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Martin Luther had great impact on the worship and musical life of early Lutheranism. He was an accomplished musician, a singer, a lute player, and one who knew much of the music and many of the musicians of his day. He wrote to support the adequate funding of church music, the musical education of children in the schools, and the musical education of pastors and teachers. He wrote new hymns as well as "corrected and improved" older hymns. He composed at least one short polyphonic motet, "Non moriar sed vivam" ("I shall not die, but live"). When it came to worship and the liturgy, he continued the basic pattern and tradition of the medieval Mass with two exceptions. He deleted the Canon of the Mass and the prayers at the Offertory. Luther's basic approach was to retain whatever past traditions were not contrary to his understand of the Gospel. Luther advocated certain new reforms that included the use of vernacular congregational song as an integral part of the liturgy, the importance of the sermon, and communion in both kinds. Throughout all his liturgical and musical reforms, Luther always sought to demonstrate the continuity and unity of the reforming movement with the church catholic. The Reformation was born when Renaissance polyphony was the prevailing musical style. It is exemplified in the music of Dufay and Binchois and culminated in the music of Heinrich Isaac and the renowned Josquin Desprez. This style was characterized by imitative pholyphony. It usually was based on the foundation of Gregorianmelodies normally found in the tenor part. This musical style, with words associated with melodies, reflected Luther's understanding that the Word of the Gospel was to be presented simply and preoclaimed musically in an objective fashion and not to be "interpreted" <u>Carl Shalk</u>The turbulent days of the church of the early Reformation and its dire struggle with the Roman Catholic church were past. The Reformation made worshipers aware of the "Priesthood of All Believers." In the 17th century, people in the Lutheran congregations continued to participate actively in worship. More congregations now had printed hymnals. Composers wrote music that built upon the old traditions, but also incorporated the new styles that were emerging. Settings of Gospel motets gave people the opportunity to conitinue to hear the Word in traditional polyphonic settings called the "first practice." Instruments and voices of the choir and congregation joined in stimulating settings of chorales. Congregations often sang stanzas in alternation with choral and instrumenal stanzas. Magnificent polychoral settings of chorales and Psalms were written for several choirs of voices and instruments. The organ continued to introduce congregational and liturgical song. The chorale prelude grew in importance as a vehicle to introduce chorale singing. As time passed, organs began to accompany congregational song. Under the influence of developments in the madrigal and opera, concerted music of the "second practice" became a part of church music. The basso continuo and monody were adapted to compositions for worship. The organ and instruments assumed new roles in concerted writing. Choral music and congregational song changed, reflecting a new emphasis on personal peity and the expressive capability of concerted music. Four masters of Lutheran church music provided leadership for a growing and vigorous practice. early in the century, Michael Praetorius wrote splendid chorale arrangements and polychoral settings for voices and instruments. Johann Hermann Schein wrote in the old polyphonic style, but also developed the scared madrigal in the concerted style. Samuel Scheidt was the first great Lutheran organist and composer. Heinrich Schütz, the most renowned composer of his time, contributed masterworks in all styles of sacred vocal music.Carlos Messerli The 18th Century... This was an age of uneven support and recognition for
Yes it would be okay. You are only using it for 2 things. Not everything.
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The Scream is a work of remembered sensation rather than perceived reality. Munch’s approach to the experience of synesthesia, or the union of senses (for example the belief that one might taste a color or smell a musical note), results in the visual depiction of sound and emotion. As such, The Scream represents a key work for the Symbolist movement as well as an important inspiration for the Expressionist movement of the early twentieth century. Symbolist artists of diverse international backgrounds confronted questions regarding the nature of subjectivity and its visual depiction. As Munch himself put it succinctly in a notebook entry on subjective vision written in 1889, “It is not the chair which is to be painted but what the human being has felt in relation to it.” While such events and objects are visually plausible, the work’s effect on the viewer does not depend on one’s familiarity with a precise list of historical, naturalistic, or formal sources. Rather, Munch sought to express internal emotions through external forms and thereby provide a visual image for a universal human experience.
https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/a/munch-the-scream
