Bibliografías temáticas / Motet

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Literatura académica sobre el tema "Motet"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 25 de julio de 2025

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Artículos de revistas sobre el tema "Motet"

1

Bradley, Catherine A. "Re-workings and Chronological Dynamics in a Thirteenth-Century Latin Motet Family." Journal of Musicology 32, no. 2 (2015): 153–97. http://dx.doi.org/10.1525/jm.2015.32.2.153.

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This article examines a family of thirteenth-century discant and motets on the tenor LATUS, tracing complex relationships between the various incarnations of its shared musical material: passages of melismatic discant in two- and three-voices, a three-voice Latin conductus motet, a two-voice Latin and French motet, and a three-voice Latin double motet. I query conventional fundamentally linear models of discant-motet interaction, emphasizing the possibility of simultaneously filial and collateral interrelationships between versions: different motet texts can influence each other, while retaini
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Smith, Norman E. "The Earliest Motets: Music and Words." Journal of the Royal Musical Association 114, no. 2 (1989): 141–63. http://dx.doi.org/10.1093/jrma/114.2.141.

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The birth of a genre surely is one of the most fascinating occurrences in the history of music, and no genre of medieval music had a more interesting birth than the motet. Study of the motet in modern times found special impetus and direction in 1898 when Wilhelm Meyer announced his discovery of the origin of the motet in the discant clausulae of the Notre Dame organa. Demonstrating the musical identity of certain Latin motets and discant clausulae, he concluded that the motet arose through the addition of Latin texts to the melismatic upper voices of the two-voice clausulae and was thereby ab
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Bradley, Catherine A. "Choosing a Thirteenth-Century Motet Tenor: From the Magnus liber organi to Adam de la Halle." Journal of the American Musicological Society 72, no. 2 (2019): 431–92. http://dx.doi.org/10.1525/jams.2019.72.2.431.

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This article explores trends and motivations in the selection of plainchant and vernacular song quotations as the foundations of thirteenth-century motets. I argue that particular tenor melodies that received only cursory treatment in the liturgical polyphony of the Magnus liber organi were adopted in motets on account of their brevity and simplicity, characteristics that enabled their combination with upper-voice song forms and refrain quotations. Demonstrating a preference for short and simple tenors within the earliest layers of the motet repertoire, I trace the polyphonic heritage of the t
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BROWN, THOMAS. "Another Mirror of Lovers? - Order, structure and allusion in Machaut's motets." Plainsong and Medieval Music 10, no. 2 (2001): 121–33. http://dx.doi.org/10.1017/s0961137101000092.

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Machaut's first twenty motets appear, identically ordered, in a group of manuscripts copied under the composer's supervision. This order highlights connections between individual motets. Proportional relationships between six motets, and an allusion to the mid-point of Le Roman de la rose in the tenth motet, suggest that Machaut intended the motet group to be self-contained and sub-divided into two groups of ten.
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Piéjus, Anne. "THE ROMAN MOTET (1550–1600): A COLLECTIVE ISSUE? NEW ATTRIBUTIONS AND REFLECTIONS ON AUTHORSHIP IN THE LIGHT OF A NEW DOCUMENT." Early Music History 40 (October 2021): 253–93. http://dx.doi.org/10.1017/s0261127921000036.

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In 1984 Noel O’Regan demonstrated that Roman manuscripts containing Lasso’s motets were reworkings of motets found in published editions. This article reopens an investigation of the Roman manuscript motet books in the light of an autograph booklet by the Oratorian priest and censor of music Giovanni Giovenale Ancina (1599). This document contains two lists of motets, comprising a wide selection that reflects a search for variety in the number of voices (with a preponderance of eight-voice motets), age and style of the motet. It shows a large number of concordances with several manuscript anth
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Crook, David. "The Exegetical Motet." Journal of the American Musicological Society 68, no. 2 (2015): 255–316. http://dx.doi.org/10.1525/jams.2015.68.2.255.

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What made a motet appropriate for performance on a particular occasion in the sixteenth century? Previous studies have demonstrated that motets performed on a given day generally drew their texts from the liturgy of that day. Yet many of the eighty-five motets assigned to the Sundays and major feasts of the year in Johannes Rühling's Tabulaturbuch (1583) do not. What mattered to this Lutheran organist was not a motet text's previous liturgical association but its ability to gloss—sometimes in surprising ways—the Gospel or Epistle lesson of the day. His approach has strong parallels in a tradit
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Melamed, Daniel R. "The Authorship of the Motet "Ich lasse dich nicht" (BWV Anh. 159)." Journal of the American Musicological Society 41, no. 3 (1988): 491–526. http://dx.doi.org/10.2307/831462.

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The eight-voice motet Ich lasse dich nicht (BWV Anh. 159) has been attributed both to J. S. Bach and to his father's cousin Johann Christoph Bach (1642-1703). A new look at the sources and transmission of the motet makes clear that the attribution to the older Bach was a nineteenth-century speculation that must be rejected. With the question of the motet's authorship reopened, the evidence shows that Ich lasse dich nicht is indeed by J. S. Bach. The oldest source, partly in Bach's hand, may be securely dated to the Weimar period, making the motet one of Bach's earliest extant vocal works. This
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LEACH, ELIZABETH EVA. "Adapting the motet(s)? The case of Hé bergier in Oxford MS Douce 308." Plainsong and Medieval Music 28, no. 02 (2019): 133–47. http://dx.doi.org/10.1017/s0961137119000032.

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AbstractThe present article seeks to further recent discussion of the diversity of the motet in the long thirteenth century by considering a specific, rather unusual example of motet-related materials in a songbook. It examines a two-stanza pastourelle in the songbook that forms part of Oxford, Bodleian Library, MS Douce 308, and its connection to a network of related materials in various thirteenth-century motet sources. In so doing, it proposes the ostensibly unlikely scenario that this monophonic song derives from two separate motets that may already have been linked through their shared te
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SHAFFER, MELANIE. "Finding Fortune in Motet 13: insights on ordering and borrowing in Machaut's motets." Plainsong and Medieval Music 26, no. 2 (2017): 115–39. http://dx.doi.org/10.1017/s0961137117000055.

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ABSTRACTOn first glance, Machaut's Tans doucement/Eins que ma dame/Ruina (M13) is a typical motet with few musical or textual anomalies. Perhaps this is why, with the exception of a brief article by Alice V. Clark, little extensive, individual study of M13 has been conducted. This article examines the musico-poetic cues for Fortune found in M13’s many forms of reversal, duality and upset order. The discovery of a new acrostic which references the Roman de Fauvel, whose interpolated motet Super cathedram/Presidentes in thronis/Ruina (F4) is the source of M13’s tenor, further supports a Fortune-
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Гирфанова, М. Е. "One More Isorhythmic Motet in “Roman de Fauvel”?" Музыкальная академия, no. 2(786) (June 28, 2024): 80–95. http://dx.doi.org/10.34690/392.

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В статье доказывается, что к числу ранних изоритмических мотетов, помещенных среди музыкальных вставок в «Роман о Фовеле» (ок. 1317), относится также трехголосный мотет «Qui secuntur». Об этим свидетельствует изоритмия в теноре, отмечаемая исследователями, и изопериодика в голосах над тенором, выявленная автором статьи. Мотет обнаруживает ряд общих черт с другим изоритмическим мотетом музыкального собрания — «In nova fert», приписываемым Филиппу де Витри. Прежде всего это смена мензуры в талье, впервые использующаяся в двух упомянутых мотетах, которая передается в мотете «Qui secuntur» еще нот
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Tesis sobre el tema "Motet"

1

Hatter, Jane Daphne. "Marian motets in Petrucci's Venetian motet anthologies." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112398.

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Although there is a marked increase in the number of surviving motets from the early sixteenth century, the context in which they were performed remains a mystery. The first five printed anthologies of motets, published by Petrucci in Venice between 1502 and 1508, include a significant proportion of Marian motets (95 of the 174 pieces). In the first chapter I provide evidence that these polyphonic Marian motets were used in the Venetian confraternities, or "scuole." The second chapter draws connections between the musical needs of the scuole and the Marian text types of the motet anthologies.
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Montefu, Jennette Lauren, and res cand@acu edu au. "The Latin Texted Motets of Guillaume de Machaut." Australian Catholic University. School of Arts and Sciences, 2003. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp37.29082005.

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Guillaume de Machaut’s motets constitute a cycle. This study focuses upon Machaut’s six Latin texted motets and their influence upon these cyclical contexts. Former research into these motets has uncovered references to contemporary poetry, liturgical texts, literary sources, particular persons, and historical events. Through an examination of recent research into the cyclical nature of the motets it is possible to critically evaluate these hypotheses in the light of the past historical, codicological, liturgical, musical and poetic analysis of these works to create a rounded picture of each m
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Bonfield, Stephan. "Mode, text and syntax in selected motets of Cristóbal de Morales." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0007/MQ34878.pdf.

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Rusak, Helen Kathryn. "Rhetoric and the motet passion." Title page, table of contents and introduction only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armr949.pdf.

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Ycard, Sébastien. "L'invention musicale dans le motet du XIIIème siècle." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040273.

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Dès lors que l’on s’intéresse au XIIIe siècle, le motet est l’exemple musical le plus fréquemment employé pour illustrer la rationalisation de la pensée médiévale. De ce fait, celui-ci s’inscrit difficilement dans le cadre normé d’une continuité polyphonique.Pourtant, le motet est un passage, nécessaire et transitoire, entre l’organum et la polyphonie contrapuntique du XIVe siècle. La musique qui en découle exacerbe la technique du déchant tout en conservant l’originalité mélodique de chaque voix.C’est la difficulté propre à tout lieu médian : conserver, reproduire, modifier, transmettre puis
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Borgerding, Todd Michael. "The motet and Spanish religiosity ca 1550-1610 /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37122214n.

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Brobeck, John Thomas. "The motet at the court of Francis I /." Ann Arbor (Mich.) : UMI, 2003. http://catalogue.bnf.fr/ark:/12148/cb392686076.

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Banks, Jon. "The motet as a formal type in Northern Italy ca 1500 /." New York ; London : Garland, 1993. http://catalogue.bnf.fr/ark:/12148/cb36961785c.

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Chiu, Remi. "Motet settings of the Song of Songs ca. 1500-1520." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99361.

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This thesis investigates early sixteenth-century motet settings of texts taken from the Song of Songs. By way of contextualization, I will explore the Christian history of Song of Songs exegesis from the third century to the twelfth. I will also consider generic properties of the renaissance motet---contemporary definitions of the genre, performance context, types of texts used, and repertory dissemination---and make a case that both the Song of Songs and the motet occupy a sort of "intermediate" position between the secular and the sacred world, participating in both the earthly and the spiri
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Banks, J. R. M. "The motet as a formal type in northern Italy, ca.1500." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315071.

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Libros sobre el tema "Motet"

1

Maillard, Keith. Motet: A novel. HarperPerennial, 1997.

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Tischler, Hans. The style and evolution of The earliest motets (to circa 1270). Institute of Mediæval Music, 1985.

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Tischler, Hans. The style and evolution of the earliest motets (to circa 1270). Institute of Mediaeval Music, 1985.

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Tischler, Hans. The style and evolution of The earliest motets (to circa 1270). Institute of Mediaeval Music, 1985.

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Melamed, Daniel R. J.S. Bach and the German motet. Cambridge University Press, 1995.

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Abert, Anna Amalie. Die stilistischen Voraussetzungen der "Cantiones sacrae" von Heinrich Schütz. Bärenreiter, 1986.

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H, Roesner Edward, ed. Ars antiqua: Organum, conductus, motet. Ashgate, 2008.

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8

Cardiff, Janet. Forty-part motet: A sound installation. Cleveland Museum of Art, 2013.

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9

Bushati, Hamdi. Shkodra dhe motet: Traditë, ngjarje, njerëz--. [s.n.], 1998.

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Lefferts, Peter M. The motet inEngland in the fourteenth century. UMI Research Press, 1986.

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Capítulos de libros sobre el tema "Motet"

1

Pesce, Dolores. "Motet Refrains Shared with Other Motets." In The Malmariée in the Thirteenth-Century Motet. Routledge, 2023. http://dx.doi.org/10.4324/9781003335405-9.

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Ferreira, Manuel Pedro. "L'identité du motet parisien." In Revisiting the Music of Medieval France. Routledge, 2023. http://dx.doi.org/10.4324/9781003420866-7.

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Pesce, Dolores. "Motet Refrains Shared with Other Genres." In The Malmariée in the Thirteenth-Century Motet. Routledge, 2023. http://dx.doi.org/10.4324/9781003335405-8.

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McCarthy, Kerry. "In search of the English motet." In Mapping the Motet in the Post-Tridentine Era. Routledge, 2018. http://dx.doi.org/10.4324/9781315463094-9.

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Rodríguez-García, Esperanza, and Daniele V. Filippi. "The motet in the post-Tridentine world." In Mapping the Motet in the Post-Tridentine Era. Routledge, 2018. http://dx.doi.org/10.4324/9781315463094-1.

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Cummings, Anthony M. "Isaac, the Mass Proper, and the Motet." In Epitome musical. Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.em-eb.4.9007.

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Bent, Margaret. "The Fourteenth-Century Italian Motet." In The Motet in the Late Middle Ages. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190063771.003.0027.

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Abstract The retrospective anthologies of Italian trecento repertory are dominated by the madrigal, ballata and caccia. Due to its absence from these manuscripts, the Italian motet had not been recognised as a distinctive genre until this essay (originally given at a conference in 1984 and here heavily revised since its delayed 1992 publication) reinstated its tradition on the basis of often fragmentary sources. That tradition is traced here, starting with Marchetto’s motet Ave regina celorum/Mater innocencie. Twenty-nine motets are listed with their characteristics, culminating in the motets
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Baltzer, Rebecca A. "The Polyphonic Progeny of an Et gaudebit: Assessing Family Relations in the Thirteenth-Century Motet." In Hearing The Motet. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195097092.003.0003.

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Abstract hen seeking a useful way to begin at the beginning, so to speak, in our consideration of the motet in the Middle Ages and the Renaissance, I decided to choose a clausula-based motet complex that exemplified as many different types of thirteenth-century motets as possible. The motet complex whose various texts are numbered 315-21 in Ludwig and Gennrich’s cata logues, all built on a single Et gaudebit clausula from the Ascension Alleluia Non vos relinquam (M24), is perhaps the most widely traveled in the thirteenth century. The verse of the Alleluia, which comes from John 14:18, is a st
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Bent, Margaret. "Mayshuet and the Deo gratias Motets in the Old Hall Manuscript." In The Motet in the Late Middle Ages. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190063771.003.0025.

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Abstract The Old Hall manuscript ended with two Deo gratias motets; these evidently also ended a younger fragmentary royal choirbook partly copied from it (RC), which enables completion of one of the motets, Post missarum sollennia, whose text is closely related to an older French motet. The other motet, Are post libamina, is ascribed to ‘Mayshuet’, whose identity is investigated in the light of a statement within the text that it was composed by a distinguished Frenchman and adapted by him to Latin to accommodate English tastes. Identity of this composer with Matheus de Sancto Johanne is reje
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Walker, Paul. "Fugue in the Renaissance Motet." In Fugue in the Sixteenth Century. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190056193.003.0003.

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This chapter explores fugal writing in the genre that contemporary writers indicated was the “home” of fugue: the motet. Beginning with the establishment by Jean Mouton and others of the classic Renaissance motet—based on serious counterpoint within a point-of-imitation structure—in the first two decades of the century, the fugal motet received its most important features at the hands of Nicolas Gombert in the 1530s when he expanded the use of imitation beyond a single thematic statement in each voice to feature a texture based on multiple returning statements. This approach then formed the ba
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Actas de conferencias sobre el tema "Motet"

1

Zhong, Yutong, Yongzhuo Li, Jiabin Feng, et al. "Record Efficiency of Infrared 2D Materials Light-Emitting Diode Based on a Type-I MoTe2/WSe2 Heterostructure." In CLEO: Applications and Technology. Optica Publishing Group, 2024. http://dx.doi.org/10.1364/cleo_at.2024.atu4j.2.

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We demonstrate an efficient infrared light-emitting diode based on a type-I MoTe2/WSe2 heterostructure with a record EQE of 1% at room temperature, where multilayer WSe2 boosts carrier transport while monolayer MoTe2 enhances radiative recombination.
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Chen, Hui-Yuan, Oleg Dogadov, Rolf Versteeg, Giulio Cerullo, Fabrizio Carbone та Majed Chergui. "Non-equilibrium Inter-site Dynamics of Photoexcited Kitaev α-Li2IrO3". У CLEO: Fundamental Science. Optica Publishing Group, 2024. http://dx.doi.org/10.1364/cleo_fs.2024.ff1c.4.

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The inter-site transition dynamics in a 2D honeycomb lattice of the Mott-insulator Li2irO3 was investigated via broadband time-resolved spectroscopy. Through two excitation regime corresponding to charger transfer (3.1eV) and across Mott-gap excitation (0.8eV), distinct inter-site transition dynamics were revealed and attributed to the distinct photoexcited quasiparticles, i.e., doublon and holon, in the 2D honeycomb lattice.
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Wang, Zhen, Hao Sun, Jialu Xu, Huan Zhang, and Cun-Zheng Ning. "Trion Species Splitting and Intensity Enhancement with Lateral Electrical Field in Two-dimensional MoTe2." In CLEO: Science and Innovations. Optica Publishing Group, 2024. http://dx.doi.org/10.1364/cleo_si.2024.sf2r.3.

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Positive and negative trions generated simultaneously in two-dimensional MoTe2 through optical pumping were spatially separated under a lateral electrical field. More than four times enhancement of the corresponding charge density without injection was demonstrated experimentally.
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Szymanska-Stulka, Katarzyna. "MODERN MOTET STYLE IN PAWEL LUKASZEWSKI�S MUSIC." In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.2/s07.040.

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Wen, Yao-Jung, Alice M. Agogino, and Kai Goebel. "Fuzzy Validation and Fusion for Wireless Sensor Networks." In ASME 2004 International Mechanical Engineering Congress and Exposition. ASMEDC, 2004. http://dx.doi.org/10.1115/imece2004-60964.

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Miniaturized, distributed, networked sensors — called motes — promise to be smaller, less expensive and more versatile than other sensing alternatives. While these motes may have less individual reliability, high accuracy for the overall system is still desirable. Sensor validation and fusion algorithms provide a mechanism to extract pertinent information from massively sensed data and identify incipient sensor failures. Fuzzy approaches have proven to be effective and robust in challenging sensor validation and fusion applications. The algorithm developed in this paper — called mote-FVF (fuzz
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Galos, Richard, Xi Chen, and Yong Shi. "Ultra Low Power Energy Storage Circuit for Piezoelectric Nanogenerators." In ASME 2011 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/detc2011-48734.

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MEMS and NEMs devices benefit many applications due to their unique performance and tiny size. We have researched replacing components of a Wireless Sensor Network (WSN) mote with several such devices. In this paper, we present an energy conversion and storage circuit that can be used with piezoelectric nanogenerators for self powered motes. Energy from external vibration or environmental acoustics is capacitively stored and released at certain time intervals according to the application. Stored and lost power is compared against a detailed WSN mote power budget to size the generator and capac
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Zhao, Yue. "Research on the Development of Motet and Its Decline after 1750 Taking Mozart's Ave Verum Corpus and Exsultate Jubilate as an Example." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.32.

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Qi, Lin, and Markus Schneider. "MONET." In the Third ACM SIGSPATIAL International Workshop. ACM Press, 2012. http://dx.doi.org/10.1145/2442968.2442975.

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Pissis, Solon P., Alexandros Stamatakis, and Pavlos Pavlidis. "MoTeX." In BCB'13: ACM-BCB2013. ACM, 2013. http://dx.doi.org/10.1145/2506583.2506587.

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Challa, Rajesh, S. M. Raza, Sangyep Nam, and Hyunseung Choo. "SD-MONET." In IMCOM '16: The 10th International Conference on Ubiquitous Information Management and Communication. ACM, 2016. http://dx.doi.org/10.1145/2857546.2857652.

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Informes sobre el tema "Motet"

1

Amalberti, René, Laurent Magne, and Gilles Motet. Débats lors du forum IFIS 2008. Fondation pour une culture de sécurité industrielle, 2009. http://dx.doi.org/10.57071/420ynp.

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Ce document retranscrit les grandes lignes de trois des interventions suivies de tables rondes organisées lors de la première édition du International Forum on Industrial Safety, qui s’est tenu à Toulouse en 2008: (1) «Quel équilibre entre sécurité contrainte et sécurité gérée?», animée par René Amalberti; (2) «Introduction à l’incertitude», animée par Laurent Magne; (3) «Introduction aux notions de risque au travers d’un conte de fées», animée par Gilles Motet.
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Enoch, Elizabeth. Monet. Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-970.

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Yoon, Hye-in, and Kyoung-Hee Cho. Monet of the orient. Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-1091.

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de Gelder, Arie, Rick van der Burg, and Ben Hartog. LED in rozen het moet beter! Wageningen University & Research, BU Glastuinbouw, 2018. http://dx.doi.org/10.18174/460963.

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Zurek, Wojciech H., Jacek Dziarmaga, and Marek Tylutki. Quench from Mott Insulator to Superfluid. Office of Scientific and Technical Information (OSTI), 2012. http://dx.doi.org/10.2172/1042999.

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Jackel, Janet. Enhancement of the Monet/Atonet Washington DC Network. Defense Technical Information Center, 2003. http://dx.doi.org/10.21236/ada411868.

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Bao, W., C. Broholm, G. Aeppli, et al. Magnetic correlations in a classic Mott system. Office of Scientific and Technical Information (OSTI), 1997. http://dx.doi.org/10.2172/672105.

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Dalton, Meghan M., and Erica Fleishman. Fifth Oregon climate assessment. Oregon Climate Change Research Institute, Oregon State University, 2021. http://dx.doi.org/10.5399/osu/1160.

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Consistent with its charge under Oregon House Bill 3543, the Oregon Climate Change Research Institute (OCCRI) conducts a biennial assessment of the state of climate change science, including biological, physical, and social science, as it relates to Oregon and the likely effects of climate change on Oregon. This fifth Oregon Climate Assessment builds on previous assessments (Dello and Mote 2010; Dalton et al. 2013, 2017; Mote et al. 2019) by continuing to evaluate past and projected future changes in Oregon’s climate and hydrology. This Assessment is structured with the goal of serving as a re
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Poirier, M. R. Evaluation of Mott Filter Performance: Solids Removal Efficiency. Office of Scientific and Technical Information (OSTI), 2002. http://dx.doi.org/10.2172/801016.

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Montgomery, Eric, and Joseph Grames. CRADA Final Report CRADA 2021S007: Diamond Mott Polarimeter. Office of Scientific and Technical Information (OSTI), 2021. http://dx.doi.org/10.2172/1831126.

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