Music from the Earliest Notations to the Sixteenth Century
tenor (Ex. 12-10) fortuitous or emblematic; and if emblematic, of what?) It is the double reciprocity— immediate ...
terms, its first note broken into three) to accommodate two unaccented syllables. Four of the six voices sing ...
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This sort of tonal planning, necessitated by the absence of a cantus firmus and the need to keep the ...
The only text-derived symbolism one can point to in the Credo are the virtually inescapable contrasting melodic ...
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The opening point in the Agnus Dei (Ex. 16-11) recapitulates the beginning of the Kyrie (compare Ex. 16-8), ...
The payoff comes at the end. The last phrase of the canon begins with the Bassus’s “Dona nobis pacem” in ...
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CRYOGENICS The final stage in Palestrina’s texturally clarified, harmonically saturated, motivically economical—in ...
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At the same time that this sense of perspective has been introduced into the polyphonic texture, a si ...
founded by Palestrina’s older contemporary Saint Ignatius of Loyola (1491–1556, canonized 1622), devoted equal ...
Interestingly enough, it is not the style of Palestrina’s own Omagnum mysterium that Sartori’s motet imitates, ...
Its derivation from Palestrina, far from being forgotten in the course of its transformation, was emphasized for ...
in church. FIG. 16-3 Johann Joseph Fux, author of Gradus ad Parnassum. The most influential of these books ...
The English reformation was totally unlike the German and Swiss ones whose musical effects we have yet to consider. ...
way to the Church of England, nor did the performance of the Latin liturgy. Except for its repudiation of the pope’ ...
FIG. 16-5 Title page of Cantiones, published by Thomas Tallis and William Byrd in 1575. Not that a st ...
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