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Relevant bibliographies by topics / Motette, Isorhythmie

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Academic literature on the topic 'Motette, Isorhythmie'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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Journal articles on the topic "Motette, Isorhythmie"

1

Brothers, Thomas. "Vestiges of the Isorhythmic Tradition in Mass and Motet, ca. 1450-1475." Journal of the American Musicological Society 44, no. 1 (1991): 1–56. http://dx.doi.org/10.2307/831727.

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The article examines a small group of masses and motets by Du Fay, Busnoys, Regis, and Josquin that may date from the third quarter of the fifteenth century. Each piece reflects the composer's interest in preserving various aspects of the isorhythmic tradition. One such aspect is a compositional technique referred to as modus disposition, the control of a piece by making the total duration of a section divisible by two or three breves, depending on whether imperfect or perfect modus is in control. Another feature that is a vestige of the isorhythmic tradition is the planning of a piece so that precise ratios are created between various sectional durations within the piece; several important pieces displaying such ratios can be thought of as manifesting number disposition rather than number symbolism. On the basis of similarities in compositional technique and unusual mensural features, the argument is made that Du Fay's Missa Se la face ay pale may have inspired Busnoys' Missa L'homme armé (as well as several motets by Busnoys and Regis), and that Busnoys' mass in turn may have inspired sections of the Missa Di dadi and Missa L'ami baudichon by Josquin. Issues surrounding Josquin's Illibata Dei virgo nutrix are considered, particularly the notion that the motet transforms stylistic norms that were associated with the isorhythmic tradition, as mediated by Busnoys' In Hydraulis. The use of perfect modus in Illibata seems to be a further reference to the isorhythmic tradition. In an attempt to assess the unique stylistic properties of Illibata, relationships between it and other motets by Josquin from the 1470s are explored.

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2

Fast, Susan. "God, Desire, and Musical Narrative in the Isorhythmic Motet." Canadian University Music Review 18, no. 1 (March 15, 2013): 19–37. http://dx.doi.org/10.7202/1014818ar.

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This article examines the relationship between late Medieval narrative structure in French literature and music (specifically the isorhythmic motet) and how that structure was shaped by deeply held beliefs within Medieval culture, including the idea that a person's identity and desires were directed by God. A detailed analysis of the motet De bon espoir/Puis que la douce rousee/Speravi by Guillaume de Machaut is made to support the argument.

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3

Rotter-Broman, Signe. "The manifestation of musical time in Italian ballatas around 1400: the case of Andrea da Firenze'sNon più doglie ebbe Dido." Plainsong and Medieval Music 19, no. 2 (September 17, 2010): 123–37. http://dx.doi.org/10.1017/s0961137110000057.

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ABSTRACTThe changes in time perception that emerged in the late Middle Ages have not only left their mark on musical notation or the isorhythmic motet, but also on the composition of polyphonic songs. This article proposes an analytical approach to late Trecento songs that takes these changes into account. A case study of Andrea da Firenze's ballataNon più doglie ebbe Didoreveals how the temporal structures of the text and the music interact.

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4

Wright, Peter. "Johannes Brassart and Johannes de Sarto." Plainsong and Medieval Music 1, no. 1 (April 1992): 41–61. http://dx.doi.org/10.1017/s0961137100000243.

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Among the small repertoire of early fifteenth-century ceremonial works is an anonymous lamentation motet, Romanorum rex inclite, written to commemorate the death in 1439 of Albrecht II, King of the Romans. It is thought to be by Johannes Brassart,1 the most distinguished member of Albrecht's choir, and is a fine example of the then moribund isorhythmic motet. Its music is of manifestly high quality, yet it is primarily for its text that Romanorum rex inclite is known, since this lists the names of the singers who apparently constituted the king's choir at the time of his death.2 Only two can be confidently identified: Brassart himself, who heads the list, and his near namesake Johannes de Sarto. Brassart's life is well documented; he is recognized as one of the best and most productive composers of the second

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5

Abramov-van Rijk, Elena. "The non-Italian Ars Nova: how to read the madrigal Povero zappator by Lorenzo da Firenze." Early Music 48, no. 1 (February 2020): 41–54. http://dx.doi.org/10.1093/em/caz093.

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Abstract The label ‘Ars Nova’ is not easily applicable to Italian 14th-century music, since its main characteristics, such as isorhythm, diminution, pre-existing tenors, and so on, are practically absent, with a few exceptions, from Italian musical compositions, even Italian motets. Yet, isorhythm and diminution were used in the madrigal Povero zappator by Lorenzo da Firenze. What was the reason for using these devices just in this madrigal, whose poetic text about a lone sailor in a tempestuous sea at first glance seems to be a poem typical of Trecento madrigals? This article contends that this text, which so far has attracted little scholarly attention, is derived from Petrarch’s canzone Ne la stagion che ’l ciel rapido inchina. This provides not only a clue to understanding Lorenzo’s intentions, but, in a larger perspective, it also discloses the perception by Italian Trecento musicians of the musical thinking of their transalpine colleagues.

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6

Turner, Charles. "Proportion and Form in the Continental Isorhythmic Motet c. 1385-1450." Music Analysis 10, no. 1/2 (March 1991): 89. http://dx.doi.org/10.2307/854000.

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7

Brothers, Thomas. "Vestiges of the Isorhythmic Tradition in Mass and Motet, ca. 1450-1475." Journal of the American Musicological Society 44, no. 1 (April 1991): 1–56. http://dx.doi.org/10.1525/jams.1991.44.1.03a00020.

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8

Earp, Lawrence. "Machaut's Mass: An Introduction . Daniel Leech-Wilkinson . Compositional Techniques in the Four-Part Isorhythmic Motets of Philippe de Vitry and His Contemporaries . Daniel Leech-Wilkinson ." Journal of the American Musicological Society 46, no. 2 (July 1993): 295–305. http://dx.doi.org/10.1525/jams.1993.46.2.03a00040.

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9

Earp, Lawrence. "Review: Machaut's Mass: An Introduction by Daniel Leech-Wilkinson; Compositional Techniques in the Four-Part Isorhythmic Motets of Philippe de Vitry and His Contemporaries by Daniel Leech-Wilkinson." Journal of the American Musicological Society 46, no. 2 (1993): 295–305. http://dx.doi.org/10.2307/831968.

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Dissertations / Theses on the topic "Motette, Isorhythmie"

1

Busse, Berger Anna Maria. "Die isorhythmische Motette und die Gedächtniskunst." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71928.

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2

Melville-Richards, Joanna. "Text- and music-structures in two fourteenth-century manuscripts of English provenance." Thesis, Bangor University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322345.

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Books on the topic "Motette, Isorhythmie"

1

Leech-Wilkinson, Daniel. Compositional techniques in the four-part isorhythmic motets of Philippe de Vitry and his contemporaries. New York: Garland, 1989.

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Book chapters on the topic "Motette, Isorhythmie"

1

Busse Berger, Anna Maria. "The Role of Proportions in the Composition and Memorization of Isorhythmic Motets." In Études Renaissantes, 171–86. Turnhout: Brepols Publishers, 2012. http://dx.doi.org/10.1484/m.er-eb.4.00271.

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2

Earp, Lawrence. "Isorhythm." In A Critical Companion to Medieval Motets, 77–101. Boydell & Brewer, 2018. http://dx.doi.org/10.2307/j.ctvc16pzc.14.

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3

"Isorhythmic Motets in the Libro de Buen Amor." In A New Companion to the Libro de buen amor, 138–52. BRILL, 2021. http://dx.doi.org/10.1163/9789004448612_010.

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4

Variego, Jorge. "Rhythm (Exercises 41–60)." In Composing with Constraints, 43–60. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190057237.003.0004.

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Rhythm in this chapter is conceived as the pace at which music unfolds in time. Note values, rests, and other sources of rhythmic notation are a way to control the temporal evolution of a new composition. Exercise 41 proposes a series of simple mathematical transformations to given rhythmic structures; 42 and 43 use segments of equal and unequal length. Numbers 44 and 45 incorporate the concept of non-retrogradable rhythmic structures, the goal of 46 is to extract the rhythm of a given text using its syllables and accents, 47 uses groupings to generate meter, and 48 uses a Morse code translator to extract the durations from a given text. Exercise 49 brings back the concept of rhythmic ostinato; 50 and 51 employ hemiolas. Number 52 is based on the use of several time signatures simultaneously (polymeter), 53 incorporates metric modulations, and 54 uses rhythmic motifs as building blocks. Number 55 continues with the use of motifs, shifting them in time. The concepts of talea and color from isorhythmic motets are included in exercise 56. Looping and composing using repeat signs are included in number 57; 58 is about indeterminate pauses and fermatas. Rhythmic transformations using eliminations are at the core of 59; exercise 60 proposes an experimentation with the perception of pulse.

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