The Secular Latin Motet in the Renaissance by Richard Rastall

By Richard Rastall

This research of partsongs and soloistic song is anxious with the musical settings of classical verse. The paintings, the 1st of its type, is as a result a collaboration among a classicist and a musicologist. This booklet reviews, for the 1st time, the full style of the secular motet to Latin textual content within the Renaissance. Musicologists and classicists with medieval and Renaissance wisdom, in addition to services in each one other's disciplines, compile historic, early Christian, medieval and Renaissance fabrics in an interdisciplinary exploration of the texts, their settings and the social, political and cultural context of the style. The e-book takes as its starting-point Renaissance settings of classical verse, most significantly Virgil's traces from the "Aeneid" that commence 'Dulces exuviae', the lament of Dido, Queen of Carthage, after being deserted by means of Aeneas. this article examines metre and the connection among the classical fabrics and the Renaissance works derived from them, and plenty of different issues. the result's to open up of a nook of musical historical past that has formerly been given little attractiveness, and a brand new knowing of a much-neglected style.

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The Durham fragment consists of seven fourteenth-century leaves measuring approximately 345 x 225 mm, of which four act as flyleaves at the front (ff. 1-4) and three at the back (ff. 336-339). The nineteen musical compositions are mostly, but not exclusively, motets: nine at the front and ten (of which 0 canenda is the sixth, on f. 337v) at the back. 0 canenda is one of two motets in this manuscript known to be by Vitry, the other being the fourth piece in the rear section, Vos quid! Gratissima I Tenor.

The resolution — — might however imply a diseme thesis, triseme arsis. teraPokn) described by AQ (20). Arsis and thesis As already mentioned, Plato (Republic, 400B) refers to the aye) and Kam), 'up' and 'down', of the epic foot, which he says were equal. In this jocular passage, where he supposedly takes counsel with Damon, Plato speaks of the effect of various rhythms, for which he uses the term basis (13aatg). Aristoxenus (17) also uses am and Komi) (again in that order) of the feet that have two chronoi, and of those that have three, either two chronoi Civco, one thuo, or one Civa), two Kemp.

27 THE DURHAM VERSION OF 0 CANENDA / REX QUEM / REX REGUM Figure 1 Patterns of sound and silence in 0 canenda I Rex quern I Rex regum 1 Color 1 Breves Taleae 4 5 10 15 20 25 Ill 11 30 35 40 45 IV Color 2 50 V 55 60 VI 65 70 75 VII 80 85 90 95 VIII Color 3 100 105 Ii 110 III 115 /V 120 0= Breve 0= Silence = Hocker Bipartite isorhythmic motet with diminution by half Taleae 12 breves in integer valor 6 breves in diminution The music: the basic design and proportions This is a four-part motet designed with two pairs of voices, the Tenor and Contratenor occupying a similar pitch space, and the upper two voices in a higher tessitura, also sharing a common range.

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