Music from the Earliest Notations to the Sixteenth Century
as unstable; the piece cannot end until it has been “cleared” by the superius motion from F (third) to ...
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PERSONAL PRAYER These Marian antiphon settings sound a conspicuously personal note that we have n ...
The beginning of the motet, containing the opening canonical acclamation and the first of the votive interpolations, i ...
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Was Du Fay aware, at such a poignant moment, of the inadvertent, irrelevant in-joke of having the added flat ...
The flats persist until the cadence, where the superius evades occursus with the altus by means of a te ...
The effect of anguished mortality is heightened in the Mass through additional chromaticism: a specifically si ...
Du Fay’s Agnus Dei represents a new relationship between a Mass setting and its “raw material”: it is not j ...
Virgin, there to sing a Marian antiphon meliori modo quo sciverint, “as well as they know how.” The Sa ...
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A corollary to the melodic proliferation is the use of shorter note-values than anywhere (yet) on the continen ...
The main lengthener of English votive antiphons, however, was the exceptionally rich larding of the canonical ...
will be clear why the music of this motet could not be given here in its entirety. Even the concludi ...
peasantry to become by violent insurgency and advantageous marriage-making the ruling family of Milan. Among this ...
FIG. 13-2 Milan Cathedral (Il duomo). FIG. 13-3 The second Agnus Dei (starting in the middle of the thir ...
Nowhere else have we seen a sacred composition in which the text is set as straightforwardly, line by l ...
called the “proportion” because of its strict common-pulse relationship to the previous tempo). EX. 13-8 Gasp ...
FUN IN CHURCH? Gaspar van Weerbeke presided over a stellar group of young musicians in Milan, testifying ...
minims!—that renders the texts with a dispatch bordering on flippancy. In the motet’s prima pars (first h ...
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