Palästinalied (Walther), 135 –36
Palestrina (Pfitzner), 652 –53, 652 , 654 , 656
Palestrina, Giovanni Pierluigi da, 630 –70, 634 , 675 , 733
ars perfecta and, 630 , 632 –33, 652 , 655 , 663 , 667 , 713
background and career of, 630 –31, 650 –53, 666 , 667 , 713
Byrd compared with, 678 , 680 , 684 –86
eighteenth-century imitations of, 667 , 668 –69
fame of, 632
Italian musical hegemony and, 666
Lasso compared with, 713
liturgical intelligibility movement and, 647 , 649 –63, 771
Mass settings of, 632 , 633 –63, 724
motet compositions of, 632 , 663 –66
musical emulation by, 633 –35
musical legend and, 650 –53
parody Masses of, 641 –44
post-Tridentine style and, 655 , 656
prolific output of, 632
style of, 667 , 669 –70, 773
works of
Missa O magnum mysterium, 643 –49
Missa Papae Marcelli, 649 , 650 , 673 , 680 , 684 –85, 724 , 782
Missa Repleatur os meum laude, 636 –41
Missa super L’Homme Armé, 634 , 635 –37, 653
Missa super Ut re mi fa sol la, 635 , 653
O magnum mysterium, 642 –44, 667
Tui sunt coeli, 663 –66
Vestiva i colli, 642 , 746palindrome, 161
Palisca, Claude, 826
Palm Sunday, 775
Pange lingua gloriosi (Venantius), 47 , 48 , 83 –84, 555
pan-isorhythm, 266 , 325 , 345
English motet and, 410 , 423 –24, 427
French-Cypriot Gloria-Credo pairing and, 345 , 346 –47Papa, Clemens non. See Clemens non Papa
papacy, 9 , 170