In the Footsteps of Paul (Part 2)

In the Footsteps of Paul (Part 1)

Welcome Juniors! First Homework!

Please read the following two passages:

Factions within Judaism 

Part 1

Part 2

Debate

Just a reminder that our debate will be happening tomorrow evening May 6, from 7-8:30.

If at all possible, please arrive by 6:45 so that we can go over final arrangements.

Guidelines:
No slander
No points of information during the first and last minutes of debate
Please gentlemen: ties, blazers, and pants (no denim); ladies: dresses or other formal clothing.

Participation in the debate is worth 500 points.

FORMAT

1. Opening Words by the Chairman (7:00-7:05) 

The Chairman, who should always be addressed as Mr. Chairman, will open with a few words on the debate, floor debate and voting procedures. The Chairman will then call on the first speaker to begin the debate.

2. Introductions & The First Speaker for the Proposition (7:05-7:20) 

It is the duty of the first speaker for the proposition to introduce the other guest speakers.

“Mr. Chairman, as the first speaker this evening, it is my honour to introduce your guests this evening”. 

Each speaker should then be introduced by name.

After introducing the final guest the speaker may say “Mr. Chairman, these are your guests and they are most welcome” hopefully to be followed by applause from the audience.

The chairman will call upon the first speaker to begin the debate. 

The first speaker should then begin the debate.

3. The First Speaker for the Opposition (7:20-7:30)

The Chairman will thank the speaker and open the debate from the floor.

4. Debate from the floor (7:30-7:40) 

This is the opportunity for the audience to join in the debate by asking questions. This will be limited to 10 minutes or until the final question has been answered. 

The Chairman will end the floor debate and call upon the next speaker.

5. The Second Speaker for the Proposition (7:40-7:50)

The Chairman will thank the speaker and call upon the next speaker.

6. The Second Speaker for the Opposition (7:50-8:00) 

The Chairman will thank the speaker and call for the rebuttal speeches.

7. Rebuttal   (8:00-8:10)

5 minutes will be allocated to each side to make a final rebuttal, with the proposition going first. 

The Chairman will call an end to the debate and call for the voting to begin.

8. Voting (8:10-8:30) 

A vote will be called by the chairman, followed by refreshments in the overflow room. 

Palestrina

John Sheppard (c. 1515-1558)

John Sheppard is one of the less famous composers from Henry VIII’s court. He gets called a “turbulent and eccentric figure, too little of whose music has been printed” by the textbooks, but sadly, they don’t say what was so turbulent or eccentric about him. And despite his anonymity today, he was one of the major composers of the Pre-Reformation period between 1530 and 1560.

The only clue we have to his irascibility is a story about Sheppard’s recruiting practices. Apparently, it wasn’t uncommon for talented choirboys to be kidnapped occasionally, and there’s a story that Sheppard kidnapped a boy who was tied up and dragged all the way from Malmesbury to Oxford, about 60 miles.

Sheppard was Informator Choristorum at Magdalen College, Oxford, between 1543 and 1548, which means that rather than being the conductor of the choir, he was the teacher or Master. His work there brought him to the attention of the King, and he became a Gentleman of the Chapel Royal by 1552. Sources show that there were gaps in his membership both at Magdalen College and at the Chapel Royal, but they don’t explain the gaps, although one consideration is that his tenure at court almost lines up with Queen Mary’s reign.

Sheppard’s musical techniques were often conservative (and considered old fashioned in his lifetime) but his music is really quite rich. The vocal textures are fairly uniform, without much coloration by imitation or repetition, but he combines virtuoso scoring with chordal constructions and masterly control of the play between harmony and rhythm.

He wrote large number of hymns and Office responds, and through them, we can see the changes of taste in music for the Office, from the ornate Latin works when England was still Catholic, the ornamental form during Mary’s reign, and simple syllabic themes from Edward VI and Elizabeth I’s reigns.

Most of Sheppard’s surviving music for the Latin rite was probably written during Mary’s reign. His six-voice Magnificat has florid counterpoint and no imitation, and belongs to the tradition of the Eton Choirbook composers. Among his more modern works are a four-voice Magnificat, the Missa Cantate, and the Mass, The Western Wynde. His best work included vigorous counterpoint around a plainchant (busy voices around a simple melody).

Sheppard shows foreign influence in his Frences Mass in the Eton Choirbook. His output was second only to that of William Byrd among 16th century composers. He wrote five Masses, 21 Office responds, 18 hymns, and a quantity of votive antiphons, psalms, canticles, etc.

HIs English-language works, which include 15 anthems and service music, date from Edward’s reign. During Mary’s reign, there was an outpouring of Latin psalm-settings by Tallis, Tye, Sheppard, and Robert White (c1530-1574).

He worked with Thomas Byrd (William’s father, whose dates are uncertain and about whom very little is known) on a collaborated psalm setting with Thomas Mundy (dates unknown), called Similes illis fiant.

Reports on his activities are few. All we know, really, is that in 1554, he applied for the Doctor of Music degree from Oxford, and that he was last listed in Chapel Royal documents in 1559. He might have died, or he might simply have retired. One source lists his death in 1559, several list it in 1560, and one lists it as 1563 and mentions London as the location.

Josquin Des Prez

Josquin Des Prez (c.1440/55-1521) is widely regarded as one of the finest and most influential composers in the history of Western music. The stylistic traits of his music, both in contrapuntal technique and in text-setting, gave the defining direction to the High Renaissance and with it the course of music history as a whole. Not only was Josquin admired by Martin Luther as the greatest of composers, but his music was distributed throughout Europe and especially in Germany for decades after his death. The clear textures and text declamation which Josquin employed set the stage not only for the next developments of technical harmony, but for the clarity and conciseness demanded by the Counter-Reformation of Palestrina et al. as well. Josquin's output displays a rare combination of innovation and accomplished technical mastery, and has retained for him a position as the most prominent composer of the early sixteenth century, perhaps the high point of Western music as a whole.
The circumstances of Josquin's early life are mostly unclear. No documentary evidence exists prior to engagements in his early adulthood, and later contemporary suggestions that he was born in Hainaut are disputed effectively by documentary evidence that he was a legal alien there during the last years of his life at Condé. What can be stated with some certainty is that legally and culturally, Josquin was French, from somewhere in the region of Picardy. His career was first discernible in Milan, but this fact is now disputed, and indeed under some proposed scenarios the year of his birth may be closer to 1455 than the traditional 1440. He certainly received relatively early appointments at the French Court and at the Papal Chapel in Rome. Perhaps the decisive appointment is that to Ferrara in 1503, not only for the extravagance of both the setting and his salary, but for the degree of precision with which it is documented. In any event, Josquin did not remain there long, and fleeing the plague, went to Condé for his retirement by 1504. His appointment in Ferrara also coincides nicely with Petrucci's first publication of a volume of Josquin's masses in 1502. The establishment of movable-type printing for polyphony by Petrucci in Venice is one of the most significant events in Western music history, and the choice of Josquin for the first dedicated volume is perhaps the single most instrumental event defining Josquin's subsequent reputation. Aside from this event, some of his contemporaries have resumes of similar quality.
Although he spent a substantial portion of his career in Italy, Josquin evidently received his training in the Northern Franco-Flemish style before then, perhaps at the feet of Ockeghem. Josquin's international career certainly marks him as a special talent of the period, and consequently a composer of wide influence and cosmopolitan taste. However, there is a clear precedent in the career of Dufay, which follows a similar outline (as do those of Josquin's contemporaries such as Isaac or Obrecht). Josquin's Northern foundation is clearly seen in his mastery of contrapuntal textures in four, five and six voices, and especially in his canonic technique. His Italian influence is frequently sought in the increasingly lucid textures he employed, together with his new emphasis on homophony. The lightness and short phrases of Italianate settings were to be balanced against the more melismatic and contrapuntal Northern style, and consequently Josquin perfected the technique of "pervasive imitation" to achieve a contrapuntally-based structure around short motives and interlocking phrases. Pervasive imitation describes a situation in which shared material between voices determines the contrapuntal texture of a piece, and in Josquin's case, this usually meant interlocking canonic duets.
Josquin's stylistic progression can be perceived first in a reduction of melismatic phrases and ornately spun lines to a more succinct and syllabic style built around canonic technique, and second in a more sophisticated deployment of this technique such that its structural implications are not particularly evident to the listener. In some cases, this increased subtlety can cause some confusion as to whether a work dates to before or after Josquin's perfection of the pervasive imitation technique (which is frequently exemplified by the eloquent motet Ave Maria, gratia plena in four parts). As a leader in the most fundamental stylistic shift of the High Renaissance, Josquin continued to place music more and more at the service of text. This was accomplished not only by cleaner textures and declamations, but also by early word-painting techniques which would become a staple of the later madrigal schools. Priority was also given to text in larger and more sophisticated ways, letting details of the structure of the poetry dictate elements of the musical progression, a practice which at his best Josquin could perform in particularly unselfconscious and compelling ways. Josquin's subsequent reputation rests both on his response to text and his development of pervasive imitation as a technique for straightforward settings able to support larger structures, leading to the sixteenth century codifications of harmony by Zarlino et al.
Josquin's musical output consists of some eighteen mass cycles, plus independent sections and doubtful attributions, more than a hundred motets, and about eighty secular works primarily in French. His is a relatively large surviving output for the period and accordingly varied. Although modern taste for the mass cycle as a sort of proto-symphony has brought an emphasis on Josquin's music in this genre, his motets are clearly his most individual, expressive and masterful contributions. The variety of expression they contain, together with their formal ingenuity make them sufficient by themselves to establish Josquin's posthumous reputation. Among these, such works as Miserere mei, Deus, Stabat Mater dolorosa, and Praeter rerum serium (in five, five, and six parts, respectively) have become especially popular and important today. Josquin's masses are certainly not to be neglected, especially considering the restraint and serenity he was able to convey in this form. Of these, the Missa de beata virgine was by far the most popular in contemporary sources, even if it apparently did not originate as a cycle and is the only Josquin mass cycle with entire movements not in four parts. Also based quite austerely on direct plainsong quotation, the Missa Pange lingua is the one securely attributed Josquin mass not to be published by Petrucci, possibly because of its late date. The circumstances surrounding Josquin's secular music are frequently even less clear, although his position as a transitional figure in this genre, between the Burgundian court chansons of Busnoys and others to the fully sixteenth century madrigal style, is easy to observe. His secular music is accordingly broad in its stylistic range, and it has even been suggested that much of it was intended for instrumental performance.
Josquin's lofty posthumous reputation was reflected both in the widespread survival of his substantial and varied output as well as in many misattributions, intentional and otherwise. For instance, frottole such as El grillo are no longer regarded as of certain authenticity, casting a different light on some of his secular activity. In addition, various transcriptions exist, as well as authentic works with parts added by other composers. Although these facts mean that Josquin's catalog remains in a state of flux, understanding of his music and historical position has never been better. Even many casual listeners today regard him as the greatest composer in Western music, and of course his position with respect to the origin of music printing guarantees that his influence will remain tangible.