Late in the 15th century it is clear that a decided advance took place in skill and in breadth of influence. While distinguishing between two groups of compqsers, the authorities do not agree as to the assignment names. The new school' found its culmination in the commanding genius of Okeghem, who became the pattern for a multitude of talented disciples, through whom the Netherland -traditions were disseminated far and wide. Obrecht follows close upon Okeghem in importance.
The salient characteristic of this group was the pushing of the technique of contrapuntal construction to an extreme. Every device of imitation between the voices was worked out with infinite ingenuity and patience, from the plain canon at various intervals to canonic imitation by augmentation, diminution, inversion and reversion, thus preparing for the much later fugue. The number of voices was frequently five or six, occasionally twelve, sixteen, twenty-four or even more. Though the custom of borrowing' subjects' still obtained, the ability to invent them increased," often with some gain in expressiveness. The handling of details was more certain and varied, avoiding the stiffness of earlier works and often aiming at effects somewhat grand and imposing.
The skill of the period tended to expend itself on the purely intellectual side of composition, The heaping together of intricacies was often so great that sentiment and beauty were lost in merely curious feats of polyphonic dexterity. The texts were often treated as if of slight accountsingle words, for example, being spun out over long passages until wholly unintelligible. Too little care was taken to adjust the general effect to the spirit of the words.
This second school, in spite of its extremes, rendered immense service to the progress of composition through its conquest of certain materials and methods. If it had done nothing more, it would deserve respect for making later achievements possible. But it also left a notable array of works that are still remarkable as artistic monuments. The expansion of the geographical range of composers attracts notice. In the Netherlands themselves a newcentre appears at Antwerp. Several Italian cities begin to rival those of the west, while Germany, Austria and England exhibit independent musical life.
Many other princely courts besides that of Burgundy acquired renown as musical centres. The maintenance of a musical establishment becomes a more regular feature of royal or princely luxury. Such establishments were technically known as 'Chapels,' and the chief musician in them, who was both composer and conductor, was' Chapel-master' (Chapelai1t, Maitre de r,hapelle, Maestro di cappella, KajJelblteister, etc.). In time the Papal Chapel at Rome became the most famous, but earlier.
the Chapels Royal of England and France were prominent. Most large bishoprics, also, aimed to maintain at their cathedrals musical forces of ability.. This dependence of music upon the official patronage of the Church and of courts remains conspicuous until the 19th century. [For convenience, the head of a chapel will in following; pages be designated' as ' choirmaster.']
Darker Sides of Human History: How Did We Become Us?
