About this blogger:
A theorist, organist, and conductor, Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004), and did graduate work in Musicology. He serves as choirmaster for the new FSSP parish in Los Angeles, where he resides with his wife and children.
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"The Consilium is merely an assembly of people, many of them incompetent, and others well advanced on the road to novelty. The discussions are extremely hurried. Discussions are based on impressions and the voting is chaotic. […] Many of those who have influenced the reform […] have no love, and no veneration of that which has been handed down to us. They begin by despising everything that is actually there. This negative mentality is unjust and pernicious, and unfortunately, Paul VI tends a little to this side. They have all the best intentions, but with this mentality they have only been able to demolish and not to restore."
— Contemporary account of the Consilium by Cardinal Antonelli

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Superlative Way To Explain Polyphony
published 4 October 2017 by Jeff Ostrowski

HAT IS POLYPHONY? How does it incorporate ancient plainsong melodies? Our eyes could better see that if we looked at the original part books. In the following example, I have superimposed the original plainsong melody (“Vexilla Regis”) onto Palestrina’s part books from 1589AD.

Do you see how all four voices enter with the “Fulget crucis” plainsong melody?

        * *  PDF Palestrina’s VEXILLA REGIS (Hymni Totius Anni, 1589)


We can also see how chants are incorporated by looking at a modern version of the same hymn by Palestrina:

        * *  PDF Palestrina’s VEXILLA REGIS (Modern Score)


To use melodies in this way may seem—to those who don’t know very much about counterpoint—a simple task. Nothing could be further from the truth. Composing in such a way is like trying to solve a massive Rubik’s Cube; when you try to complete one line, it has an effect on all the work you’ve already done and messes it up.