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Show but there is i:p.g and feeling, somethfng lemish haracter. \ masters ( belong among \ sometnipg indigenouly Spanish the of composers the gr ea t e s t ate eighte.epth of study of the art works in the was Perez. is of during the Flemi$h, contrapuntal bakground Mouton Godimel in score Phinot which and ther charcteristic, delicately-shaded were the associat,d Mouton Forme(was nnurseryll of French in much the instruments. fhe available Cladn d and' Ctaudin A church music, The WaS oe Sermisy belonged to this goup. tne ost important personality of tqe Ghapele in FDance same nuances. with the growth of the French motet. seventeenth cen4UYo models for the dominated French music in newly qerived fprms, Chapelle Royal£?, the was I with during t inclination towards th homophonic style, whic and Nicolas are But with •. more ( Ockeghem, school sixteenth century. $how I closely mos polychoral wTting presently available of more The , pslalmOdy. the French motet an This peculiar handling materal Sermisy began f'or m Valencia school, which lasted untl motets a with Morales, Guerrero, Vittoria, and century, its po'lyphon l c Little Spanish mott entered history of the Seville school all wrote motets wnicq distinguished by \and coor Which strongly departs from the he first rank, important master Qf ,the The in their way for as a His motets long tme. concerto-grosso main chorus shared in the p,rrormanGeo and a Still small more He for doublechoiT wrote for voices composers wrote for group of important sqloists was Hepry Du |
