2 edition of Integrated directory of organa, clausulae, and motets of the thirteenth century found in the catalog.
Integrated directory of organa, clausulae, and motets of the thirteenth century
Hendrik Van der Werf
|Statement||Hendrik van der Werf.|
|LC Classifications||ML174 W44 1989|
|The Physical Object|
|Pagination||xii, 188 p.|
|Number of Pages||188|
Rent textbook Jenney's First Year Latin by Jenney, Charles - Price: $ suited to contributing to the overall musical shape of the liturgy. Two particular high points in the history of polyphonic music will be discussed, the organa of the Notre Dame school, ca. , and the cyclic ordinary of the Mass, ca. The presence of some kind of . Heraldry of the Royal Families of Europe by Jiri Louda, Michael Maclagan and a great selection of related books, art and collectibles available now at
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Author of The Chansons Of The Troubadours And Trouveres;, Integrated Directory of Organa, Clausulae and Motets of the Thirteenth Century, and The Chronology of Motet and Discant Passage and the Origin of Modal Notation4/5.
Integrated directory of organa, clausulae, and motets of the thirteenth century Hendrik van der Werf H. van der Werf, Integrated directory of organa, clausulae and motets of the thirteenth century Rochester, N.Y.: H.
van der Werf, [MUSIC REF. MLC2 W47 ] Madrigal Resources Fenlon, Iain. The Italian madrigal in the early sixteenth century: sources and interpretation. Cambridge; New York: Cambridge University Press, [MUSIC REF. MLF46 ]. Hendrik van der Werf, Integrated Directory of Organa, Clausulae, and Motets (Rochester: by the author, ).
Gilbert Reaney, Manuscripts of Polyphonic Music: 11th-Early 14th Century, RISM B IV 1 (Munich: Henle ). Hans Tischler, The Style and Evolution of the Earliest Motets (to circa ), 3 vols. Elaboration through exhortation: troping Motets for the Common of Martyrs*.
It is common knowledge that the repertory of thirteenth-century Latin motets exhibits a great variety of poetic by: 1.
-Hendrik van der Werf, Integrated directory of organa, clausulae and motets of the 13th century. Author, Η Γαλλία στον 12ο αιώνα είναι. Music (Cambridge, Eng., ), pp. (table 3); and Hendrik van der Werf, Integrated Directory of Organa, Clausulae, and Motets of the Thirteenth Century (Rochester, N.Y., ), pp.
v-viii. Although the version of the Magnus liber that is extant was composed in the late twelfth century, it survives only in thirteenth-century sources.
T ischler, The Motet in 13 Century France () (= Diss. Yale Univ./Conn.) Google Scholar E. L owinsky, Secret Chromatic Art in the Netherlands Motet (NY ) Google Scholar J.
R ichards, The»Grand Motet«of the Late Baroque as Exemplified by M. de Lalande and a Select Group of His Contemporaries, 2 Bde. The vernacular Motet and Its Dual Heritage This book is devoted to an examination of textual polyphony in the thirteenth-century French motet.
The vernacular motet in this period is largely a Clausulae and northern French phenomenon. A few examples of motets are known in the other medieval vernaculars, but the Old And motets of the thirteenth century book.
The motet originated when musicians at Notre Dame troped the repertory of clausulae, feature newly created melodies above old chants. Some motets were for non-liturgical use. The 12th century motet, known as the organal motet, based on a complete Gregorian melody so that, except for the text of its upper part, is an organum rather than a clausula.
organum to the other organa, clausulae, and motets which are based on or share the same chant. This paper outlines the advantages of using digital tools with pre-mensural music, and offers a glimpse at what an online digital edition of thirteenth century music may offer the field.
van der W erf, Integrated Directory of Organa, Clausulae, and Motets of the 13 th Century (Rochester/N.Y. Google Scholar A. F ranz, Die kirchlichen Benediktionen im. A majority of these Ave settings can be found in an alphabetic index of motet texts compiled in Hendrik van der Werf, Integrated Directory of Organa, Clausulae and Motets of the Thirteenth Century (Rochester, ), Cited by: 3.
Genre/Form: Bibliography Bibliographie: Additional Physical Format: Online version: Van der Werf, Hendrik, Integrated directory of organa, clausulae, and motets of the thirteenth century.
-A motet is a highly varied choral musical composition. -The motet was one of the pre-eminent forms of Renaissance music.-Motets in 13th century are secular entertainment for elite, intelligent people-The earliest motets arose in the 13th century from the organum tradition exemplified in the Notre Dame school of Léonin and Pérotin.
Based on the index of the repertory in Hendrik van der Werf, Integrated Directory of Organa, Clausulae and Motets of the Thirteenth Century (Rochester, N.Y, ), I count 1, texts ( Latin and French), deployed in something approaching Such types of composition as the motet ente and the motet with a single terminal refrain make regular appearances in the literature on the thirteenth-century motet.
Yet, composing polyphony out of pre-existing monophony is far from rare in thirteenth-century music: this is essentially how organa and motets were put together. Thus, although the two-part version of Homo qui semper moreris in Troyes may well be an exceptional case in the conductus repertory, it cannot be considered unique in the Notre Cited by: 3.
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A THIRTEENTH-CENTURY USER OF ANGLO-SAXON MANUSCRIPTS WENDY E. COLLIER In Junea century and a half after the Norman Conquest, and more than one hundred and twenty years after his death, the body of Wulfstan, the last Anglo-Saxon bishop of Worcester, was translated with great ceremony from its tomb in the cathedral to a.
The texts of thirteenth-century vernacular motets have held centre stage in many recent debates about this polytextual genre: the purported unintelligibility of the words in Author: Alejandro Planchart.
Ars nova princiales included: acceptance of the duple division of the beat and the use of four or more semibreves as equivalent to the breve (already featured in the motets of Pierre de la Croix).
Jacob of Liege vigorously defended the "ars antiqua" of the thirteenth century against these "modern" trends in music. Instead, most motets have a reference to Hendrik van de Werf’s Integrated directory of organa, clausulae and motets of the 13th century (Rochester, NY, ), which only lists sources and : Eleanor Rutherford.
PER. 10 -ABRAMOV-VAN RIJIK (E.), The madrigal Aquil’altera by Jacopo da Bologna and intertextual relationships in the musical repertory of the Italian Trecento, Vol. 28 (), pp. The Italian experience of the holy Roman emperor Charles IV: Musical and literary Aspects, Vol.
37 (), pp. -ADAMS (M.), Henry Purcell: The. Catherine Bradley, Polyphony in Medieval Paris: The Art of Composing with Plainchant, Cambridge University Press,p. About the book. Polyphony associated with the Parisian cathedral of Notre Dame marks a historical turning point in medieval music.
century this process is entirely different from that of the sixteenth or of the nineteenth century. The music of our period represents the final stage of that early method of composition which is known as 'successive counterpoint' and which is based on the principles of discantus.
In the early organa, clausulae, and motets the creative processFile Size: 12MB. This banner text can have markup. web; books; video; audio; software; images; Toggle navigation. Organa, Motets, and clausulae were all common in the 13th century, written and composed by the then-leading School of Notre Dame (Leonin and Perotin).
However, I've. Full text of "The Pelican History Of Music I Ancient Forms To Polyphony" See other formats. Two thirteenth-century vernacular motets copied side by side in the Montpellier Codex tell a story of sin and repentance.
In one a shepherd rapes a maiden, while in the other a penitent begs the Virgin Mary to forgive a great sin. The music of these two motets is nearly identical: one is a contrafactum of the other, and represents a conscious narrative continuation Cited by: 2.
The Marian Symbolism of Spring, ca. –ca. Two Case Studies DAVID J. ROTHENBERG I saw a beautiful woman ascending like a. Study MUSIC Study Guide ( Hoekstra) flashcards from StudyBlue on StudyBlue. Chapter Outlines. Chapter European Society in the Age of the Renaissance. The Evolution of the Italian Renaissance Economic Growth as the Basis of the Renaissance Venice, Genoa, and Milan grew rich on commerce between and Florence, where the Renaissance originated, was an important banking center by the fourteenth century.
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Leonin - Organum Hec Dies (This Is the Day) The held style ("tenor" - "to hold" - Islamic drones!) came to first fruition at the Paris Cathedral of Notre Dame with Leonin's elaborate organa, such as Hec Dies (This Is the Day) ().
The high voices would likely have been boys or falsetto (even castrati. -- well, perhaps not yet) tenors, as women were forbidden to sing with men, Author: Mark Alburger.
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Everist, ‘Polyphonic Music in Thirteenth-Century France’, i. 6^27, and idem, ‘The Thirteenth Century’, It is generally accepted that the earliest motets originated by adding a syllabic text to pre-existing untexted clausulae; see Mark Everist, French Motets in the Thirteenth Century: Music, Poetry and Genre (Cambridge, ), 15^ An Export Lacquer Cabinet on European Giltwood Stand Edo Period (early 17th century), the stand 17thth century Of rectangular form, with two hinged doors opening to reveal various sized drawers surrounding a central drawer of architechtural form, all decorated in hiramaki-e and takamaki-e with a panel to the front depicting karashishi amongst rocks and.
LITURGICAL MUSIC, HISTORY OF PART 1: EARLY CHRISTIAN MUSIC The historical development of music in Christian worship is intimately connected with the history of liturgy on the one hand and with the general history of music on the other.
Until the late Middle Ages there is no history of music except that related to the liturgy. After that time, in addition to liturgical music. Study MUSIC Study Guide ( Scott) flashcards from StudyBlue on StudyBlue.A didactic purpose lies behind a number of melodies that accompany 10th- to 13th-century computus verses, which link the liberal arts studies of music and astronomy within the doctrine of the music of the spheres.
Some of their melodies are in lined notation, and show a recitation style with some melodic emphasis at the cadences.Study Renaissance Study Guide flashcards from Julian Bryson's University of Kentucky class online, or in Brainscape's iPhone or Android app.
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