subsubsection

対抗宗教改革

The Council of Trent met sporadically from December 13, 1545, to December 4, 1563, to reform many parts of the Catholic Church. The 22nd session of the council, which met in 1562, dealt with Church music in Canon 8 in the section of "Abuses in the Sacrifice of the Mass" during a meeting of the council on September 10, 1562.Canon 8 is often quoted as the Council of Trent's decree on Church music, but that is a glaring misunderstanding of the canon; it was only a proposed decree. In fact, the delegates at the council never officially accepted canon 8 in its popular form but bishops of Granada, Coimbra, and Segovia pushed for the long statement about music to be attenuated and many other prelates of the council joined enthusiastically. The only restrictions actually given by the 22nd session was to keep secular elements out of the music, making polyphony implicitly allowed. The issue of textual intelligibility did not make its way into the final edicts of the 22nd session but were only featured in preliminary debates. The 22nd session only prohibited "lascivious" and "profane" things to be intermingled with the music but Paleotti, in his Acts, brings to equal importance the issues of intelligibility.The idea that the council called to remove all polyphony from the Church is widespread, but there is no documentary evidence to support that claim. It is possible, however, that some of the Fathers had proposed such a measure. The emperor Ferdinand I, Holy Roman Emperor has been attributed to be the "saviour of Church music" because he said polyphony ought not to be driven out of the Church. But Ferdinand was most likely an alarmist and read into the council the possibility of a total ban on polyphony. The Council of Trent did not focus on the style of music but on attitudes of worship and reverence during the Mass.

Prompt: 対抗宗教改革の参考文献について見たとき、その現代の出来事の第22回会期中の改革をどのように議論しますか？英語で出力して下さい。

Catholic Church
Catholic Church
Council of Trent
Ferdinand I, Holy Roman Emperor


subsubsection

対抗宗教改革

The crises regarding polyphony and intelligibility of the text and the threat that polyphony was to be removed completely, which was assumed to be coming from the council, has a very dramatic legend of resolution. The legend goes that Giovanni Pierluigi da Palestrina , a Church musician and choirmaster in Rome, wrote a Mass for the council delegates in order to demonstrate that a polyphonic composition could set the text in such a way that the words could be clearly understood and that was still pleasing to the ear. Palestrina's Missa Papae Marcelli  was performed before the council and received such a welcoming reception among the delegates that they completely changed their minds and allowed polyphony to stay in use in the musical liturgy. Therefore, Palestrina came to be named the "saviour of Church polyphony". This legend, though unfounded, has long been a mainstay of histories of music. The saviour-myth was first spread by an account by Aggazzari and Banchieri in 1609 who said that Pope Marcellus was trying to replace all polyphony with plainsong. Palestrina's "Missa Papae Marcelli" was, though, in 1564, after the 22nd session, performed for the Pope while reforms were being considered for the Sistine Choir.The Pope Marcellus Mass, in short, was not important in its own day and did not help save Church polyphony. What is undeniable is that despite any solid evidence of his influence during or after the Council of Trent, no figure is more qualified to represent the cause of polyphony in the Mass than Palestrina. Pope Pius IV upon hearing Palestrina's music would make Palestrina, by Papal Brief, the model for future generations of Catholic composers of sacred music.

Prompt: 対抗宗教改革の参考文献に焦点を当てて、現代の出来事についての救世主-伝説を説明してください。英語で出力して下さい。


subsubsection

対抗宗教改革

The crises regarding polyphony and intelligibility of the text and the threat that polyphony was to be removed completely, which was assumed to be coming from the council, has a very dramatic legend of resolution. The legend goes that Giovanni Pierluigi da Palestrina , a Church musician and choirmaster in Rome, wrote a Mass for the council delegates in order to demonstrate that a polyphonic composition could set the text in such a way that the words could be clearly understood and that was still pleasing to the ear. Palestrina's Missa Papae Marcelli  was performed before the council and received such a welcoming reception among the delegates that they completely changed their minds and allowed polyphony to stay in use in the musical liturgy. Therefore, Palestrina came to be named the "saviour of Church polyphony". This legend, though unfounded, has long been a mainstay of histories of music. The saviour-myth was first spread by an account by Aggazzari and Banchieri in 1609 who said that Pope Marcellus was trying to replace all polyphony with plainsong. Palestrina's "Missa Papae Marcelli" was, though, in 1564, after the 22nd session, performed for the Pope while reforms were being considered for the Sistine Choir.The Pope Marcellus Mass, in short, was not important in its own day and did not help save Church polyphony. What is undeniable is that despite any solid evidence of his influence during or after the Council of Trent, no figure is more qualified to represent the cause of polyphony in the Mass than Palestrina. Pope Pius IV upon hearing Palestrina's music would make Palestrina, by Papal Brief, the model for future generations of Catholic composers of sacred music.

Prompt: 対抗宗教改革の参考文献の現代の出来事に関する救世主-伝説を説明してください。英語で出力して下さい。


subsubsection

対抗宗教改革

The crises regarding polyphony and intelligibility of the text and the threat that polyphony was to be removed completely, which was assumed to be coming from the council, has a very dramatic legend of resolution. The legend goes that Giovanni Pierluigi da Palestrina , a Church musician and choirmaster in Rome, wrote a Mass for the council delegates in order to demonstrate that a polyphonic composition could set the text in such a way that the words could be clearly understood and that was still pleasing to the ear. Palestrina's Missa Papae Marcelli  was performed before the council and received such a welcoming reception among the delegates that they completely changed their minds and allowed polyphony to stay in use in the musical liturgy. Therefore, Palestrina came to be named the "saviour of Church polyphony". This legend, though unfounded, has long been a mainstay of histories of music. The saviour-myth was first spread by an account by Aggazzari and Banchieri in 1609 who said that Pope Marcellus was trying to replace all polyphony with plainsong. Palestrina's "Missa Papae Marcelli" was, though, in 1564, after the 22nd session, performed for the Pope while reforms were being considered for the Sistine Choir.The Pope Marcellus Mass, in short, was not important in its own day and did not help save Church polyphony. What is undeniable is that despite any solid evidence of his influence during or after the Council of Trent, no figure is more qualified to represent the cause of polyphony in the Mass than Palestrina. Pope Pius IV upon hearing Palestrina's music would make Palestrina, by Papal Brief, the model for future generations of Catholic composers of sacred music.

Prompt: 対抗宗教改革に関して、参考文献の現代の出来事は救世主-伝説をどのように取り入れていますか？英語で出力して下さい。


subsubsection

対抗宗教改革

The crises regarding polyphony and intelligibility of the text and the threat that polyphony was to be removed completely, which was assumed to be coming from the council, has a very dramatic legend of resolution. The legend goes that Giovanni Pierluigi da Palestrina , a Church musician and choirmaster in Rome, wrote a Mass for the council delegates in order to demonstrate that a polyphonic composition could set the text in such a way that the words could be clearly understood and that was still pleasing to the ear. Palestrina's Missa Papae Marcelli  was performed before the council and received such a welcoming reception among the delegates that they completely changed their minds and allowed polyphony to stay in use in the musical liturgy. Therefore, Palestrina came to be named the "saviour of Church polyphony". This legend, though unfounded, has long been a mainstay of histories of music. The saviour-myth was first spread by an account by Aggazzari and Banchieri in 1609 who said that Pope Marcellus was trying to replace all polyphony with plainsong. Palestrina's "Missa Papae Marcelli" was, though, in 1564, after the 22nd session, performed for the Pope while reforms were being considered for the Sistine Choir.The Pope Marcellus Mass, in short, was not important in its own day and did not help save Church polyphony. What is undeniable is that despite any solid evidence of his influence during or after the Council of Trent, no figure is more qualified to represent the cause of polyphony in the Mass than Palestrina. Pope Pius IV upon hearing Palestrina's music would make Palestrina, by Papal Brief, the model for future generations of Catholic composers of sacred music.

Prompt: 対抗宗教改革の参考文献について見たとき、その現代の出来事の救世主-伝説をどのように議論しますか？英語で出力して下さい。


subsubsection

対抗宗教改革

200pxrightLike his contemporary Palestrina, the Flemish composer Jacobus de Kerle  was also credited with giving a model of composition for the Council of Trent. His composition in four-parts, Preces, marks the "official turning point of the Counter Reformation's a cappella ideal." Kerle was the only ranking composer of the Netherlands to have acted in conformity with the council. Another musical giant on equal standing with Palestrina, Orlando di sso  was an important figure in music history though less of a purist than Palestrina. He expressed sympathy for the council's concerns but still showed favor for the "Parady chanson Masses." It was left then up to the local Church leaders and Church musicians to find proper application for the council's decrees.Though originally theological and directed towards the attitudes of the musicians, the Council's decrees came to be thought of by Church musicians as a pronouncement on proper musical styles. Composers who reference the council's reforms in prefaces to their compositions do not adequately claim a musical basis from the council but a spiritual and religious basis of their art. Borromeo was likely involved or heard of the questions regarding textual clarity because of his request to Ruffo.Ruffo took Borromeo's commission seriously and set out to compose in a style that presented the text so that all words would be intelligible and the textual meaning be the most important part of the composition. His approach was to move all the voices in a homorhythmic manner with no complicated rhythms, and to use dissonance very conservatively. Ruffo's approach was certainly a success for textual clarity and simplicity, but if his music was very theoretically pure it was not an artistic success despite Ruffo's attempts to bring interest to the monotonous four-part texture. Ruffo's compositional style which favored the text was well in line with the council's perceived concern with intelligibility. Thus the belief in the council's strong edicts regarding textual intelligibility became to characterize the development of sacred Church music.The Council of Trent brought about other changes in music: most notably developing the Missa brevis, uda and "Spiritual Madrigal" . Additionally, the numerous sequences were mostly prohibited in the 1570 Missal of Pius V. The remaining sequences were Victimae paschali laudes for Easter, Veni Sancte Spiritus for Pentecost, uda Sion Salvatorem for Corpus Christi, and Dies Irae for All Souls and for Masses for the Dead.Another reform following the Council of Trent was the publication of the 1568 Roman Breviary.

Prompt: 対抗宗教改革の参考文献に焦点を当てて、現代の出来事についてのトリエント公会議後の改革を説明してください。英語で出力して下さい。


subsubsection

対抗宗教改革

200pxrightLike his contemporary Palestrina, the Flemish composer Jacobus de Kerle  was also credited with giving a model of composition for the Council of Trent. His composition in four-parts, Preces, marks the "official turning point of the Counter Reformation's a cappella ideal." Kerle was the only ranking composer of the Netherlands to have acted in conformity with the council. Another musical giant on equal standing with Palestrina, Orlando di sso  was an important figure in music history though less of a purist than Palestrina. He expressed sympathy for the council's concerns but still showed favor for the "Parady chanson Masses." It was left then up to the local Church leaders and Church musicians to find proper application for the council's decrees.Though originally theological and directed towards the attitudes of the musicians, the Council's decrees came to be thought of by Church musicians as a pronouncement on proper musical styles. Composers who reference the council's reforms in prefaces to their compositions do not adequately claim a musical basis from the council but a spiritual and religious basis of their art. Borromeo was likely involved or heard of the questions regarding textual clarity because of his request to Ruffo.Ruffo took Borromeo's commission seriously and set out to compose in a style that presented the text so that all words would be intelligible and the textual meaning be the most important part of the composition. His approach was to move all the voices in a homorhythmic manner with no complicated rhythms, and to use dissonance very conservatively. Ruffo's approach was certainly a success for textual clarity and simplicity, but if his music was very theoretically pure it was not an artistic success despite Ruffo's attempts to bring interest to the monotonous four-part texture. Ruffo's compositional style which favored the text was well in line with the council's perceived concern with intelligibility. Thus the belief in the council's strong edicts regarding textual intelligibility became to characterize the development of sacred Church music.The Council of Trent brought about other changes in music: most notably developing the Missa brevis, uda and "Spiritual Madrigal" . Additionally, the numerous sequences were mostly prohibited in the 1570 Missal of Pius V. The remaining sequences were Victimae paschali laudes for Easter, Veni Sancte Spiritus for Pentecost, uda Sion Salvatorem for Corpus Christi, and Dies Irae for All Souls and for Masses for the Dead.Another reform following the Council of Trent was the publication of the 1568 Roman Breviary.

Prompt: 対抗宗教改革の参考文献の現代の出来事に関するトリエント公会議後の改革を説明してください。英語で出力して下さい。


subsubsection

対抗宗教改革

200pxrightLike his contemporary Palestrina, the Flemish composer Jacobus de Kerle  was also credited with giving a model of composition for the Council of Trent. His composition in four-parts, Preces, marks the "official turning point of the Counter Reformation's a cappella ideal." Kerle was the only ranking composer of the Netherlands to have acted in conformity with the council. Another musical giant on equal standing with Palestrina, Orlando di sso  was an important figure in music history though less of a purist than Palestrina. He expressed sympathy for the council's concerns but still showed favor for the "Parady chanson Masses." It was left then up to the local Church leaders and Church musicians to find proper application for the council's decrees.Though originally theological and directed towards the attitudes of the musicians, the Council's decrees came to be thought of by Church musicians as a pronouncement on proper musical styles. Composers who reference the council's reforms in prefaces to their compositions do not adequately claim a musical basis from the council but a spiritual and religious basis of their art. Borromeo was likely involved or heard of the questions regarding textual clarity because of his request to Ruffo.Ruffo took Borromeo's commission seriously and set out to compose in a style that presented the text so that all words would be intelligible and the textual meaning be the most important part of the composition. His approach was to move all the voices in a homorhythmic manner with no complicated rhythms, and to use dissonance very conservatively. Ruffo's approach was certainly a success for textual clarity and simplicity, but if his music was very theoretically pure it was not an artistic success despite Ruffo's attempts to bring interest to the monotonous four-part texture. Ruffo's compositional style which favored the text was well in line with the council's perceived concern with intelligibility. Thus the belief in the council's strong edicts regarding textual intelligibility became to characterize the development of sacred Church music.The Council of Trent brought about other changes in music: most notably developing the Missa brevis, uda and "Spiritual Madrigal" . Additionally, the numerous sequences were mostly prohibited in the 1570 Missal of Pius V. The remaining sequences were Victimae paschali laudes for Easter, Veni Sancte Spiritus for Pentecost, uda Sion Salvatorem for Corpus Christi, and Dies Irae for All Souls and for Masses for the Dead.Another reform following the Council of Trent was the publication of the 1568 Roman Breviary.

Prompt: 対抗宗教改革に関して、参考文献の現代の出来事はトリエント公会議後の改革をどのように取り入れていますか？英語で出力して下さい。


subsubsection

対抗宗教改革

200pxrightLike his contemporary Palestrina, the Flemish composer Jacobus de Kerle  was also credited with giving a model of composition for the Council of Trent. His composition in four-parts, Preces, marks the "official turning point of the Counter Reformation's a cappella ideal." Kerle was the only ranking composer of the Netherlands to have acted in conformity with the council. Another musical giant on equal standing with Palestrina, Orlando di sso  was an important figure in music history though less of a purist than Palestrina. He expressed sympathy for the council's concerns but still showed favor for the "Parady chanson Masses." It was left then up to the local Church leaders and Church musicians to find proper application for the council's decrees.Though originally theological and directed towards the attitudes of the musicians, the Council's decrees came to be thought of by Church musicians as a pronouncement on proper musical styles. Composers who reference the council's reforms in prefaces to their compositions do not adequately claim a musical basis from the council but a spiritual and religious basis of their art. Borromeo was likely involved or heard of the questions regarding textual clarity because of his request to Ruffo.Ruffo took Borromeo's commission seriously and set out to compose in a style that presented the text so that all words would be intelligible and the textual meaning be the most important part of the composition. His approach was to move all the voices in a homorhythmic manner with no complicated rhythms, and to use dissonance very conservatively. Ruffo's approach was certainly a success for textual clarity and simplicity, but if his music was very theoretically pure it was not an artistic success despite Ruffo's attempts to bring interest to the monotonous four-part texture. Ruffo's compositional style which favored the text was well in line with the council's perceived concern with intelligibility. Thus the belief in the council's strong edicts regarding textual intelligibility became to characterize the development of sacred Church music.The Council of Trent brought about other changes in music: most notably developing the Missa brevis, uda and "Spiritual Madrigal" . Additionally, the numerous sequences were mostly prohibited in the 1570 Missal of Pius V. The remaining sequences were Victimae paschali laudes for Easter, Veni Sancte Spiritus for Pentecost, uda Sion Salvatorem for Corpus Christi, and Dies Irae for All Souls and for Masses for the Dead.Another reform following the Council of Trent was the publication of the 1568 Roman Breviary.

Prompt: 対抗宗教改革の参考文献について見たとき、その現代の出来事のトリエント公会議後の改革をどのように議論しますか？英語で出力して下さい。


subsection

対抗宗教改革

upright=1The Cologne War  was a conflict between Protestant and Catholic factions that devastated the Electorate of Cologne. After Archbishop Gebhard Truchsess von Waldburg, the prince-elector ruling the area, converted to Protestantism, Catholics elected another archbishop, Ernst of Bavaria, and successfully defeated Gebhard and his allies.

Prompt: 対抗宗教改革の文脈で、ケルンとドイツを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

upright=1The Cologne War  was a conflict between Protestant and Catholic factions that devastated the Electorate of Cologne. After Archbishop Gebhard Truchsess von Waldburg, the prince-elector ruling the area, converted to Protestantism, Catholics elected another archbishop, Ernst of Bavaria, and successfully defeated Gebhard and his allies.

Prompt: 対抗宗教改革のドイツに関するケルンを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

upright=1The Cologne War  was a conflict between Protestant and Catholic factions that devastated the Electorate of Cologne. After Archbishop Gebhard Truchsess von Waldburg, the prince-elector ruling the area, converted to Protestantism, Catholics elected another archbishop, Ernst of Bavaria, and successfully defeated Gebhard and his allies.

Prompt: 対抗宗教改革では、どのようにドイツのケルンが説明されていますか？英語で出力して下さい。


subsection

対抗宗教改革

upright=1The Cologne War  was a conflict between Protestant and Catholic factions that devastated the Electorate of Cologne. After Archbishop Gebhard Truchsess von Waldburg, the prince-elector ruling the area, converted to Protestantism, Catholics elected another archbishop, Ernst of Bavaria, and successfully defeated Gebhard and his allies.

Prompt: 対抗宗教改革のドイツにおけるケルンの特徴を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The effects of the Council of Trent and the Counter-Reformation also paved the way for Ruthenian Orthodox Christians to return to full communion with the Catholic Church while preserving their Byzantine tradition. Pope Clement VIII received the Ruthenian bishops into full communion on February 7, 1596. Under the treaty of the Union of Brest, Rome recognized the Ruthenians' continued practice of Byzantine liturgical tradition, married clergy, and consecration of bishops from within the Ruthenian Christian tradition. Moreover, the treaty specifically exempts Ruthenians from accepting the Filioque clause and Purgatory as a condition for reconciliation.

Prompt: 対抗宗教改革の文脈で、ウクライナとドイツを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The effects of the Council of Trent and the Counter-Reformation also paved the way for Ruthenian Orthodox Christians to return to full communion with the Catholic Church while preserving their Byzantine tradition. Pope Clement VIII received the Ruthenian bishops into full communion on February 7, 1596. Under the treaty of the Union of Brest, Rome recognized the Ruthenians' continued practice of Byzantine liturgical tradition, married clergy, and consecration of bishops from within the Ruthenian Christian tradition. Moreover, the treaty specifically exempts Ruthenians from accepting the Filioque clause and Purgatory as a condition for reconciliation.

Prompt: 対抗宗教改革のドイツに関するウクライナを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The effects of the Council of Trent and the Counter-Reformation also paved the way for Ruthenian Orthodox Christians to return to full communion with the Catholic Church while preserving their Byzantine tradition. Pope Clement VIII received the Ruthenian bishops into full communion on February 7, 1596. Under the treaty of the Union of Brest, Rome recognized the Ruthenians' continued practice of Byzantine liturgical tradition, married clergy, and consecration of bishops from within the Ruthenian Christian tradition. Moreover, the treaty specifically exempts Ruthenians from accepting the Filioque clause and Purgatory as a condition for reconciliation.

Prompt: 対抗宗教改革では、どのようにドイツのウクライナが説明されていますか？英語で出力して下さい。


subsection

対抗宗教改革

The effects of the Council of Trent and the Counter-Reformation also paved the way for Ruthenian Orthodox Christians to return to full communion with the Catholic Church while preserving their Byzantine tradition. Pope Clement VIII received the Ruthenian bishops into full communion on February 7, 1596. Under the treaty of the Union of Brest, Rome recognized the Ruthenians' continued practice of Byzantine liturgical tradition, married clergy, and consecration of bishops from within the Ruthenian Christian tradition. Moreover, the treaty specifically exempts Ruthenians from accepting the Filioque clause and Purgatory as a condition for reconciliation.

Prompt: 対抗宗教改革のドイツにおけるウクライナの特徴を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The st Judgment, a fresco in the Sistine Chapel by Michelangelo , came under persistent attack in the Counter-Reformation for, among other things, nudity , not showing Christ seated or bearded, and including the pagan figure of Charon.Italian painting after 1520, with the notable exception of the art of Venice, developed into Mannerism, a highly sophisticated style striving for effect, that concerned many Churchmen as lacking appeal for the mass of the population. Church pressure to restrain religious imagery affected art from the 1530s and resulted in the decrees of the final session of the Council of Trent in 1563 including short and rather inexplicit passages concerning religious images, which were to have great impact on the development of Catholic art. Previous Catholic councils had rarely felt the need to pronounce on these matters, unlike Orthodox ones which have often ruled on specific types of images.The decree confirmed the traditional doctrine that images only represented the person depicted, and that veneration to them was paid to the person, not the image, and further instructed that:</ref>}}Ten years after the decree Paolo Veronese was summoned by the Holy Office to explain why his st Supper, a huge canvas for the refectory of a monastery, contained, in the words of the Holy Office: "buffoons, drunken Germans, dwarfs and other such scurrilities" as well as extravagant costumes and settings, in what is indeed a fantasy version of a Venetian patrician feast. Veronese was told that he must change his painting within a three-month period. He just changed the title to The Feast in the House of Levi, still an episode from the Gospels, but a less doctrinally central one, and no more was said.The number of such decorative treatments of religious subjects declined sharply, as did "unbecomingly or confusedly arranged" Mannerist pieces, as a number of books, notably by the Flemish theologian Molanus, Charles Borromeo and Cardinal Gabriele Paleotti, and instructions by local bishops, amplified the decrees, often going into minute detail on what was acceptable. Much traditional iconography considered without adequate scriptural foundation was in effect prohibited, as was any inclusion of classical pagan elements in religious art, and almost all nudity, including that of the infant Jesus.According to the great medievalist Émile Mâle, this was "the death of medieval art", but it paled in contrast to the Iconclasm present in some Protestant circles and did not apply to secular paintings. Some Counter Reformation painters and sculptors include Titian, Tintoretto, Federico Barocci, Scipione Pulzone, El Greco, Peter Paul Rubens, Guido Reni, Anthony van Dyck, Bernini, Zurbarán, Rembrandt and Bartolomé Esteban Murillo.

Prompt: 対抗宗教改革の文脈で、ディクリーソナートとドイツを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The st Judgment, a fresco in the Sistine Chapel by Michelangelo , came under persistent attack in the Counter-Reformation for, among other things, nudity , not showing Christ seated or bearded, and including the pagan figure of Charon.Italian painting after 1520, with the notable exception of the art of Venice, developed into Mannerism, a highly sophisticated style striving for effect, that concerned many Churchmen as lacking appeal for the mass of the population. Church pressure to restrain religious imagery affected art from the 1530s and resulted in the decrees of the final session of the Council of Trent in 1563 including short and rather inexplicit passages concerning religious images, which were to have great impact on the development of Catholic art. Previous Catholic councils had rarely felt the need to pronounce on these matters, unlike Orthodox ones which have often ruled on specific types of images.The decree confirmed the traditional doctrine that images only represented the person depicted, and that veneration to them was paid to the person, not the image, and further instructed that:</ref>}}Ten years after the decree Paolo Veronese was summoned by the Holy Office to explain why his st Supper, a huge canvas for the refectory of a monastery, contained, in the words of the Holy Office: "buffoons, drunken Germans, dwarfs and other such scurrilities" as well as extravagant costumes and settings, in what is indeed a fantasy version of a Venetian patrician feast. Veronese was told that he must change his painting within a three-month period. He just changed the title to The Feast in the House of Levi, still an episode from the Gospels, but a less doctrinally central one, and no more was said.The number of such decorative treatments of religious subjects declined sharply, as did "unbecomingly or confusedly arranged" Mannerist pieces, as a number of books, notably by the Flemish theologian Molanus, Charles Borromeo and Cardinal Gabriele Paleotti, and instructions by local bishops, amplified the decrees, often going into minute detail on what was acceptable. Much traditional iconography considered without adequate scriptural foundation was in effect prohibited, as was any inclusion of classical pagan elements in religious art, and almost all nudity, including that of the infant Jesus.According to the great medievalist Émile Mâle, this was "the death of medieval art", but it paled in contrast to the Iconclasm present in some Protestant circles and did not apply to secular paintings. Some Counter Reformation painters and sculptors include Titian, Tintoretto, Federico Barocci, Scipione Pulzone, El Greco, Peter Paul Rubens, Guido Reni, Anthony van Dyck, Bernini, Zurbarán, Rembrandt and Bartolomé Esteban Murillo.

Prompt: 対抗宗教改革のドイツに関するディクリーソナートを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The st Judgment, a fresco in the Sistine Chapel by Michelangelo , came under persistent attack in the Counter-Reformation for, among other things, nudity , not showing Christ seated or bearded, and including the pagan figure of Charon.Italian painting after 1520, with the notable exception of the art of Venice, developed into Mannerism, a highly sophisticated style striving for effect, that concerned many Churchmen as lacking appeal for the mass of the population. Church pressure to restrain religious imagery affected art from the 1530s and resulted in the decrees of the final session of the Council of Trent in 1563 including short and rather inexplicit passages concerning religious images, which were to have great impact on the development of Catholic art. Previous Catholic councils had rarely felt the need to pronounce on these matters, unlike Orthodox ones which have often ruled on specific types of images.The decree confirmed the traditional doctrine that images only represented the person depicted, and that veneration to them was paid to the person, not the image, and further instructed that:</ref>}}Ten years after the decree Paolo Veronese was summoned by the Holy Office to explain why his st Supper, a huge canvas for the refectory of a monastery, contained, in the words of the Holy Office: "buffoons, drunken Germans, dwarfs and other such scurrilities" as well as extravagant costumes and settings, in what is indeed a fantasy version of a Venetian patrician feast. Veronese was told that he must change his painting within a three-month period. He just changed the title to The Feast in the House of Levi, still an episode from the Gospels, but a less doctrinally central one, and no more was said.The number of such decorative treatments of religious subjects declined sharply, as did "unbecomingly or confusedly arranged" Mannerist pieces, as a number of books, notably by the Flemish theologian Molanus, Charles Borromeo and Cardinal Gabriele Paleotti, and instructions by local bishops, amplified the decrees, often going into minute detail on what was acceptable. Much traditional iconography considered without adequate scriptural foundation was in effect prohibited, as was any inclusion of classical pagan elements in religious art, and almost all nudity, including that of the infant Jesus.According to the great medievalist Émile Mâle, this was "the death of medieval art", but it paled in contrast to the Iconclasm present in some Protestant circles and did not apply to secular paintings. Some Counter Reformation painters and sculptors include Titian, Tintoretto, Federico Barocci, Scipione Pulzone, El Greco, Peter Paul Rubens, Guido Reni, Anthony van Dyck, Bernini, Zurbarán, Rembrandt and Bartolomé Esteban Murillo.

Prompt: 対抗宗教改革では、どのようにドイツのディクリーソナートが説明されていますか？英語で出力して下さい。


subsection

対抗宗教改革

The st Judgment, a fresco in the Sistine Chapel by Michelangelo , came under persistent attack in the Counter-Reformation for, among other things, nudity , not showing Christ seated or bearded, and including the pagan figure of Charon.Italian painting after 1520, with the notable exception of the art of Venice, developed into Mannerism, a highly sophisticated style striving for effect, that concerned many Churchmen as lacking appeal for the mass of the population. Church pressure to restrain religious imagery affected art from the 1530s and resulted in the decrees of the final session of the Council of Trent in 1563 including short and rather inexplicit passages concerning religious images, which were to have great impact on the development of Catholic art. Previous Catholic councils had rarely felt the need to pronounce on these matters, unlike Orthodox ones which have often ruled on specific types of images.The decree confirmed the traditional doctrine that images only represented the person depicted, and that veneration to them was paid to the person, not the image, and further instructed that:</ref>}}Ten years after the decree Paolo Veronese was summoned by the Holy Office to explain why his st Supper, a huge canvas for the refectory of a monastery, contained, in the words of the Holy Office: "buffoons, drunken Germans, dwarfs and other such scurrilities" as well as extravagant costumes and settings, in what is indeed a fantasy version of a Venetian patrician feast. Veronese was told that he must change his painting within a three-month period. He just changed the title to The Feast in the House of Levi, still an episode from the Gospels, but a less doctrinally central one, and no more was said.The number of such decorative treatments of religious subjects declined sharply, as did "unbecomingly or confusedly arranged" Mannerist pieces, as a number of books, notably by the Flemish theologian Molanus, Charles Borromeo and Cardinal Gabriele Paleotti, and instructions by local bishops, amplified the decrees, often going into minute detail on what was acceptable. Much traditional iconography considered without adequate scriptural foundation was in effect prohibited, as was any inclusion of classical pagan elements in religious art, and almost all nudity, including that of the infant Jesus.According to the great medievalist Émile Mâle, this was "the death of medieval art", but it paled in contrast to the Iconclasm present in some Protestant circles and did not apply to secular paintings. Some Counter Reformation painters and sculptors include Titian, Tintoretto, Federico Barocci, Scipione Pulzone, El Greco, Peter Paul Rubens, Guido Reni, Anthony van Dyck, Bernini, Zurbarán, Rembrandt and Bartolomé Esteban Murillo.

Prompt: 対抗宗教改革のドイツにおけるディクリーソナートの特徴を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent is believed to be the apex of the Counter-Reformation's influence on Church music in the 16th century. However, the council's pronouncements on music were not the first attempt at reform. The Catholic Church had spoken out against a perceived abuse of music used in the Mass before the Council of Trent ever convened to discuss music in 1562. The manipulation of the Creed and using non-liturgical songs was addressed in 1503, and secular singing and the intelligibility of the text in the delivery of psalmody in 1492. The delegates at the council were just a link in the long chain of Church clergy who had pushed for a reform of the musical liturgy reaching back as far as 1322.Probably the most extreme move at reform came late in 1562 when, instructed by the legates, Egidio Foscarari  and Gabriele Paleotti  began work on reforming religious orders and their practices involving the liturgy. The reforms prescribed to the cloisters of nuns, which included omitting the use of an organ, prohibiting professional musicians, and banishing polyphonic singing, were much more strict than any of the council's edicts or even those to be found in the Palestrina legend.Fueling the cry for reform from many ecclesial figures was the compositional technique popular in the 15th and 16th centuries of using musical material and even the accompanying texts from other compositions such as motets, madrigals, and chansons. Several voices singing different texts in different languages made any of the text difficult to distinguish from the mixture of words and notes. The parody mass would then contain melodies  and words from songs that could have been, and often were, on sensual subjects. The musical liturgy of the Church was being more and more influenced by secular tunes and styles. The Council of Paris, which met in 1528, as well as the Council of Trent were making attempts to restore the sense of sacredness to the Church setting and what was appropriate for the Mass. The councils were simply responding to issues of their day.

Prompt: 対抗宗教改革の文脈で、トリエント公会議前の改革とドイツを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent is believed to be the apex of the Counter-Reformation's influence on Church music in the 16th century. However, the council's pronouncements on music were not the first attempt at reform. The Catholic Church had spoken out against a perceived abuse of music used in the Mass before the Council of Trent ever convened to discuss music in 1562. The manipulation of the Creed and using non-liturgical songs was addressed in 1503, and secular singing and the intelligibility of the text in the delivery of psalmody in 1492. The delegates at the council were just a link in the long chain of Church clergy who had pushed for a reform of the musical liturgy reaching back as far as 1322.Probably the most extreme move at reform came late in 1562 when, instructed by the legates, Egidio Foscarari  and Gabriele Paleotti  began work on reforming religious orders and their practices involving the liturgy. The reforms prescribed to the cloisters of nuns, which included omitting the use of an organ, prohibiting professional musicians, and banishing polyphonic singing, were much more strict than any of the council's edicts or even those to be found in the Palestrina legend.Fueling the cry for reform from many ecclesial figures was the compositional technique popular in the 15th and 16th centuries of using musical material and even the accompanying texts from other compositions such as motets, madrigals, and chansons. Several voices singing different texts in different languages made any of the text difficult to distinguish from the mixture of words and notes. The parody mass would then contain melodies  and words from songs that could have been, and often were, on sensual subjects. The musical liturgy of the Church was being more and more influenced by secular tunes and styles. The Council of Paris, which met in 1528, as well as the Council of Trent were making attempts to restore the sense of sacredness to the Church setting and what was appropriate for the Mass. The councils were simply responding to issues of their day.

Prompt: 対抗宗教改革のドイツに関するトリエント公会議前の改革を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent is believed to be the apex of the Counter-Reformation's influence on Church music in the 16th century. However, the council's pronouncements on music were not the first attempt at reform. The Catholic Church had spoken out against a perceived abuse of music used in the Mass before the Council of Trent ever convened to discuss music in 1562. The manipulation of the Creed and using non-liturgical songs was addressed in 1503, and secular singing and the intelligibility of the text in the delivery of psalmody in 1492. The delegates at the council were just a link in the long chain of Church clergy who had pushed for a reform of the musical liturgy reaching back as far as 1322.Probably the most extreme move at reform came late in 1562 when, instructed by the legates, Egidio Foscarari  and Gabriele Paleotti  began work on reforming religious orders and their practices involving the liturgy. The reforms prescribed to the cloisters of nuns, which included omitting the use of an organ, prohibiting professional musicians, and banishing polyphonic singing, were much more strict than any of the council's edicts or even those to be found in the Palestrina legend.Fueling the cry for reform from many ecclesial figures was the compositional technique popular in the 15th and 16th centuries of using musical material and even the accompanying texts from other compositions such as motets, madrigals, and chansons. Several voices singing different texts in different languages made any of the text difficult to distinguish from the mixture of words and notes. The parody mass would then contain melodies  and words from songs that could have been, and often were, on sensual subjects. The musical liturgy of the Church was being more and more influenced by secular tunes and styles. The Council of Paris, which met in 1528, as well as the Council of Trent were making attempts to restore the sense of sacredness to the Church setting and what was appropriate for the Mass. The councils were simply responding to issues of their day.

Prompt: 対抗宗教改革では、どのようにドイツのトリエント公会議前の改革が説明されていますか？英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent is believed to be the apex of the Counter-Reformation's influence on Church music in the 16th century. However, the council's pronouncements on music were not the first attempt at reform. The Catholic Church had spoken out against a perceived abuse of music used in the Mass before the Council of Trent ever convened to discuss music in 1562. The manipulation of the Creed and using non-liturgical songs was addressed in 1503, and secular singing and the intelligibility of the text in the delivery of psalmody in 1492. The delegates at the council were just a link in the long chain of Church clergy who had pushed for a reform of the musical liturgy reaching back as far as 1322.Probably the most extreme move at reform came late in 1562 when, instructed by the legates, Egidio Foscarari  and Gabriele Paleotti  began work on reforming religious orders and their practices involving the liturgy. The reforms prescribed to the cloisters of nuns, which included omitting the use of an organ, prohibiting professional musicians, and banishing polyphonic singing, were much more strict than any of the council's edicts or even those to be found in the Palestrina legend.Fueling the cry for reform from many ecclesial figures was the compositional technique popular in the 15th and 16th centuries of using musical material and even the accompanying texts from other compositions such as motets, madrigals, and chansons. Several voices singing different texts in different languages made any of the text difficult to distinguish from the mixture of words and notes. The parody mass would then contain melodies  and words from songs that could have been, and often were, on sensual subjects. The musical liturgy of the Church was being more and more influenced by secular tunes and styles. The Council of Paris, which met in 1528, as well as the Council of Trent were making attempts to restore the sense of sacredness to the Church setting and what was appropriate for the Mass. The councils were simply responding to issues of their day.

Prompt: 対抗宗教改革のドイツにおけるトリエント公会議前の改革の特徴を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent met sporadically from December 13, 1545, to December 4, 1563, to reform many parts of the Catholic Church. The 22nd session of the council, which met in 1562, dealt with Church music in Canon 8 in the section of "Abuses in the Sacrifice of the Mass" during a meeting of the council on September 10, 1562.Canon 8 is often quoted as the Council of Trent's decree on Church music, but that is a glaring misunderstanding of the canon; it was only a proposed decree. In fact, the delegates at the council never officially accepted canon 8 in its popular form but bishops of Granada, Coimbra, and Segovia pushed for the long statement about music to be attenuated and many other prelates of the council joined enthusiastically. The only restrictions actually given by the 22nd session was to keep secular elements out of the music, making polyphony implicitly allowed. The issue of textual intelligibility did not make its way into the final edicts of the 22nd session but were only featured in preliminary debates. The 22nd session only prohibited "lascivious" and "profane" things to be intermingled with the music but Paleotti, in his Acts, brings to equal importance the issues of intelligibility.The idea that the council called to remove all polyphony from the Church is widespread, but there is no documentary evidence to support that claim. It is possible, however, that some of the Fathers had proposed such a measure. The emperor Ferdinand I, Holy Roman Emperor has been attributed to be the "saviour of Church music" because he said polyphony ought not to be driven out of the Church. But Ferdinand was most likely an alarmist and read into the council the possibility of a total ban on polyphony. The Council of Trent did not focus on the style of music but on attitudes of worship and reverence during the Mass.

Prompt: 対抗宗教改革の文脈で、第22回会期中の改革とドイツを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent met sporadically from December 13, 1545, to December 4, 1563, to reform many parts of the Catholic Church. The 22nd session of the council, which met in 1562, dealt with Church music in Canon 8 in the section of "Abuses in the Sacrifice of the Mass" during a meeting of the council on September 10, 1562.Canon 8 is often quoted as the Council of Trent's decree on Church music, but that is a glaring misunderstanding of the canon; it was only a proposed decree. In fact, the delegates at the council never officially accepted canon 8 in its popular form but bishops of Granada, Coimbra, and Segovia pushed for the long statement about music to be attenuated and many other prelates of the council joined enthusiastically. The only restrictions actually given by the 22nd session was to keep secular elements out of the music, making polyphony implicitly allowed. The issue of textual intelligibility did not make its way into the final edicts of the 22nd session but were only featured in preliminary debates. The 22nd session only prohibited "lascivious" and "profane" things to be intermingled with the music but Paleotti, in his Acts, brings to equal importance the issues of intelligibility.The idea that the council called to remove all polyphony from the Church is widespread, but there is no documentary evidence to support that claim. It is possible, however, that some of the Fathers had proposed such a measure. The emperor Ferdinand I, Holy Roman Emperor has been attributed to be the "saviour of Church music" because he said polyphony ought not to be driven out of the Church. But Ferdinand was most likely an alarmist and read into the council the possibility of a total ban on polyphony. The Council of Trent did not focus on the style of music but on attitudes of worship and reverence during the Mass.

Prompt: 対抗宗教改革のドイツに関する第22回会期中の改革を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent met sporadically from December 13, 1545, to December 4, 1563, to reform many parts of the Catholic Church. The 22nd session of the council, which met in 1562, dealt with Church music in Canon 8 in the section of "Abuses in the Sacrifice of the Mass" during a meeting of the council on September 10, 1562.Canon 8 is often quoted as the Council of Trent's decree on Church music, but that is a glaring misunderstanding of the canon; it was only a proposed decree. In fact, the delegates at the council never officially accepted canon 8 in its popular form but bishops of Granada, Coimbra, and Segovia pushed for the long statement about music to be attenuated and many other prelates of the council joined enthusiastically. The only restrictions actually given by the 22nd session was to keep secular elements out of the music, making polyphony implicitly allowed. The issue of textual intelligibility did not make its way into the final edicts of the 22nd session but were only featured in preliminary debates. The 22nd session only prohibited "lascivious" and "profane" things to be intermingled with the music but Paleotti, in his Acts, brings to equal importance the issues of intelligibility.The idea that the council called to remove all polyphony from the Church is widespread, but there is no documentary evidence to support that claim. It is possible, however, that some of the Fathers had proposed such a measure. The emperor Ferdinand I, Holy Roman Emperor has been attributed to be the "saviour of Church music" because he said polyphony ought not to be driven out of the Church. But Ferdinand was most likely an alarmist and read into the council the possibility of a total ban on polyphony. The Council of Trent did not focus on the style of music but on attitudes of worship and reverence during the Mass.

Prompt: 対抗宗教改革では、どのようにドイツの第22回会期中の改革が説明されていますか？英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent met sporadically from December 13, 1545, to December 4, 1563, to reform many parts of the Catholic Church. The 22nd session of the council, which met in 1562, dealt with Church music in Canon 8 in the section of "Abuses in the Sacrifice of the Mass" during a meeting of the council on September 10, 1562.Canon 8 is often quoted as the Council of Trent's decree on Church music, but that is a glaring misunderstanding of the canon; it was only a proposed decree. In fact, the delegates at the council never officially accepted canon 8 in its popular form but bishops of Granada, Coimbra, and Segovia pushed for the long statement about music to be attenuated and many other prelates of the council joined enthusiastically. The only restrictions actually given by the 22nd session was to keep secular elements out of the music, making polyphony implicitly allowed. The issue of textual intelligibility did not make its way into the final edicts of the 22nd session but were only featured in preliminary debates. The 22nd session only prohibited "lascivious" and "profane" things to be intermingled with the music but Paleotti, in his Acts, brings to equal importance the issues of intelligibility.The idea that the council called to remove all polyphony from the Church is widespread, but there is no documentary evidence to support that claim. It is possible, however, that some of the Fathers had proposed such a measure. The emperor Ferdinand I, Holy Roman Emperor has been attributed to be the "saviour of Church music" because he said polyphony ought not to be driven out of the Church. But Ferdinand was most likely an alarmist and read into the council the possibility of a total ban on polyphony. The Council of Trent did not focus on the style of music but on attitudes of worship and reverence during the Mass.

Prompt: 対抗宗教改革のドイツにおける第22回会期中の改革の特徴を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The crises regarding polyphony and intelligibility of the text and the threat that polyphony was to be removed completely, which was assumed to be coming from the council, has a very dramatic legend of resolution. The legend goes that Giovanni Pierluigi da Palestrina , a Church musician and choirmaster in Rome, wrote a Mass for the council delegates in order to demonstrate that a polyphonic composition could set the text in such a way that the words could be clearly understood and that was still pleasing to the ear. Palestrina's Missa Papae Marcelli  was performed before the council and received such a welcoming reception among the delegates that they completely changed their minds and allowed polyphony to stay in use in the musical liturgy. Therefore, Palestrina came to be named the "saviour of Church polyphony". This legend, though unfounded, has long been a mainstay of histories of music. The saviour-myth was first spread by an account by Aggazzari and Banchieri in 1609 who said that Pope Marcellus was trying to replace all polyphony with plainsong. Palestrina's "Missa Papae Marcelli" was, though, in 1564, after the 22nd session, performed for the Pope while reforms were being considered for the Sistine Choir.The Pope Marcellus Mass, in short, was not important in its own day and did not help save Church polyphony. What is undeniable is that despite any solid evidence of his influence during or after the Council of Trent, no figure is more qualified to represent the cause of polyphony in the Mass than Palestrina. Pope Pius IV upon hearing Palestrina's music would make Palestrina, by Papal Brief, the model for future generations of Catholic composers of sacred music.

Prompt: 対抗宗教改革の文脈で、救世主-伝説とドイツを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The crises regarding polyphony and intelligibility of the text and the threat that polyphony was to be removed completely, which was assumed to be coming from the council, has a very dramatic legend of resolution. The legend goes that Giovanni Pierluigi da Palestrina , a Church musician and choirmaster in Rome, wrote a Mass for the council delegates in order to demonstrate that a polyphonic composition could set the text in such a way that the words could be clearly understood and that was still pleasing to the ear. Palestrina's Missa Papae Marcelli  was performed before the council and received such a welcoming reception among the delegates that they completely changed their minds and allowed polyphony to stay in use in the musical liturgy. Therefore, Palestrina came to be named the "saviour of Church polyphony". This legend, though unfounded, has long been a mainstay of histories of music. The saviour-myth was first spread by an account by Aggazzari and Banchieri in 1609 who said that Pope Marcellus was trying to replace all polyphony with plainsong. Palestrina's "Missa Papae Marcelli" was, though, in 1564, after the 22nd session, performed for the Pope while reforms were being considered for the Sistine Choir.The Pope Marcellus Mass, in short, was not important in its own day and did not help save Church polyphony. What is undeniable is that despite any solid evidence of his influence during or after the Council of Trent, no figure is more qualified to represent the cause of polyphony in the Mass than Palestrina. Pope Pius IV upon hearing Palestrina's music would make Palestrina, by Papal Brief, the model for future generations of Catholic composers of sacred music.

Prompt: 対抗宗教改革のドイツに関する救世主-伝説を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The crises regarding polyphony and intelligibility of the text and the threat that polyphony was to be removed completely, which was assumed to be coming from the council, has a very dramatic legend of resolution. The legend goes that Giovanni Pierluigi da Palestrina , a Church musician and choirmaster in Rome, wrote a Mass for the council delegates in order to demonstrate that a polyphonic composition could set the text in such a way that the words could be clearly understood and that was still pleasing to the ear. Palestrina's Missa Papae Marcelli  was performed before the council and received such a welcoming reception among the delegates that they completely changed their minds and allowed polyphony to stay in use in the musical liturgy. Therefore, Palestrina came to be named the "saviour of Church polyphony". This legend, though unfounded, has long been a mainstay of histories of music. The saviour-myth was first spread by an account by Aggazzari and Banchieri in 1609 who said that Pope Marcellus was trying to replace all polyphony with plainsong. Palestrina's "Missa Papae Marcelli" was, though, in 1564, after the 22nd session, performed for the Pope while reforms were being considered for the Sistine Choir.The Pope Marcellus Mass, in short, was not important in its own day and did not help save Church polyphony. What is undeniable is that despite any solid evidence of his influence during or after the Council of Trent, no figure is more qualified to represent the cause of polyphony in the Mass than Palestrina. Pope Pius IV upon hearing Palestrina's music would make Palestrina, by Papal Brief, the model for future generations of Catholic composers of sacred music.

Prompt: 対抗宗教改革では、どのようにドイツの救世主-伝説が説明されていますか？英語で出力して下さい。


subsection

対抗宗教改革

The crises regarding polyphony and intelligibility of the text and the threat that polyphony was to be removed completely, which was assumed to be coming from the council, has a very dramatic legend of resolution. The legend goes that Giovanni Pierluigi da Palestrina , a Church musician and choirmaster in Rome, wrote a Mass for the council delegates in order to demonstrate that a polyphonic composition could set the text in such a way that the words could be clearly understood and that was still pleasing to the ear. Palestrina's Missa Papae Marcelli  was performed before the council and received such a welcoming reception among the delegates that they completely changed their minds and allowed polyphony to stay in use in the musical liturgy. Therefore, Palestrina came to be named the "saviour of Church polyphony". This legend, though unfounded, has long been a mainstay of histories of music. The saviour-myth was first spread by an account by Aggazzari and Banchieri in 1609 who said that Pope Marcellus was trying to replace all polyphony with plainsong. Palestrina's "Missa Papae Marcelli" was, though, in 1564, after the 22nd session, performed for the Pope while reforms were being considered for the Sistine Choir.The Pope Marcellus Mass, in short, was not important in its own day and did not help save Church polyphony. What is undeniable is that despite any solid evidence of his influence during or after the Council of Trent, no figure is more qualified to represent the cause of polyphony in the Mass than Palestrina. Pope Pius IV upon hearing Palestrina's music would make Palestrina, by Papal Brief, the model for future generations of Catholic composers of sacred music.

Prompt: 対抗宗教改革のドイツにおける救世主-伝説の特徴を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

200pxrightLike his contemporary Palestrina, the Flemish composer Jacobus de Kerle  was also credited with giving a model of composition for the Council of Trent. His composition in four-parts, Preces, marks the "official turning point of the Counter Reformation's a cappella ideal." Kerle was the only ranking composer of the Netherlands to have acted in conformity with the council. Another musical giant on equal standing with Palestrina, Orlando di sso  was an important figure in music history though less of a purist than Palestrina. He expressed sympathy for the council's concerns but still showed favor for the "Parady chanson Masses." It was left then up to the local Church leaders and Church musicians to find proper application for the council's decrees.Though originally theological and directed towards the attitudes of the musicians, the Council's decrees came to be thought of by Church musicians as a pronouncement on proper musical styles. Composers who reference the council's reforms in prefaces to their compositions do not adequately claim a musical basis from the council but a spiritual and religious basis of their art. Borromeo was likely involved or heard of the questions regarding textual clarity because of his request to Ruffo.Ruffo took Borromeo's commission seriously and set out to compose in a style that presented the text so that all words would be intelligible and the textual meaning be the most important part of the composition. His approach was to move all the voices in a homorhythmic manner with no complicated rhythms, and to use dissonance very conservatively. Ruffo's approach was certainly a success for textual clarity and simplicity, but if his music was very theoretically pure it was not an artistic success despite Ruffo's attempts to bring interest to the monotonous four-part texture. Ruffo's compositional style which favored the text was well in line with the council's perceived concern with intelligibility. Thus the belief in the council's strong edicts regarding textual intelligibility became to characterize the development of sacred Church music.The Council of Trent brought about other changes in music: most notably developing the Missa brevis, uda and "Spiritual Madrigal" . Additionally, the numerous sequences were mostly prohibited in the 1570 Missal of Pius V. The remaining sequences were Victimae paschali laudes for Easter, Veni Sancte Spiritus for Pentecost, uda Sion Salvatorem for Corpus Christi, and Dies Irae for All Souls and for Masses for the Dead.Another reform following the Council of Trent was the publication of the 1568 Roman Breviary.

Prompt: 対抗宗教改革の文脈で、トリエント公会議後の改革とドイツを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

200pxrightLike his contemporary Palestrina, the Flemish composer Jacobus de Kerle  was also credited with giving a model of composition for the Council of Trent. His composition in four-parts, Preces, marks the "official turning point of the Counter Reformation's a cappella ideal." Kerle was the only ranking composer of the Netherlands to have acted in conformity with the council. Another musical giant on equal standing with Palestrina, Orlando di sso  was an important figure in music history though less of a purist than Palestrina. He expressed sympathy for the council's concerns but still showed favor for the "Parady chanson Masses." It was left then up to the local Church leaders and Church musicians to find proper application for the council's decrees.Though originally theological and directed towards the attitudes of the musicians, the Council's decrees came to be thought of by Church musicians as a pronouncement on proper musical styles. Composers who reference the council's reforms in prefaces to their compositions do not adequately claim a musical basis from the council but a spiritual and religious basis of their art. Borromeo was likely involved or heard of the questions regarding textual clarity because of his request to Ruffo.Ruffo took Borromeo's commission seriously and set out to compose in a style that presented the text so that all words would be intelligible and the textual meaning be the most important part of the composition. His approach was to move all the voices in a homorhythmic manner with no complicated rhythms, and to use dissonance very conservatively. Ruffo's approach was certainly a success for textual clarity and simplicity, but if his music was very theoretically pure it was not an artistic success despite Ruffo's attempts to bring interest to the monotonous four-part texture. Ruffo's compositional style which favored the text was well in line with the council's perceived concern with intelligibility. Thus the belief in the council's strong edicts regarding textual intelligibility became to characterize the development of sacred Church music.The Council of Trent brought about other changes in music: most notably developing the Missa brevis, uda and "Spiritual Madrigal" . Additionally, the numerous sequences were mostly prohibited in the 1570 Missal of Pius V. The remaining sequences were Victimae paschali laudes for Easter, Veni Sancte Spiritus for Pentecost, uda Sion Salvatorem for Corpus Christi, and Dies Irae for All Souls and for Masses for the Dead.Another reform following the Council of Trent was the publication of the 1568 Roman Breviary.

Prompt: 対抗宗教改革のドイツに関するトリエント公会議後の改革を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

200pxrightLike his contemporary Palestrina, the Flemish composer Jacobus de Kerle  was also credited with giving a model of composition for the Council of Trent. His composition in four-parts, Preces, marks the "official turning point of the Counter Reformation's a cappella ideal." Kerle was the only ranking composer of the Netherlands to have acted in conformity with the council. Another musical giant on equal standing with Palestrina, Orlando di sso  was an important figure in music history though less of a purist than Palestrina. He expressed sympathy for the council's concerns but still showed favor for the "Parady chanson Masses." It was left then up to the local Church leaders and Church musicians to find proper application for the council's decrees.Though originally theological and directed towards the attitudes of the musicians, the Council's decrees came to be thought of by Church musicians as a pronouncement on proper musical styles. Composers who reference the council's reforms in prefaces to their compositions do not adequately claim a musical basis from the council but a spiritual and religious basis of their art. Borromeo was likely involved or heard of the questions regarding textual clarity because of his request to Ruffo.Ruffo took Borromeo's commission seriously and set out to compose in a style that presented the text so that all words would be intelligible and the textual meaning be the most important part of the composition. His approach was to move all the voices in a homorhythmic manner with no complicated rhythms, and to use dissonance very conservatively. Ruffo's approach was certainly a success for textual clarity and simplicity, but if his music was very theoretically pure it was not an artistic success despite Ruffo's attempts to bring interest to the monotonous four-part texture. Ruffo's compositional style which favored the text was well in line with the council's perceived concern with intelligibility. Thus the belief in the council's strong edicts regarding textual intelligibility became to characterize the development of sacred Church music.The Council of Trent brought about other changes in music: most notably developing the Missa brevis, uda and "Spiritual Madrigal" . Additionally, the numerous sequences were mostly prohibited in the 1570 Missal of Pius V. The remaining sequences were Victimae paschali laudes for Easter, Veni Sancte Spiritus for Pentecost, uda Sion Salvatorem for Corpus Christi, and Dies Irae for All Souls and for Masses for the Dead.Another reform following the Council of Trent was the publication of the 1568 Roman Breviary.

Prompt: 対抗宗教改革では、どのようにドイツのトリエント公会議後の改革が説明されていますか？英語で出力して下さい。


subsection

対抗宗教改革

200pxrightLike his contemporary Palestrina, the Flemish composer Jacobus de Kerle  was also credited with giving a model of composition for the Council of Trent. His composition in four-parts, Preces, marks the "official turning point of the Counter Reformation's a cappella ideal." Kerle was the only ranking composer of the Netherlands to have acted in conformity with the council. Another musical giant on equal standing with Palestrina, Orlando di sso  was an important figure in music history though less of a purist than Palestrina. He expressed sympathy for the council's concerns but still showed favor for the "Parady chanson Masses." It was left then up to the local Church leaders and Church musicians to find proper application for the council's decrees.Though originally theological and directed towards the attitudes of the musicians, the Council's decrees came to be thought of by Church musicians as a pronouncement on proper musical styles. Composers who reference the council's reforms in prefaces to their compositions do not adequately claim a musical basis from the council but a spiritual and religious basis of their art. Borromeo was likely involved or heard of the questions regarding textual clarity because of his request to Ruffo.Ruffo took Borromeo's commission seriously and set out to compose in a style that presented the text so that all words would be intelligible and the textual meaning be the most important part of the composition. His approach was to move all the voices in a homorhythmic manner with no complicated rhythms, and to use dissonance very conservatively. Ruffo's approach was certainly a success for textual clarity and simplicity, but if his music was very theoretically pure it was not an artistic success despite Ruffo's attempts to bring interest to the monotonous four-part texture. Ruffo's compositional style which favored the text was well in line with the council's perceived concern with intelligibility. Thus the belief in the council's strong edicts regarding textual intelligibility became to characterize the development of sacred Church music.The Council of Trent brought about other changes in music: most notably developing the Missa brevis, uda and "Spiritual Madrigal" . Additionally, the numerous sequences were mostly prohibited in the 1570 Missal of Pius V. The remaining sequences were Victimae paschali laudes for Easter, Veni Sancte Spiritus for Pentecost, uda Sion Salvatorem for Corpus Christi, and Dies Irae for All Souls and for Masses for the Dead.Another reform following the Council of Trent was the publication of the 1568 Roman Breviary.

Prompt: 対抗宗教改革のドイツにおけるトリエント公会議後の改革の特徴を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

upright=1The Cologne War  was a conflict between Protestant and Catholic factions that devastated the Electorate of Cologne. After Archbishop Gebhard Truchsess von Waldburg, the prince-elector ruling the area, converted to Protestantism, Catholics elected another archbishop, Ernst of Bavaria, and successfully defeated Gebhard and his allies.

Prompt: 対抗宗教改革の文脈で、ケルンとフランスを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

upright=1The Cologne War  was a conflict between Protestant and Catholic factions that devastated the Electorate of Cologne. After Archbishop Gebhard Truchsess von Waldburg, the prince-elector ruling the area, converted to Protestantism, Catholics elected another archbishop, Ernst of Bavaria, and successfully defeated Gebhard and his allies.

Prompt: 対抗宗教改革のフランスに関するケルンを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

upright=1The Cologne War  was a conflict between Protestant and Catholic factions that devastated the Electorate of Cologne. After Archbishop Gebhard Truchsess von Waldburg, the prince-elector ruling the area, converted to Protestantism, Catholics elected another archbishop, Ernst of Bavaria, and successfully defeated Gebhard and his allies.

Prompt: 対抗宗教改革では、どのようにフランスのケルンが説明されていますか？英語で出力して下さい。


subsection

対抗宗教改革

upright=1The Cologne War  was a conflict between Protestant and Catholic factions that devastated the Electorate of Cologne. After Archbishop Gebhard Truchsess von Waldburg, the prince-elector ruling the area, converted to Protestantism, Catholics elected another archbishop, Ernst of Bavaria, and successfully defeated Gebhard and his allies.

Prompt: 対抗宗教改革のフランスにおけるケルンの特徴を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The effects of the Council of Trent and the Counter-Reformation also paved the way for Ruthenian Orthodox Christians to return to full communion with the Catholic Church while preserving their Byzantine tradition. Pope Clement VIII received the Ruthenian bishops into full communion on February 7, 1596. Under the treaty of the Union of Brest, Rome recognized the Ruthenians' continued practice of Byzantine liturgical tradition, married clergy, and consecration of bishops from within the Ruthenian Christian tradition. Moreover, the treaty specifically exempts Ruthenians from accepting the Filioque clause and Purgatory as a condition for reconciliation.

Prompt: 対抗宗教改革の文脈で、ウクライナとフランスを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The effects of the Council of Trent and the Counter-Reformation also paved the way for Ruthenian Orthodox Christians to return to full communion with the Catholic Church while preserving their Byzantine tradition. Pope Clement VIII received the Ruthenian bishops into full communion on February 7, 1596. Under the treaty of the Union of Brest, Rome recognized the Ruthenians' continued practice of Byzantine liturgical tradition, married clergy, and consecration of bishops from within the Ruthenian Christian tradition. Moreover, the treaty specifically exempts Ruthenians from accepting the Filioque clause and Purgatory as a condition for reconciliation.

Prompt: 対抗宗教改革のフランスに関するウクライナを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The effects of the Council of Trent and the Counter-Reformation also paved the way for Ruthenian Orthodox Christians to return to full communion with the Catholic Church while preserving their Byzantine tradition. Pope Clement VIII received the Ruthenian bishops into full communion on February 7, 1596. Under the treaty of the Union of Brest, Rome recognized the Ruthenians' continued practice of Byzantine liturgical tradition, married clergy, and consecration of bishops from within the Ruthenian Christian tradition. Moreover, the treaty specifically exempts Ruthenians from accepting the Filioque clause and Purgatory as a condition for reconciliation.

Prompt: 対抗宗教改革では、どのようにフランスのウクライナが説明されていますか？英語で出力して下さい。


subsection

対抗宗教改革

The effects of the Council of Trent and the Counter-Reformation also paved the way for Ruthenian Orthodox Christians to return to full communion with the Catholic Church while preserving their Byzantine tradition. Pope Clement VIII received the Ruthenian bishops into full communion on February 7, 1596. Under the treaty of the Union of Brest, Rome recognized the Ruthenians' continued practice of Byzantine liturgical tradition, married clergy, and consecration of bishops from within the Ruthenian Christian tradition. Moreover, the treaty specifically exempts Ruthenians from accepting the Filioque clause and Purgatory as a condition for reconciliation.

Prompt: 対抗宗教改革のフランスにおけるウクライナの特徴を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The st Judgment, a fresco in the Sistine Chapel by Michelangelo , came under persistent attack in the Counter-Reformation for, among other things, nudity , not showing Christ seated or bearded, and including the pagan figure of Charon.Italian painting after 1520, with the notable exception of the art of Venice, developed into Mannerism, a highly sophisticated style striving for effect, that concerned many Churchmen as lacking appeal for the mass of the population. Church pressure to restrain religious imagery affected art from the 1530s and resulted in the decrees of the final session of the Council of Trent in 1563 including short and rather inexplicit passages concerning religious images, which were to have great impact on the development of Catholic art. Previous Catholic councils had rarely felt the need to pronounce on these matters, unlike Orthodox ones which have often ruled on specific types of images.The decree confirmed the traditional doctrine that images only represented the person depicted, and that veneration to them was paid to the person, not the image, and further instructed that:</ref>}}Ten years after the decree Paolo Veronese was summoned by the Holy Office to explain why his st Supper, a huge canvas for the refectory of a monastery, contained, in the words of the Holy Office: "buffoons, drunken Germans, dwarfs and other such scurrilities" as well as extravagant costumes and settings, in what is indeed a fantasy version of a Venetian patrician feast. Veronese was told that he must change his painting within a three-month period. He just changed the title to The Feast in the House of Levi, still an episode from the Gospels, but a less doctrinally central one, and no more was said.The number of such decorative treatments of religious subjects declined sharply, as did "unbecomingly or confusedly arranged" Mannerist pieces, as a number of books, notably by the Flemish theologian Molanus, Charles Borromeo and Cardinal Gabriele Paleotti, and instructions by local bishops, amplified the decrees, often going into minute detail on what was acceptable. Much traditional iconography considered without adequate scriptural foundation was in effect prohibited, as was any inclusion of classical pagan elements in religious art, and almost all nudity, including that of the infant Jesus.According to the great medievalist Émile Mâle, this was "the death of medieval art", but it paled in contrast to the Iconclasm present in some Protestant circles and did not apply to secular paintings. Some Counter Reformation painters and sculptors include Titian, Tintoretto, Federico Barocci, Scipione Pulzone, El Greco, Peter Paul Rubens, Guido Reni, Anthony van Dyck, Bernini, Zurbarán, Rembrandt and Bartolomé Esteban Murillo.

Prompt: 対抗宗教改革の文脈で、ディクリーソナートとフランスを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The st Judgment, a fresco in the Sistine Chapel by Michelangelo , came under persistent attack in the Counter-Reformation for, among other things, nudity , not showing Christ seated or bearded, and including the pagan figure of Charon.Italian painting after 1520, with the notable exception of the art of Venice, developed into Mannerism, a highly sophisticated style striving for effect, that concerned many Churchmen as lacking appeal for the mass of the population. Church pressure to restrain religious imagery affected art from the 1530s and resulted in the decrees of the final session of the Council of Trent in 1563 including short and rather inexplicit passages concerning religious images, which were to have great impact on the development of Catholic art. Previous Catholic councils had rarely felt the need to pronounce on these matters, unlike Orthodox ones which have often ruled on specific types of images.The decree confirmed the traditional doctrine that images only represented the person depicted, and that veneration to them was paid to the person, not the image, and further instructed that:</ref>}}Ten years after the decree Paolo Veronese was summoned by the Holy Office to explain why his st Supper, a huge canvas for the refectory of a monastery, contained, in the words of the Holy Office: "buffoons, drunken Germans, dwarfs and other such scurrilities" as well as extravagant costumes and settings, in what is indeed a fantasy version of a Venetian patrician feast. Veronese was told that he must change his painting within a three-month period. He just changed the title to The Feast in the House of Levi, still an episode from the Gospels, but a less doctrinally central one, and no more was said.The number of such decorative treatments of religious subjects declined sharply, as did "unbecomingly or confusedly arranged" Mannerist pieces, as a number of books, notably by the Flemish theologian Molanus, Charles Borromeo and Cardinal Gabriele Paleotti, and instructions by local bishops, amplified the decrees, often going into minute detail on what was acceptable. Much traditional iconography considered without adequate scriptural foundation was in effect prohibited, as was any inclusion of classical pagan elements in religious art, and almost all nudity, including that of the infant Jesus.According to the great medievalist Émile Mâle, this was "the death of medieval art", but it paled in contrast to the Iconclasm present in some Protestant circles and did not apply to secular paintings. Some Counter Reformation painters and sculptors include Titian, Tintoretto, Federico Barocci, Scipione Pulzone, El Greco, Peter Paul Rubens, Guido Reni, Anthony van Dyck, Bernini, Zurbarán, Rembrandt and Bartolomé Esteban Murillo.

Prompt: 対抗宗教改革のフランスに関するディクリーソナートを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The st Judgment, a fresco in the Sistine Chapel by Michelangelo , came under persistent attack in the Counter-Reformation for, among other things, nudity , not showing Christ seated or bearded, and including the pagan figure of Charon.Italian painting after 1520, with the notable exception of the art of Venice, developed into Mannerism, a highly sophisticated style striving for effect, that concerned many Churchmen as lacking appeal for the mass of the population. Church pressure to restrain religious imagery affected art from the 1530s and resulted in the decrees of the final session of the Council of Trent in 1563 including short and rather inexplicit passages concerning religious images, which were to have great impact on the development of Catholic art. Previous Catholic councils had rarely felt the need to pronounce on these matters, unlike Orthodox ones which have often ruled on specific types of images.The decree confirmed the traditional doctrine that images only represented the person depicted, and that veneration to them was paid to the person, not the image, and further instructed that:</ref>}}Ten years after the decree Paolo Veronese was summoned by the Holy Office to explain why his st Supper, a huge canvas for the refectory of a monastery, contained, in the words of the Holy Office: "buffoons, drunken Germans, dwarfs and other such scurrilities" as well as extravagant costumes and settings, in what is indeed a fantasy version of a Venetian patrician feast. Veronese was told that he must change his painting within a three-month period. He just changed the title to The Feast in the House of Levi, still an episode from the Gospels, but a less doctrinally central one, and no more was said.The number of such decorative treatments of religious subjects declined sharply, as did "unbecomingly or confusedly arranged" Mannerist pieces, as a number of books, notably by the Flemish theologian Molanus, Charles Borromeo and Cardinal Gabriele Paleotti, and instructions by local bishops, amplified the decrees, often going into minute detail on what was acceptable. Much traditional iconography considered without adequate scriptural foundation was in effect prohibited, as was any inclusion of classical pagan elements in religious art, and almost all nudity, including that of the infant Jesus.According to the great medievalist Émile Mâle, this was "the death of medieval art", but it paled in contrast to the Iconclasm present in some Protestant circles and did not apply to secular paintings. Some Counter Reformation painters and sculptors include Titian, Tintoretto, Federico Barocci, Scipione Pulzone, El Greco, Peter Paul Rubens, Guido Reni, Anthony van Dyck, Bernini, Zurbarán, Rembrandt and Bartolomé Esteban Murillo.

Prompt: 対抗宗教改革では、どのようにフランスのディクリーソナートが説明されていますか？英語で出力して下さい。


subsection

対抗宗教改革

The st Judgment, a fresco in the Sistine Chapel by Michelangelo , came under persistent attack in the Counter-Reformation for, among other things, nudity , not showing Christ seated or bearded, and including the pagan figure of Charon.Italian painting after 1520, with the notable exception of the art of Venice, developed into Mannerism, a highly sophisticated style striving for effect, that concerned many Churchmen as lacking appeal for the mass of the population. Church pressure to restrain religious imagery affected art from the 1530s and resulted in the decrees of the final session of the Council of Trent in 1563 including short and rather inexplicit passages concerning religious images, which were to have great impact on the development of Catholic art. Previous Catholic councils had rarely felt the need to pronounce on these matters, unlike Orthodox ones which have often ruled on specific types of images.The decree confirmed the traditional doctrine that images only represented the person depicted, and that veneration to them was paid to the person, not the image, and further instructed that:</ref>}}Ten years after the decree Paolo Veronese was summoned by the Holy Office to explain why his st Supper, a huge canvas for the refectory of a monastery, contained, in the words of the Holy Office: "buffoons, drunken Germans, dwarfs and other such scurrilities" as well as extravagant costumes and settings, in what is indeed a fantasy version of a Venetian patrician feast. Veronese was told that he must change his painting within a three-month period. He just changed the title to The Feast in the House of Levi, still an episode from the Gospels, but a less doctrinally central one, and no more was said.The number of such decorative treatments of religious subjects declined sharply, as did "unbecomingly or confusedly arranged" Mannerist pieces, as a number of books, notably by the Flemish theologian Molanus, Charles Borromeo and Cardinal Gabriele Paleotti, and instructions by local bishops, amplified the decrees, often going into minute detail on what was acceptable. Much traditional iconography considered without adequate scriptural foundation was in effect prohibited, as was any inclusion of classical pagan elements in religious art, and almost all nudity, including that of the infant Jesus.According to the great medievalist Émile Mâle, this was "the death of medieval art", but it paled in contrast to the Iconclasm present in some Protestant circles and did not apply to secular paintings. Some Counter Reformation painters and sculptors include Titian, Tintoretto, Federico Barocci, Scipione Pulzone, El Greco, Peter Paul Rubens, Guido Reni, Anthony van Dyck, Bernini, Zurbarán, Rembrandt and Bartolomé Esteban Murillo.

Prompt: 対抗宗教改革のフランスにおけるディクリーソナートの特徴を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent is believed to be the apex of the Counter-Reformation's influence on Church music in the 16th century. However, the council's pronouncements on music were not the first attempt at reform. The Catholic Church had spoken out against a perceived abuse of music used in the Mass before the Council of Trent ever convened to discuss music in 1562. The manipulation of the Creed and using non-liturgical songs was addressed in 1503, and secular singing and the intelligibility of the text in the delivery of psalmody in 1492. The delegates at the council were just a link in the long chain of Church clergy who had pushed for a reform of the musical liturgy reaching back as far as 1322.Probably the most extreme move at reform came late in 1562 when, instructed by the legates, Egidio Foscarari  and Gabriele Paleotti  began work on reforming religious orders and their practices involving the liturgy. The reforms prescribed to the cloisters of nuns, which included omitting the use of an organ, prohibiting professional musicians, and banishing polyphonic singing, were much more strict than any of the council's edicts or even those to be found in the Palestrina legend.Fueling the cry for reform from many ecclesial figures was the compositional technique popular in the 15th and 16th centuries of using musical material and even the accompanying texts from other compositions such as motets, madrigals, and chansons. Several voices singing different texts in different languages made any of the text difficult to distinguish from the mixture of words and notes. The parody mass would then contain melodies  and words from songs that could have been, and often were, on sensual subjects. The musical liturgy of the Church was being more and more influenced by secular tunes and styles. The Council of Paris, which met in 1528, as well as the Council of Trent were making attempts to restore the sense of sacredness to the Church setting and what was appropriate for the Mass. The councils were simply responding to issues of their day.

Prompt: 対抗宗教改革の文脈で、トリエント公会議前の改革とフランスを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent is believed to be the apex of the Counter-Reformation's influence on Church music in the 16th century. However, the council's pronouncements on music were not the first attempt at reform. The Catholic Church had spoken out against a perceived abuse of music used in the Mass before the Council of Trent ever convened to discuss music in 1562. The manipulation of the Creed and using non-liturgical songs was addressed in 1503, and secular singing and the intelligibility of the text in the delivery of psalmody in 1492. The delegates at the council were just a link in the long chain of Church clergy who had pushed for a reform of the musical liturgy reaching back as far as 1322.Probably the most extreme move at reform came late in 1562 when, instructed by the legates, Egidio Foscarari  and Gabriele Paleotti  began work on reforming religious orders and their practices involving the liturgy. The reforms prescribed to the cloisters of nuns, which included omitting the use of an organ, prohibiting professional musicians, and banishing polyphonic singing, were much more strict than any of the council's edicts or even those to be found in the Palestrina legend.Fueling the cry for reform from many ecclesial figures was the compositional technique popular in the 15th and 16th centuries of using musical material and even the accompanying texts from other compositions such as motets, madrigals, and chansons. Several voices singing different texts in different languages made any of the text difficult to distinguish from the mixture of words and notes. The parody mass would then contain melodies  and words from songs that could have been, and often were, on sensual subjects. The musical liturgy of the Church was being more and more influenced by secular tunes and styles. The Council of Paris, which met in 1528, as well as the Council of Trent were making attempts to restore the sense of sacredness to the Church setting and what was appropriate for the Mass. The councils were simply responding to issues of their day.

Prompt: 対抗宗教改革のフランスに関するトリエント公会議前の改革を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent is believed to be the apex of the Counter-Reformation's influence on Church music in the 16th century. However, the council's pronouncements on music were not the first attempt at reform. The Catholic Church had spoken out against a perceived abuse of music used in the Mass before the Council of Trent ever convened to discuss music in 1562. The manipulation of the Creed and using non-liturgical songs was addressed in 1503, and secular singing and the intelligibility of the text in the delivery of psalmody in 1492. The delegates at the council were just a link in the long chain of Church clergy who had pushed for a reform of the musical liturgy reaching back as far as 1322.Probably the most extreme move at reform came late in 1562 when, instructed by the legates, Egidio Foscarari  and Gabriele Paleotti  began work on reforming religious orders and their practices involving the liturgy. The reforms prescribed to the cloisters of nuns, which included omitting the use of an organ, prohibiting professional musicians, and banishing polyphonic singing, were much more strict than any of the council's edicts or even those to be found in the Palestrina legend.Fueling the cry for reform from many ecclesial figures was the compositional technique popular in the 15th and 16th centuries of using musical material and even the accompanying texts from other compositions such as motets, madrigals, and chansons. Several voices singing different texts in different languages made any of the text difficult to distinguish from the mixture of words and notes. The parody mass would then contain melodies  and words from songs that could have been, and often were, on sensual subjects. The musical liturgy of the Church was being more and more influenced by secular tunes and styles. The Council of Paris, which met in 1528, as well as the Council of Trent were making attempts to restore the sense of sacredness to the Church setting and what was appropriate for the Mass. The councils were simply responding to issues of their day.

Prompt: 対抗宗教改革では、どのようにフランスのトリエント公会議前の改革が説明されていますか？英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent is believed to be the apex of the Counter-Reformation's influence on Church music in the 16th century. However, the council's pronouncements on music were not the first attempt at reform. The Catholic Church had spoken out against a perceived abuse of music used in the Mass before the Council of Trent ever convened to discuss music in 1562. The manipulation of the Creed and using non-liturgical songs was addressed in 1503, and secular singing and the intelligibility of the text in the delivery of psalmody in 1492. The delegates at the council were just a link in the long chain of Church clergy who had pushed for a reform of the musical liturgy reaching back as far as 1322.Probably the most extreme move at reform came late in 1562 when, instructed by the legates, Egidio Foscarari  and Gabriele Paleotti  began work on reforming religious orders and their practices involving the liturgy. The reforms prescribed to the cloisters of nuns, which included omitting the use of an organ, prohibiting professional musicians, and banishing polyphonic singing, were much more strict than any of the council's edicts or even those to be found in the Palestrina legend.Fueling the cry for reform from many ecclesial figures was the compositional technique popular in the 15th and 16th centuries of using musical material and even the accompanying texts from other compositions such as motets, madrigals, and chansons. Several voices singing different texts in different languages made any of the text difficult to distinguish from the mixture of words and notes. The parody mass would then contain melodies  and words from songs that could have been, and often were, on sensual subjects. The musical liturgy of the Church was being more and more influenced by secular tunes and styles. The Council of Paris, which met in 1528, as well as the Council of Trent were making attempts to restore the sense of sacredness to the Church setting and what was appropriate for the Mass. The councils were simply responding to issues of their day.

Prompt: 対抗宗教改革のフランスにおけるトリエント公会議前の改革の特徴を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent met sporadically from December 13, 1545, to December 4, 1563, to reform many parts of the Catholic Church. The 22nd session of the council, which met in 1562, dealt with Church music in Canon 8 in the section of "Abuses in the Sacrifice of the Mass" during a meeting of the council on September 10, 1562.Canon 8 is often quoted as the Council of Trent's decree on Church music, but that is a glaring misunderstanding of the canon; it was only a proposed decree. In fact, the delegates at the council never officially accepted canon 8 in its popular form but bishops of Granada, Coimbra, and Segovia pushed for the long statement about music to be attenuated and many other prelates of the council joined enthusiastically. The only restrictions actually given by the 22nd session was to keep secular elements out of the music, making polyphony implicitly allowed. The issue of textual intelligibility did not make its way into the final edicts of the 22nd session but were only featured in preliminary debates. The 22nd session only prohibited "lascivious" and "profane" things to be intermingled with the music but Paleotti, in his Acts, brings to equal importance the issues of intelligibility.The idea that the council called to remove all polyphony from the Church is widespread, but there is no documentary evidence to support that claim. It is possible, however, that some of the Fathers had proposed such a measure. The emperor Ferdinand I, Holy Roman Emperor has been attributed to be the "saviour of Church music" because he said polyphony ought not to be driven out of the Church. But Ferdinand was most likely an alarmist and read into the council the possibility of a total ban on polyphony. The Council of Trent did not focus on the style of music but on attitudes of worship and reverence during the Mass.

Prompt: 対抗宗教改革の文脈で、第22回会期中の改革とフランスを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent met sporadically from December 13, 1545, to December 4, 1563, to reform many parts of the Catholic Church. The 22nd session of the council, which met in 1562, dealt with Church music in Canon 8 in the section of "Abuses in the Sacrifice of the Mass" during a meeting of the council on September 10, 1562.Canon 8 is often quoted as the Council of Trent's decree on Church music, but that is a glaring misunderstanding of the canon; it was only a proposed decree. In fact, the delegates at the council never officially accepted canon 8 in its popular form but bishops of Granada, Coimbra, and Segovia pushed for the long statement about music to be attenuated and many other prelates of the council joined enthusiastically. The only restrictions actually given by the 22nd session was to keep secular elements out of the music, making polyphony implicitly allowed. The issue of textual intelligibility did not make its way into the final edicts of the 22nd session but were only featured in preliminary debates. The 22nd session only prohibited "lascivious" and "profane" things to be intermingled with the music but Paleotti, in his Acts, brings to equal importance the issues of intelligibility.The idea that the council called to remove all polyphony from the Church is widespread, but there is no documentary evidence to support that claim. It is possible, however, that some of the Fathers had proposed such a measure. The emperor Ferdinand I, Holy Roman Emperor has been attributed to be the "saviour of Church music" because he said polyphony ought not to be driven out of the Church. But Ferdinand was most likely an alarmist and read into the council the possibility of a total ban on polyphony. The Council of Trent did not focus on the style of music but on attitudes of worship and reverence during the Mass.

Prompt: 対抗宗教改革のフランスに関する第22回会期中の改革を説明してください。英語で出力して下さい。