"Majestas Mariae" als musikgeschichtliches Phänomen? Einflüsse der Marienverehrung auf die Messe des 16. Jahrhunderts

Verfasser / Komponist: Wiesenfeldt, Christiane
Medientyp: E-Article
veröffentlicht: Franz Steiner Verlag
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finc.format ElectronicArticle
finc.mega_collection sid-55-col-jstormusic
sid-55-col-jstoras3
JSTOR Music Archive
JSTOR Arts & Sciences III Archive
finc.id ai-55-aHR0cHM6Ly93d3cuanN0b3Iub3JnL3N0YWJsZS8yNTE2MjQxNg
finc.source_id 55
ris.type EJOUR
rft.atitle "Majestas Mariae" als musikgeschichtliches Phänomen? Einflüsse der Marienverehrung auf die Messe des 16. Jahrhunderts
rft.epage 120
rft.genre article
rft.issn 0003-9292
rft.issue 2
rft.jtitle Archiv für Musikwissenschaft
rft.tpages 17
rft.pages 103-120
rft.pub Franz Steiner Verlag
rft.date 2008-01-01
x.date 2008-01-01T00:00:00Z
rft.spage 103
rft.volume 65
abstract <p>The fifth-century confirmation of the identification of Maria and ecclesia became a defining factor during the Counter Reformation for the Catholic Church in Rome, as witnessed by the resulting emphasis on Marian devotion within ecclesiastical politics as a necessity of the highest order. While context, content, and symbolic function of the Blessed Virgin Mary in sixteenth-century pictorial, literary, and architectural dedications can be reconstructed with comparative ease, their respective imprints on the music of that period, at least within the confines of a liturgical framework, are more difficult to ascertain. Especially in its most significant genre, the mass, one can assume, however, that formal and structural elements of functionalized music responded to the Marian devotion, in ways similar to the neighboring arts, and that this factor elicited not only quantitative but qualitative impulses for the historical profile of the mass. This question will be pursued with respect to sixteenth-century St. Mary Masses, a genre that up to now has received only scant attention.</p>
authors Wiesenfeldt Christiane
languages ger
url https://www.jstor.org/stable/25162416
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