Sound and sense in Franco-Flemish music of the Renaissance: sharps, flats, and the problem of 'musica ficta'
Accidentals in Renaissance music have long been a problem for performers and editors, for they are often not fully prescribed in Franco-Flemish music. In the 20th century, a set of 'rules of musica ficta' were assembled to describe performers? practice in the 15th and 16th centuries, but t...
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| Format: | Buch |
| Sprache: | English |
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Leuven ; Paris ; Bristol, CT
Peeters Publishers
2021
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| Schriftenreihe: | Analysis in context
volume 7 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | Accidentals in Renaissance music have long been a problem for performers and editors, for they are often not fully prescribed in Franco-Flemish music. In the 20th century, a set of 'rules of musica ficta' were assembled to describe performers? practice in the 15th and 16th centuries, but the three primary rules contradict each other when applied to the repertory. The conflict forces one or more rules to be set aside in certain passages. Typically, modern editors sacrifice the linear rule in favor of harmonic aspects. The modern preference relies on a medieval concept - the exclusion of mi contra fa - which the author challenges. When the prohibition against mi contra fa is removed from singers' concerns, and understood as a rule aimed at composers - one they took delight in breaking at times - a proper balance between the three rules is regained, and an incisive and expanded harmonic world is revealed. |
| Beschreibung: | XXV, 598 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9789042945968 |
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| 520 | 3 | |a Accidentals in Renaissance music have long been a problem for performers and editors, for they are often not fully prescribed in Franco-Flemish music. In the 20th century, a set of 'rules of musica ficta' were assembled to describe performers? practice in the 15th and 16th centuries, but the three primary rules contradict each other when applied to the repertory. The conflict forces one or more rules to be set aside in certain passages. Typically, modern editors sacrifice the linear rule in favor of harmonic aspects. The modern preference relies on a medieval concept - the exclusion of mi contra fa - which the author challenges. When the prohibition against mi contra fa is removed from singers' concerns, and understood as a rule aimed at composers - one they took delight in breaking at times - a proper balance between the three rules is regained, and an incisive and expanded harmonic world is revealed. | |
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Datensatz im Suchindex
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TABLE OF CONTENTS Abbreviations. Manuscript sigla. List of musical examples, tables, and figures. List of sound examples. XXVI Introduction. 1 Chapter 1. Theorists on Musica Ficta and Solmization. 5 1.1. Musica ficta and its two definitions. Mi contrafa. Closest approach. Melodic contour. Modern literature on editorial accidentals. 1.2. The significance of solmization. A contrary voice. Two or three hexachords?. 5 19 24 29 34 4l 48 57 Chapter 2. Linear and Melodic Aspects IX XI XV . 79 2.1. Inflection of cantus firmi inmasses. Missa Hercules dux Ferrane. The end-effect. Una nota super
և. Missa Ave maris stella. Missa La solfa re mi. Missa L’homme armé super voces musicales. Missa L’homme armé sexti toni. Missa D’ung aulire amer. Missa Faysant regretz. 2.2. Dual and contrasting cantus firmi. 2.3. Soft hexachorduse in motets on Benedicta es. 79 80 81 88 94 100 107 115 130 134 147 162 Chapter 3. Contrapuntal and Cadential Aspects. 177 3.1. Cadences without inflection and the ending of Josquin’s Benedicta es. 179
VI TABLE OF CONTENTS 3.2. A database of cadences in the I6th-century motet . Analysis of cadences by linear character. Piagai extensions. Who makes the cadence?. Analysis of cadences by contrapuntal character . Analysis of cadences by harmonic character. The function of the fifth voice. 3.3. Other viewpoints. 3.4. Proving cadential cross-relation in the absence of explicit signs. External evidence. Theorists. Intabulations. Explicit accidentals. Internal evidence. Cadences to F. Cadences to G. The ‘smokinggun’. Four-voice cadence clash. 3.5. Statistical Breakdown. The ‘exceptions’. The fermata
cadence. Intabulations of the fermata cadence. 185 192 199 205 221 233 239 246 254 260 2 60 269 272 276 276 283 285 288 297 302 307 318 Chapter 4. Harmonic Aspects. 331 4.1. Contra mi contrafa. Imperfect octaves and unisons in non-cadential contexts False concords of the fifth. Harmonic complexity and diminished 5th use by Nico las Gombért. Evidence of diminished 5ths in imitative passages . Explicit evidence of diminished 5ths, and another linear device. The flatted seventh degree cadential pattern. 4.2. Missing accidentals and mi contrafa in works by Josquin On the flats in an early Josquin motet. Diminished 5ths in works by Josquin. The В-molle close. Partial signatures in flux. 331 335 338 347 358 365 370 374 374 382 385 395
TABLE OF CONTENTS VII Chapter 5. Canonic Works. 401 5.1. Two ways to realize a fiiga. Exact canon and the theorists. Diatonic canon and Ockeghem. 5.2. The four-ex-two canon. The early Josquin?. 5.3. Four-ex-two canons up to 1520 . Two canons related to Se congie prens. Two canons by Ninot. Two anonymous canons from Petrucci’s Canti C . . . Two motets from VatS 42. A 4-ex-2 mass by Brumel, compared with Palestrina . The ‘Rose canon’. 402 403 413 426 426 442 448 455 457 461 472 479 Chapter 6. A Few Hard Problems. 491 6.1. Multiple solutions despite explicit accidentals. 6.2. Cyclic accidentals in sequential passages by Obrecht. . Issues with the Missa Libentergloriabor. Other puzzles by Obrecht. Willaert’s ‘Duo’. 6.3. Further on sequential passages and cyclic accidentals . On the Bauldeweyn Missa Dapacem. 6.4. Sequences by Gombért, and a fewloose ends. Two difficult
cases. 491 498 500 510 516 519 529 541 555 Chapter 7. Conclusions and Recommendations; an Epilogue. . . 561 Bibliography. 571 Indexes Index of Compositions. Index of Authors. 591 595 |
| adam_txt |
TABLE OF CONTENTS Abbreviations. Manuscript sigla. List of musical examples, tables, and figures. List of sound examples. XXVI Introduction. 1 Chapter 1. Theorists on Musica Ficta and Solmization. 5 1.1. Musica ficta and its two definitions. Mi contrafa. Closest approach. Melodic contour. Modern literature on editorial accidentals. 1.2. The significance of solmization. A contrary voice. Two or three hexachords?. 5 19 24 29 34 4l 48 57 Chapter 2. Linear and Melodic Aspects IX XI XV . 79 2.1. Inflection of cantus firmi inmasses. Missa Hercules dux Ferrane. The end-effect. Una nota super
և. Missa Ave maris stella. Missa La solfa re mi. Missa L’homme armé super voces musicales. Missa L’homme armé sexti toni. Missa D’ung aulire amer. Missa Faysant regretz. 2.2. Dual and contrasting cantus firmi. 2.3. Soft hexachorduse in motets on Benedicta es. 79 80 81 88 94 100 107 115 130 134 147 162 Chapter 3. Contrapuntal and Cadential Aspects. 177 3.1. Cadences without inflection and the ending of Josquin’s Benedicta es. 179
VI TABLE OF CONTENTS 3.2. A database of cadences in the I6th-century motet . Analysis of cadences by linear character. Piagai extensions. Who makes the cadence?. Analysis of cadences by contrapuntal character . Analysis of cadences by harmonic character. The function of the fifth voice. 3.3. Other viewpoints. 3.4. Proving cadential cross-relation in the absence of explicit signs. External evidence. Theorists. Intabulations. Explicit accidentals. Internal evidence. Cadences to F. Cadences to G. The ‘smokinggun’. Four-voice cadence clash. 3.5. Statistical Breakdown. The ‘exceptions’. The fermata
cadence. Intabulations of the fermata cadence. 185 192 199 205 221 233 239 246 254 260 2 60 269 272 276 276 283 285 288 297 302 307 318 Chapter 4. Harmonic Aspects. 331 4.1. Contra mi contrafa. Imperfect octaves and unisons in non-cadential contexts False concords of the fifth. Harmonic complexity and diminished 5th use by Nico las Gombért. Evidence of diminished 5ths in imitative passages . Explicit evidence of diminished 5ths, and another linear device. The flatted seventh degree cadential pattern. 4.2. Missing accidentals and mi contrafa in works by Josquin On the flats in an early Josquin motet. Diminished 5ths in works by Josquin. The В-molle close. Partial signatures in flux. 331 335 338 347 358 365 370 374 374 382 385 395
TABLE OF CONTENTS VII Chapter 5. Canonic Works. 401 5.1. Two ways to realize a fiiga. Exact canon and the theorists. Diatonic canon and Ockeghem. 5.2. The four-ex-two canon. The early Josquin?. 5.3. Four-ex-two canons up to 1520 . Two canons related to Se congie prens. Two canons by Ninot. Two anonymous canons from Petrucci’s Canti C . . . Two motets from VatS 42. A 4-ex-2 mass by Brumel, compared with Palestrina . The ‘Rose canon’. 402 403 413 426 426 442 448 455 457 461 472 479 Chapter 6. A Few Hard Problems. 491 6.1. Multiple solutions despite explicit accidentals. 6.2. Cyclic accidentals in sequential passages by Obrecht. . Issues with the Missa Libentergloriabor. Other puzzles by Obrecht. Willaert’s ‘Duo’. 6.3. Further on sequential passages and cyclic accidentals . On the Bauldeweyn Missa Dapacem. 6.4. Sequences by Gombért, and a fewloose ends. Two difficult
cases. 491 498 500 510 516 519 529 541 555 Chapter 7. Conclusions and Recommendations; an Epilogue. . . 561 Bibliography. 571 Indexes Index of Compositions. Index of Authors. 591 595 |
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| spelling | Urquhart, Peter W. Verfasser (DE-588)134959000 aut Sound and sense in Franco-Flemish music of the Renaissance sharps, flats, and the problem of 'musica ficta' by Peter Urquhart Leuven ; Paris ; Bristol, CT Peeters Publishers 2021 XXV, 598 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Analysis in context volume 7 Accidentals in Renaissance music have long been a problem for performers and editors, for they are often not fully prescribed in Franco-Flemish music. In the 20th century, a set of 'rules of musica ficta' were assembled to describe performers? practice in the 15th and 16th centuries, but the three primary rules contradict each other when applied to the repertory. The conflict forces one or more rules to be set aside in certain passages. Typically, modern editors sacrifice the linear rule in favor of harmonic aspects. The modern preference relies on a medieval concept - the exclusion of mi contra fa - which the author challenges. When the prohibition against mi contra fa is removed from singers' concerns, and understood as a rule aimed at composers - one they took delight in breaking at times - a proper balance between the three rules is regained, and an incisive and expanded harmonic world is revealed. Ensemble "Musica Ficta" (DE-588)5115775-5 gnd rswk-swf Aufführungspraxis (DE-588)4141464-0 gnd rswk-swf Franko-flämische Schule (DE-588)7702970-7 gnd rswk-swf Franko-flämische Schule (DE-588)7702970-7 s Ensemble "Musica Ficta" (DE-588)5115775-5 b Aufführungspraxis (DE-588)4141464-0 s DE-604 Erscheint auch als Online-Ausgabe 978-90-429-4597-5 Analysis in context volume 7 (DE-604)BV023024880 7 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033217622&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Urquhart, Peter W. Sound and sense in Franco-Flemish music of the Renaissance sharps, flats, and the problem of 'musica ficta' Analysis in context Ensemble "Musica Ficta" (DE-588)5115775-5 gnd Aufführungspraxis (DE-588)4141464-0 gnd Franko-flämische Schule (DE-588)7702970-7 gnd |
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| title | Sound and sense in Franco-Flemish music of the Renaissance sharps, flats, and the problem of 'musica ficta' |
| title_auth | Sound and sense in Franco-Flemish music of the Renaissance sharps, flats, and the problem of 'musica ficta' |
| title_exact_search | Sound and sense in Franco-Flemish music of the Renaissance sharps, flats, and the problem of 'musica ficta' |
| title_exact_search_txtP | Sound and sense in Franco-Flemish music of the Renaissance sharps, flats, and the problem of 'musica ficta' |
| title_full | Sound and sense in Franco-Flemish music of the Renaissance sharps, flats, and the problem of 'musica ficta' by Peter Urquhart |
| title_fullStr | Sound and sense in Franco-Flemish music of the Renaissance sharps, flats, and the problem of 'musica ficta' by Peter Urquhart |
| title_full_unstemmed | Sound and sense in Franco-Flemish music of the Renaissance sharps, flats, and the problem of 'musica ficta' by Peter Urquhart |
| title_short | Sound and sense in Franco-Flemish music of the Renaissance |
| title_sort | sound and sense in franco flemish music of the renaissance sharps flats and the problem of musica ficta |
| title_sub | sharps, flats, and the problem of 'musica ficta' |
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