Music from the Earliest Notations to the Sixteenth Century
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LOVE SONGS These effects of whimsical, humanized religion seem to suggest the influence of the secular, ve ...
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The outstanding textural novelty here is the use of almost systematic imitation entirely confined to the supe ...
could be called “structural” (as opposed to “pervading”) imitation. We have already observed it in Gaspar’s ...
hidden message very much like the one in the Ockeghem-based Agnus Dei just considered. The motet is laid o ...
FIG. 13-4 Lorenzo de’Medici, “the Magnificent” (1449–1492), depicted among the artists whom he patroniz ...
the altus and bassus treat the final phrase of J’ay pris amours to a fully exposed point of imitation ...
Unless policed (by churchmen, by schoolmen, by snobs, and by “theorists” of all kinds) they tend to merge and f ...
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J’ay pris amours is conceivably another song by Hayne, or one by his Burgundian colleague Busnoys, but any of ...
northern Italy. It is a compendium of music treatises, including one, called Regule de proportionibus (“Rul ...
An even more ambitious tour de force is the one whose beginning is shown in Ex. 13-16b, by Martini, fou ...
EX. 13-16B Johannes Martini, J’ay pris amours, mm. 1–4 Besides these, there is a J’ay pris amours sett ...
compiled and copied in the late 1470 s in or near the town of Glogau in Silesia, a border district ...
EX. 13-17C Superius and tenor of the preceding with a new contratenor EX. 13-17D Superius of the preceding ...
It was the spread of that kind of music-loving that supported the earliest music business—written musi ...
The final stage, of course, consisted of specially composed songs-without-words in a style adapted from thos ...
commercial presses of Petrucci, including (to give an idea of his fertility) no fewer than six instrumental ...
EX. 13-19B Josquin des Prez, Ile fantazies de Joskin, mm. 1–12 The significance of the title is in the use of the ...
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