The Roman choirs with which Victoria and Palestrina were associated were the centers of musical life in the late sixteenth century, and the singers attached to them enjoyed a status similar to that of modern orchestral players. According to Robert Stevenson, the singers were paid to do nothing but sing, and their standards were "perhaps higher than they ever have been since that time."
The organization of sixteenth-century choirs was governed by an elaborate system of rules concerning pay, absences, pensions, sick leave, conduct, and a number of other matters. In 1545 Paul III promulgated a constitution of the Papal Choir that contained fifty-nine chapters, all. "directed toward one end – the maintenance of a rigid discipline. The vocal refinements of the Papal Chapel made, possible by this discipline were imitated throughout the world."
In addition to fulfilling their chapel duties, the Sistine Choir members apparently sang at the Pope's meals on important occasions. It is possible that members of both papal choirs also performed at secular entertainments. The papal household employed instrumentalists who were usually singers as well. As instrumentalists, they were heard only at secular entertainments where they played between acts of dramatic performances. O'Brien states that "according to the usual custom of medieval rulers, the Popes had from early times kept a band of wind instruments which accompanied them on public occasions; they were known as 'Musicians of Castel Sant' Angelo" It seems clear that, although instrumentalists were attached to the papal court, their activities were strictly limited to non-liturgical functions.
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