The motet in the late Middle Ages:
"The book ranges widely over French, English and Italian motets, mostly between the 1310s and the 1420s. About half the chapters are previously unpublished, the remainder revised to varying degrees from previous publications and now organised into Parts devoted to compositional techniques, Fauv...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York
Oxford University Press
[2023]
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "The book ranges widely over French, English and Italian motets, mostly between the 1310s and the 1420s. About half the chapters are previously unpublished, the remainder revised to varying degrees from previous publications and now organised into Parts devoted to compositional techniques, Fauvel and Vitry, Machaut, the Musician motets, English motets, Italian motets, music for popes and courts. Transcriptions of entire motets complement the musical analyses, many downloadable from the companion website. Chapters vary in their technical demands, allowing readers to select as appropriate. The five Musician motets of Part IV (chs. 15-21) praise over sixty musicians and range over many decades, each playing off its predecessors with citation, allusion and modelling. Motets of this period are individual conceptions, virtuosic creations of multi-layered words and music as tightly constructed as Chinese puzzles. Many chapters are devoted to individual motets, drawing on a multitude of new analytic directions and giving close attention to the detailed fit and juxtapositions of words and music. Verbal texts borrow musical techniques of repetition and recapitulation, words which may then be underlined musically by melodic or rhythmic 'leitmotives'. Alliteration and onomatopoeia abound, and there is a wider range of ingenious word painting than has usually been recognised, including puns on number and structural joins. Segments of chant are often chosen for their musical characteristics (number, symmetries, cadencing opportunities, melodic qualities) as well as their textual suitability to the pre-compositional materia" |
| Beschreibung: | Includes index |
| Beschreibung: | xxxviii, 735 Seiten Illustrationen, Notenbeispiele 26 cm |
| ISBN: | 9780190063771 |
Internformat
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| 520 | 3 | |a "The book ranges widely over French, English and Italian motets, mostly between the 1310s and the 1420s. About half the chapters are previously unpublished, the remainder revised to varying degrees from previous publications and now organised into Parts devoted to compositional techniques, Fauvel and Vitry, Machaut, the Musician motets, English motets, Italian motets, music for popes and courts. Transcriptions of entire motets complement the musical analyses, many downloadable from the companion website. Chapters vary in their technical demands, allowing readers to select as appropriate. The five Musician motets of Part IV (chs. 15-21) praise over sixty musicians and range over many decades, each playing off its predecessors with citation, allusion and modelling. Motets of this period are individual conceptions, virtuosic creations of multi-layered words and music as tightly constructed as Chinese puzzles. Many chapters are devoted to individual motets, drawing on a multitude of new analytic directions and giving close attention to the detailed fit and juxtapositions of words and music. Verbal texts borrow musical techniques of repetition and recapitulation, words which may then be underlined musically by melodic or rhythmic 'leitmotives'. Alliteration and onomatopoeia abound, and there is a wider range of ingenious word painting than has usually been recognised, including puns on number and structural joins. Segments of chant are often chosen for their musical characteristics (number, symmetries, cadencing opportunities, melodic qualities) as well as their textual suitability to the pre-compositional materia" | |
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Datensatz im Suchindex
| _version_ | 1805071272142438400 |
|---|---|
| adam_text |
Contents Preface and Acknowledgements About the Companion Website List ofIllustrations List of Tables List ofMusic Examples List ofSound Clips List ofManuscripts Other Abbreviations xi xv xvii xix xxi xxv xxvii xxxv Introduction 1 PART I. COMPOSITIONAL TECHNIQUES 15 1. Theoretical and Terminological Issues 17 2. What is Isorhythm? 39 PART II. THE MARIGNY MOTETS, BEYOND FAUVEL, AND VITRY 65 3. Fauvel and Marigny: Which Came First? 67 4. Tribum que non abhorruit/Quoniam secta latronum/Merito hecpatimur and its ‘Quotations’, and Garrit gallus/In nova 83 Appendix: Commentary to Tribum/Quoniam; Commentary to Garrit/Innova 108 5. Aman novi/HeuFortuna/Heu me 111 6. Floret/Florens: Intended for Fauvel? 131 7. Related Manuscripts, Related Motets; Vitry 139 8. Vos quid admiramini/Gratissima Virginis species/Gaude gloriosa 151 PART III. MACHAUT 169 9. Words and Music in Machaut’s Motet 9 171 10. Deception, Exegesis and Sounding Number in Machaut’s Motet 15 197 11. The ‘Harmony’ of the Machaut Mass 209
viii CONTENTS 12. Machaut’s Motet 10 and its Interconnections 231 13. Motet 18: Bone pastor Guillertne/Bone pastor, qui pastores/Bonepastor 245 14. Text-Music Relationships in Motets 4 and 8 263 PART IV. MUSICORUM COLLEGIUM·. THE MUSICIAN MOTETS 281 15. Apollinis eclipsatur, its Progeny and their Sources 283 16. Apollinis eclipsatur/Zodiacum signis/In отпет terram and Later Versions with Added Parts 301 Appendix: Commentaries to Web Transcriptions for the Pieces with Multiple Sources 321 17. Musicalis sciencia/Sciencie laudabili and the Musicians Named in Apollinis and Musicalis . 325 18. Musicorum collegio/In templo Dei/Avete 343 19. Alma polis religio/Axe poli cum artica/[Et] in ore eorum and its Named Musicians 353 Appendix: Commentary Notes to Example 19.1, Alma polis religio/Axe poli cum artica/[Et] in ore eorum 20. Sub arturo plebs/Fons citharizancium/In отпет terram and its Musicians 369 Appendix: Variants in Sub Arturo plebs/Fons citharizancium/In отпет terram 21. Fragmentary Motets and Other Possibly Linked Compositions PART V. ENGLISH MOTETS C. 1400-1420 367 388 389 399 22. The Yoxford Manuscript and the Motet О amicus/Precursoris Appendix: Musical Transcription of О amicus/Precursoris (Ex. 22.1), with Musical and Textual Commentary 23. The Yoxford Credo Appendix: Notes to Credo Transcription (Ex. 23.1 ) 401 423 431 443 24. Mayshuet and the Deo gratias Motets in the Old Hall Manuscript 445 25. Old Hall, the Agincourt Motets, and Dunstaple 465
ΪΧ CONTENTS PART VI. ITALIAN MOTETS 495 26. The Fourteenth-Century Italian Motet 27. The Motet Collection of San Lorenzo 2211 (SL2211) and the Composer Hubertus de Sahnis 497 531 28. The Motets of Johannes Ciconia 29. Ciconia, Prosdocimus, and the Workings of Musical Grammar as Exemplified in Ofelix templum and О Padua 551 575 PART VII. MUSIC FOR POPES AND THE COURTS OF BURGUNDY AND CYPRUS 603 30. Early Papal Motets Appendix: Music for Popes John XXII(?) to Eugene IV 31. Trémoïlle Revisited Appendix: Transcription of Incipits as Listed in the Trent Index, with Identifications and Sources 32. Some Aspects of the Cyprus Manuscript and its Motets Appendix: The Cyprus Motets Bibliography Index of Compositions Index ofManuscripts General Index 605 638 641 653 661 682 687 715 723 727 |
| adam_txt |
Contents Preface and Acknowledgements About the Companion Website List ofIllustrations List of Tables List ofMusic Examples List ofSound Clips List ofManuscripts Other Abbreviations xi xv xvii xix xxi xxv xxvii xxxv Introduction 1 PART I. COMPOSITIONAL TECHNIQUES 15 1. Theoretical and Terminological Issues 17 2. What is Isorhythm? 39 PART II. THE MARIGNY MOTETS, BEYOND FAUVEL, AND VITRY 65 3. Fauvel and Marigny: Which Came First? 67 4. Tribum que non abhorruit/Quoniam secta latronum/Merito hecpatimur and its ‘Quotations’, and Garrit gallus/In nova 83 Appendix: Commentary to Tribum/Quoniam; Commentary to Garrit/Innova 108 5. Aman novi/HeuFortuna/Heu me 111 6. Floret/Florens: Intended for Fauvel? 131 7. Related Manuscripts, Related Motets; Vitry 139 8. Vos quid admiramini/Gratissima Virginis species/Gaude gloriosa 151 PART III. MACHAUT 169 9. Words and Music in Machaut’s Motet 9 171 10. Deception, Exegesis and Sounding Number in Machaut’s Motet 15 197 11. The ‘Harmony’ of the Machaut Mass 209
viii CONTENTS 12. Machaut’s Motet 10 and its Interconnections 231 13. Motet 18: Bone pastor Guillertne/Bone pastor, qui pastores/Bonepastor 245 14. Text-Music Relationships in Motets 4 and 8 263 PART IV. MUSICORUM COLLEGIUM·. THE MUSICIAN MOTETS 281 15. Apollinis eclipsatur, its Progeny and their Sources 283 16. Apollinis eclipsatur/Zodiacum signis/In отпет terram and Later Versions with Added Parts 301 Appendix: Commentaries to Web Transcriptions for the Pieces with Multiple Sources 321 17. Musicalis sciencia/Sciencie laudabili and the Musicians Named in Apollinis and Musicalis . 325 18. Musicorum collegio/In templo Dei/Avete 343 19. Alma polis religio/Axe poli cum artica/[Et] in ore eorum and its Named Musicians 353 Appendix: Commentary Notes to Example 19.1, Alma polis religio/Axe poli cum artica/[Et] in ore eorum 20. Sub arturo plebs/Fons citharizancium/In отпет terram and its Musicians 369 Appendix: Variants in Sub Arturo plebs/Fons citharizancium/In отпет terram 21. Fragmentary Motets and Other Possibly Linked Compositions PART V. ENGLISH MOTETS C. 1400-1420 367 388 389 399 22. The Yoxford Manuscript and the Motet О amicus/Precursoris Appendix: Musical Transcription of О amicus/Precursoris (Ex. 22.1), with Musical and Textual Commentary 23. The Yoxford Credo Appendix: Notes to Credo Transcription (Ex. 23.1 ) 401 423 431 443 24. Mayshuet and the Deo gratias Motets in the Old Hall Manuscript 445 25. Old Hall, the Agincourt Motets, and Dunstaple 465
ΪΧ CONTENTS PART VI. ITALIAN MOTETS 495 26. The Fourteenth-Century Italian Motet 27. The Motet Collection of San Lorenzo 2211 (SL2211) and the Composer Hubertus de Sahnis 497 531 28. The Motets of Johannes Ciconia 29. Ciconia, Prosdocimus, and the Workings of Musical Grammar as Exemplified in Ofelix templum and О Padua 551 575 PART VII. MUSIC FOR POPES AND THE COURTS OF BURGUNDY AND CYPRUS 603 30. Early Papal Motets Appendix: Music for Popes John XXII(?) to Eugene IV 31. Trémoïlle Revisited Appendix: Transcription of Incipits as Listed in the Trent Index, with Identifications and Sources 32. Some Aspects of the Cyprus Manuscript and its Motets Appendix: The Cyprus Motets Bibliography Index of Compositions Index ofManuscripts General Index 605 638 641 653 661 682 687 715 723 727 |
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| spelling | Bent, Margaret 1940- Verfasser (DE-588)131357891 aut The motet in the late Middle Ages Margaret Bent New York Oxford University Press [2023] © 2023 xxxviii, 735 Seiten Illustrationen, Notenbeispiele 26 cm txt rdacontent n rdamedia nc rdacarrier Includes index "The book ranges widely over French, English and Italian motets, mostly between the 1310s and the 1420s. About half the chapters are previously unpublished, the remainder revised to varying degrees from previous publications and now organised into Parts devoted to compositional techniques, Fauvel and Vitry, Machaut, the Musician motets, English motets, Italian motets, music for popes and courts. Transcriptions of entire motets complement the musical analyses, many downloadable from the companion website. Chapters vary in their technical demands, allowing readers to select as appropriate. The five Musician motets of Part IV (chs. 15-21) praise over sixty musicians and range over many decades, each playing off its predecessors with citation, allusion and modelling. Motets of this period are individual conceptions, virtuosic creations of multi-layered words and music as tightly constructed as Chinese puzzles. Many chapters are devoted to individual motets, drawing on a multitude of new analytic directions and giving close attention to the detailed fit and juxtapositions of words and music. Verbal texts borrow musical techniques of repetition and recapitulation, words which may then be underlined musically by melodic or rhythmic 'leitmotives'. Alliteration and onomatopoeia abound, and there is a wider range of ingenious word painting than has usually been recognised, including puns on number and structural joins. Segments of chant are often chosen for their musical characteristics (number, symmetries, cadencing opportunities, melodic qualities) as well as their textual suitability to the pre-compositional materia" Geschichte 1190-1450 gnd rswk-swf Motette (DE-588)4040357-9 gnd rswk-swf Motets / 500-1400 / History and criticism Motets / 14th century / History and criticism Motets 500-1400 Criticism, interpretation, etc Motette (DE-588)4040357-9 s Geschichte 1190-1450 z DE-604 Erscheint auch als Online-Ausgabe 978-0-19-006380-1 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=034242490&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Bent, Margaret 1940- The motet in the late Middle Ages Motette (DE-588)4040357-9 gnd |
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| title | The motet in the late Middle Ages |
| title_auth | The motet in the late Middle Ages |
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| title_full | The motet in the late Middle Ages Margaret Bent |
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