Music from the Earliest Notations to the Sixteenth Century

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FIG. 9-2 An echo of the “Babylonian captivity,” this altarpiece, executed ca. 1520 by the Venetian painter ...

which were as liturgically bare as one could get. It was one of the early Avignon popes who issued the mos ...

EX. 9-12 Original incipits and opening phrases in transcription EX. 9-12B Ivrea 52 (Credo) ...

Of course the two pieces do not have everything in common. Each has its distinguishing characteristics, each m ...

By the “middle third” of the century (ca. 1335–70), the Avignon styles had spread throughout France. The Agnus Dei ...

The earliest complete polyphonic Mass Ordinaries were votive formularies that were collected together an ...

have known and possibly taken as a model, was the so-called “Mass of Tournai” from a Belgian (then Bu ...

time. Like the others, it is modally disparate: the final of the first three sections is D (minorish), whil ...

heterogeneous complexity in all of its historical and technical dimensions is beyond the scope of a chapter like ...

EX. 9-16A Guillaume de Machaut, Lamessede Nostre Dame, Gloria, mm. 1–29 ...

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KYRIE The Kyrie is built around the same cantus firmus as the Kyrie from the Faenza Codex sampled in Ex. 9- ...

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EX. 9-17 Guillaume de Machaut, La messe de Nostre Dame: Ite, missa est ...

This is not to imply that Machaut had any intention or premonition of such a thing. On the contrary, his ...

GLORIA As a result of several recent discoveries, the Gloria of Machaut’s Mass has emerged as perhaps the most ...

distinctive. The second half of each talea (mm. 5–8 and 13–16), where most of the hockets and syncopes occ ...

first half (“my beginning”) relates to its second half (“my end”), the rondeau being the one fixed form who ...

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