies in Church Music. New York: Oxford University Press, p. Robin Sheldon, ed. In Spirit and in Truth: Exploring Directions in Music in Worship Today. London: Hodder & Stoughton, x, p. ISBN