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Artículos de revistas sobre el tema "Motet"

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

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Anderson, Michael Alan. "FIRE, FOLIAGE AND FURY: VESTIGES OF MIDSUMMER RITUAL IN MOTETS FOR JOHN THE BAPTIST." Early Music History 30 (September 8, 2011): 1–53. http://dx.doi.org/10.1017/s0261127911000027.

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The thirteenth-century motet repertory has been understood on a wide spectrum, with recent scholarship amplifying the relationship between the liturgical tenors and the commentary in the upper voices. This study examines a family of motets based on the tenors IOHANNE and MULIERUM from the feast of the Nativity of John the Baptist (24 June). Several texts within this motet family make references to well-known traditions associated with the pagan festival of Midsummer, the celebration of the summer solstice. Allusions to popular solstitial practices including the lighting of bonfires and the pub
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12

Bazinet, Geneviève. "SINGING THE KING’S MUSIC: ATTAINGNANT’S MOTET SERIES, ROYAL HEGEMONY AND THE FUNCTION OF THE MOTET IN SIXTEENTH-CENTURY FRANCE." Early Music History 37 (October 2018): 45–89. http://dx.doi.org/10.1017/s0261127918000037.

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This article examines Pierre Attaingnant’s motet series (1535–9), with special attention to the rubrics assigned to the titles of books and to individual motets. The role of the rubric as an organisational tool and its relation to contemporary liturgical and devotional practices is explored, revealing a strikingly cohesive series and connections to liturgical books and books of hours. A consideration of the use of the motet texts in other types of books and the uses suggested by Attaingnant’s rubrics reveals that the printer was promoting the use of Paris in his series. This study also revisit
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13

Konkin, Gleb A. "Concerning the Issue of Compositional Technique in Polychoral Works (Based on the Motets by Thomas Tallis and Alessandro Striggio)." Russian Musicology 134, no. 1 (2025): 89–102. https://doi.org/10.56620/rm.2025.1.089-102.

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The article is devoted to the comparative analysis of two significant compositions from the Renaissance era — the motets endowed with forty separate voices: Alessandro Striggio’s Ecce beatam lucem and Thomas Tallis’s Spem in alium. The distinguished principles of counterpoint having been revealed, as well as the different kind of work with the musical material and choral parts refute the widespread thesis that Striggio’s motet could be considered as a model for Tallis’ motet. At the same time, it is possible to observe a common general compositional technique for both of these motets — by mean
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14

Clark, Alice V. "New tenor sources for fourteenth-century motets." Plainsong and Medieval Music 8, no. 2 (1999): 107–31. http://dx.doi.org/10.1017/s0961137100001662.

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The study of the medieval motet in France has recently been rejuvenated, in part by returning to the motet's point of origin – its tenor. Some scholars have focused on the tenor's pitch content, showing how it shapes the motet's harmonies, and how it is in turn shaped by local chant variants; others, by considering the tenor's text and the origin of that text in the liturgy and frequently in the Bible, have shown the motet to be perhaps the quintessential musical manifestation of medieval intertextuality. By bringing together sacred and secular, Latin and vernacular, the motet, better than any
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15

Atchison, Mary. "Bien me sui aperceuz: monophonic chanson and motetus." Plainsong and Medieval Music 4, no. 1 (1995): 1–12. http://dx.doi.org/10.1017/s0961137100000851.

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Borrowing or quoting from the trouvère repertory has long been acknowledged as part of the craft of the composers of the thirteenth-century motet. Single strophes from a few trouvère chansons can be found as complete motet voices; partial strophes frame newly composed text and music in motets-entés, and many textual themes and motifs, melodic motifs and refrains can be traced to trouvère sources. Whilst this practice of borrowing can be identified because of the common texts and melodies, or texts or melodies alone, it is difficult to say to what extent other compositional practices, not depen
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16

Melnyk, Dmytro. "Imitation technique as a form-making means of the madrigal style in Giovanni da Palestrina’s Motet “Quae est ista”." Aspects of Historical Musicology 38, no. 38 (2025): 57–76. https://doi.org/10.34064/khnum2-38.02.

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Statement of the problem. In contemporary Ukrainian musicology, as well as in the world music science, there is an increasing interest in the works of Palestrina, in particular his madrigals and madrigal style. So, the most important contribution to studying Palestrina’s work was made by J. E. Owens (1997) and P. Schubert (2007); the American researcher W. G. Thomas (2009) describes madrigals of the second half of the sixteenth century in her study. Among Ukrainian musicologists, V. Pieshkova (2021) studies the madrigal style based on the Eighth Book of Monteverdi’s madrigals. However, researc
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17

Saint-Cricq, Gaël. "A NEW LINK BETWEEN THE MOTET AND TROUVÈRE CHANSON: THE PEDES-CUM-CAUDA MOTET." Early Music History 32 (2013): 179–223. http://dx.doi.org/10.1017/s0261127913000077.

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This article investigates a corpus of sixteen thirteenth-century motets whose formal structures are rigorously modelled on the AAB formal type of the trouvère chanson. This corpus bears witness that the first specimens of hybridization between polyphony and the high-style lyric chanson arose as early as the 1240s, well before the emergence of fourteenth-century polyphonic song. The analysis of the make-up of the AAB form of the motets first reveals that its elements completely match those of the pedes-cum-cauda formal type of trouvère chansons. The formal impact of song citations within the co
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18

Lewis, Ann. "Anti-semitism in an early fifteenth-century motet: Tu, nephanda." Plainsong and Medieval Music 3, no. 1 (1994): 45–55. http://dx.doi.org/10.1017/s0961137100000620.

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There is much interest at present in the way medieval motets generate meaning, both with their texts and their music. In two articles from a recent issue of Early Music History, for example, a remarkable density of meaning and symbolism, both textual and musical, has been proposed for Machaut's motet 15. Studies of this kind are intended to demonstrate what can be achieved by placing the poems of motets in a literary context and by considering the structure of words and music. Such research also no doubt serves to reinforce the idea that many motets of the fourteenth and fifteenth centuries de
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19

Ryan, Mary Ellen. "“Our Enemies Are Gathered Together”." Journal of Musicology 36, no. 3 (2019): 295–330. http://dx.doi.org/10.1525/jm.2019.36.3.295.

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The return of the Florentine republic (1527–30) ushered in a tense period of political upheaval. As the city faced an imperial siege and bouts of famine and plague, the government promoted a vibrant spiritual program to combat dangers to its independence. The motet flourished within this environment, but the connections between this repertory and civic life in early sixteenth-century Florence have yet to be fully explored. Since the mid-twentieth century, music historians have examined Florentine manuscript sources of the motet (the Newberry Partbooks and Vallicelliana Partbooks) and have arti
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20

Kidwell, Susan A. "Elaboration through exhortation: troping Motets for the Common of Martyrs." Plainsong and Medieval Music 5, no. 2 (1996): 153–73. http://dx.doi.org/10.1017/s0961137100001133.

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It is common knowledge that the repertory of thirteenth-century Latin motets exhibits a great variety of poetic themes. Many of the earliest motets comment upon the feast of their parent chant and are therefore classified as ‘troping’; others praise the Virgin Mary – sometimes regardless of their associated chant; still others avoid obvious connections with the liturgy and either criticize, admonish or exhort listeners to reform. The classification of motet texts according to content has increased our understanding of overall themes and of the chronological relationships between them, but it h
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21

Bokulich, Clare. "REMAKING A MOTET: HOW AND WHEN JOSQUIN’S AVE MARIA … VIRGO SERENA BECAME THE AVE MARIA." Early Music History 39 (September 4, 2020): 1–73. http://dx.doi.org/10.1017/s0261127920000017.

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How and when did Josquin’s Ave Maria … virgo serena become one of the most famous Renaissance motets? It is widely held that the motet’s modern standing is directly rooted in its Renaissance reception. And yet beyond its relatively robust circulation and placement at the beginning of Petrucci’s first printed book of motets, little evidence remains as to how Josquin’s now-famous motet was perceived during and shortly after the composer’s life. In responding to this paucity of information, Part I of this article traces a reception history for Ave Maria that considers how the motet was reworked i
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22

Tkachenko, E. S. "German Motet in Johannes Brahms’ Works." Observatory of Culture, no. 3 (June 28, 2015): 58–63. http://dx.doi.org/10.25281/2072-3156-2015-0-3-58-63.

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German Motet in Johannes Brahms’ Works (by Elizaveta Tkachenko) analyzes the seven motets of the eminent German romantic composer - Johannes Brahms. Works of this genre are considered from the standpoint of their belonging to the Protestant variety, which originated in Germany during the Reformation and was enriched during the next two centuries by exquisite examples of leading Lutheran composers. Just like his great predecessors, Brahms took tunes of Lutheran chorales as a musical foundation for his motets and quotations from the Bible in Martin Luther’s translation as their verbal foundation
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23

Теплова, А. С. "Three Faces of Medieval English Motet." Научный вестник Московской консерватории 14, no. 3(54) (2023): 420–43. http://dx.doi.org/10.26176/mosconsv.2023.54.3.02.

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Средневековый английский мотет принадлежит кпериферийным жанровым ответвлениям и до сих пор недостаточно изучен. Лишь с 1909 года стали находить плохо сохранившиеся рукописные источники и по их фрагментам восстанавливать мотеты. Только с 1957 года началась их публикация, открывшая оригинальные подходы к жанру. Помимо создававшихся под материковым влиянием изоритмических мотетов, востровном репертуаре обнаружились иные технические решения: мотеты с гласообменом имотеты на cantus medius (проблемы неаутентичной терминологии в статье обсуждаются параллельно с характеристикой названных феноменов).
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24

Odoj, Wojciech. "Josquin’s Motet “In amara crucis ara” in the Green Codex of Viadrina." Muzyka 61, no. 3 (2016): 45–54. https://doi.org/10.36744/m.4015.

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Manuscript I F 428, located at Wrocław University Library, commonly called The Green Codex of Viadrina, probably copied during the second decade of the sixteenth century, contains complete Mass cycles, single Mass movements, settings of the Magnificat, hymns, motets, and other settings of German texts. Not all of the compositions are attributed, but Martin Staehelin has identified the authorship of many works. Besides the works of such masters of polyphony as Brumel, Compère, Isaac, Senfl, Adam of Fulda, La Rue and Obrecht, the codex contains a tiny motet by Josquin des Prez: In amara crucis a
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25

Savon, Dmytro. "Motet “Jesu, Meine Freude” by Johann Sebastian Bach: Comparative Analysis of Editions of Musical Text." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 131 (June 30, 2021): 167–81. http://dx.doi.org/10.31318/2522-4190.2021.131.243229.

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Relevance and scientific novelty of the selected subject for the research. In the Ukrainian musicology, the motets written by Johann Bach were mainly studied from the compositional means standpoint, considering the system of polyphony, the role of chorale and fugue in dramaturgy as well as the composition of works. Scientists have not previously researched the motets performance specificity. Meanwhile, motets, particularly the one reviewed in the article “Jesu, meine Freude”, are among the most frequently performed works of the choral repertoire. For the first time in the Ukrainian musicology,
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26

BRADLEY, CATHERINE A. "Ordering in the motet fascicles of the Florence manuscript." Plainsong and Medieval Music 22, no. 1 (2013): 37–64. http://dx.doi.org/10.1017/s0961137112000186.

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ABSTRACTFlorence, Biblioteca Medicea Laurenziana, Plut.29.1 (F) is considered the earliest extant manuscript to preserve a collection of motets, with two fascicles devoted to this new genre. Scholars have long emphasised the strict liturgical sequence of the first motet fascicle, in contrast to the seeming lack of order in the second. This article engages with questions of liturgical arrangement in F, exploring the possibility of a liturgical function for motets in this source. It undertakes a re-examination of the ordering of motets in F, proposing two new organisational principles applicable
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27

Maurey, Yossi. "A COURTLY LOVER AND AN EARTHLY KNIGHT TURNED SOLDIERS OF CHRIST IN MACHAUT'S MOTET 5." Early Music History 24 (July 14, 2005): 169–211. http://dx.doi.org/10.1017/s0261127905000082.

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The tenor occupies a special role in vernacular motets of the thirteenth and fourteenth centuries: not only does it underpin the melodies of the upper voices contrapuntally, it also provides intellectual and interpretative undergirding for the texts of these pieces. The biblical or liturgical context of a tenor, drawing on well-understood exegetical and literary traditions, often facilitates an allegorical reading of the upper voices, and vice versa. Because of the foundational nature of the tenor within the Ars nova motet in particular, the identification of the exact musico-liturgical source
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28

Zazulia, Emily. "Out of Proportion." Journal of Musicology 36, no. 2 (2019): 131–66. http://dx.doi.org/10.1525/jm.2019.36.2.131.

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Guillaume Du Fay’s Nuper rosarum flores (1436) has been subject to symbolic interpretation ever since Charles Warren suggested that the structure of the motet reflects the architectural proportions of the cathedral of Florence. More recent analyses have accepted the premise that the motet’s form has extramusical meaning, in particular, that mensural and architectural proportions can be directly analogized. These tantalizing connections have led scholars to canonize this motet, now a mainstay of music history textbooks. The extent and specificity of the extramusical associations Nuper rosarum f
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29

Pesce, Dolores. "A Revised View of the Thirteenth-Century Latin Double Motet." Journal of the American Musicological Society 40, no. 3 (1987): 405–42. http://dx.doi.org/10.2307/831675.

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This paper argues that features of the Continental Latin double motet of the latter half of the thirteenth century which were previously considered "peripheral" are also found in motets linked to the Notre-Dame tradition. Furthermore, the Latin repertory as a whole reveals stylistic diversity, including the use of textures characteristic of French double motets from early through mid-century. This revised view of the repertory as stylistically multi-faceted is supported by a study of manuscript transmission, particularly in the Bamberg and Darmstadt codices.
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30

Desmond, Karen. "W. de Wicumbe's Rolls and Singing the Alleluya ca. 1250." Journal of the American Musicological Society 73, no. 3 (2020): 639–709. http://dx.doi.org/10.1525/jams.2020.73.3.639.

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Abstract A set of thirteenth-century parchment fragments, including the remnants of two rolls and one manuscript codex, preserves a largely unstudied repertoire unique to medieval England. In addition to a single motet and a setting of a responsory verse, the Rawlinson Fragments preserve twelve three-voice Alleluya settings. While polyphonic Alleluyas are well known from the continental Magnus liber repertoire, these insular Alleluya settings are quite different. Most significantly, while composed on the text and pitches of plainchant, they include newly composed texts in at least one voice—th
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31

ZAYARUZNAYA, ANNA. "Quotation, perfection and the eloquence of form: introducing Beatius/Cum humanum." Plainsong and Medieval Music 24, no. 2 (2015): 129–66. http://dx.doi.org/10.1017/s096113711500011x.

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ABSTRACTThe newly reconstructed motet Beatius/Cum humanum is remarkable in several respects. It ranks among the longest of Ars Nova motets, and divides neatly into three parts of which the middle is an eighty-breve untexted hocket section. It also contains an extended quotation – textual as well as musical – from the Fauvel motet Firmissime/Adesto. The quoted material speaks of ‘Trinity and unity’, turning a spotlight onto the tripartite form of Beatius/Cum humanum. Firmissime/Adesto has occasioned comment because it is built up of duple (‘imperfect’) notes even though it praises the perfect T
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32

Saint-Cricq, Gaël. "GENRE, ATTRIBUTION AND AUTHORSHIP IN THE THIRTEENTH CENTURY: ROBERT DE REIMS VS ‘ROBERT DE RAINS’." Early Music History 38 (September 11, 2019): 141–213. http://dx.doi.org/10.1017/s0261127919000044.

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This article presents a textbook case for the examination of generic interplay in the thirteenth century, investigating four works that offer transgeneric reworkings relating polyphony to trouvère song. These works are found as anonymous motets and clausulae in polyphonic gatherings, but their upper voices are also copied as multi-strophic songs in songbooks, where they are attributed to the trouvère Robert de Reims. This case therefore touches on the issues of generic borders and mixing, on trouvère involvement in this generic interplay, and on the relationships between attribution and author
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33

EVERIST, MARK. "Motets, French Tenors, and the Polyphonic Chanson ca. 1300." Journal of Musicology 24, no. 3 (2007): 365–406. http://dx.doi.org/10.1525/jm.2007.24.3.365.

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Despite frequent attempts to explain the emergence of a coherent type of polyphonic song in the early 14th century, our understanding is dominated by views drawn from lyric poetry, romance, criticism of musical and literary register, traditions of performance, and other abstract conceptualizations of this remarkable moment in the history of music. But there exists an extensive body of musical evidence that points to an energetic and sophisticated experimentation with musical and poetic elements that anticipated the style of polyphonic song cultivated by Machaut and his contemporaries. One such
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34

Rothenberg, David J. "Angels, Archangels, and a Woman in Distress: The Meaning of Isaac's Angeli archangeli." Journal of Musicology 21, no. 4 (2004): 514–78. http://dx.doi.org/10.1525/jm.2004.21.4.514.

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Henricus Isaac's grand six-voice motet Angeli archangeli (Angels, archangels) sets a text from the liturgy of the Feast of All Saints (November 1), but its only preexistent musical material is a cantus firmus in the tenor voice, drawn from the tenor of the mid 15th-century chanson Comme femme desconfortéée (As a woman in distress), attributed to Binchois. Scholars have assumed that Angeli archangeli is a motet for All Saints but have been at a loss to explain why Isaac chose the cantus firmus he did. This study attempts to explain Isaac's puzzling juxtaposition of Latin text and secular cantus
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35

Brown, Howard Mayer. "The Mirror of Man's Salvation: Music in Devotional Life About 1500." Renaissance Quarterly 43, no. 4 (1990): 744–73. http://dx.doi.org/10.2307/2862788.

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Composers working during the last quarter of the fifteenth century wrote many more motets than previous composers had done. At any rate, far more have come down to us. This apparent explosion of activity coincided with the founding, reorganization, or revitalization of a number of cathedral or princely chapel choirs. Moreover, the character of the motet as a musical genre also seems to have changed at about the same time. By far the largest number of motets composed before 1475 set texts celebrating the Virgin Mary, or else they were compositions written to celebrate particular political or so
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36

Szelest, Marcin. ""Sancte Simon magno mundi": nowo zidentyfikowany motet Giovanniego Battisty Coccioli." Muzyka 63, no. 3 (2018): 65–101. http://dx.doi.org/10.36744/m.512.

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Przedmiotem artykułu jest dwuchórowy motet na dziewięć głosów o incipicie tekstu Sancte Simon magno mundi, zachowany w postaci intawolacji organowej w rozpoczętej w roku 1619 tabulaturze braniewsko-oliwskiej (Wilno, Biblioteka im. Wróblewskich Litewskiej Akademii Nauk, F 15-284, k. 45v–46r) z atrybucją „Joannis Baptistæ”. Podobnie skrótowe atrybucje w tym źródle oraz w innych, pochodzących z północnych terenów Rzeczpospolitej, odnosiły się wyłącznie do dobrze znanych kompozytorów lokalnych, a w dwóch z tych rękopisów imionami „Joannes Baptista” określano Giovanniego Battistę Cocciolę, twórcę d
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37

Everist, Mark. "Review." Royal Musical Association Research Chronicle 20 (1987): 91–97. http://dx.doi.org/10.1080/14723808.1987.10540921.

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The origins of The Earliest Motets (to c.1270): A Complete Comparative Edition lie in Hans Tischler's 1942 Yale doctoral dissertation, in which all the motets in D-W677, 1-Fl Plut.29.1 and D-W1099 were systematically transcribed. Tischler's dissertation has contained the only available transcriptions of the unica in these sources for nearly forty years, though works with concordances have been accessible in publications by Aubry, Rokseth, Anglès and Anderson. The Earliest Motets (henceforth EM) takes his dissertation as its core, and adds the motets of E-Mn 20486, F-Pn lat. 15139, F-Pn n.a.f.
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38

Clark, Alice V. "Listening to Machaut's Motets." Journal of Musicology 21, no. 4 (2004): 487–513. http://dx.doi.org/10.1525/jm.2004.21.4.487.

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In a significant number of his motets, Guillaume de Machaut uses melodic repetition to provide audible cues to their talea structure. He further breaks or alters that repetition in order to call attention to final talea statements, thereby providing a sounding clue to the motet's end. The use of this technique in a genre well known for its intellectual complexities seems to show a special concern for the unprepared listener, a concern that is less clearly manifested in the work of other motet composers in 14th-century France. This has implications both for how we see Machaut in relation to his
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39

Allsen, J. Michael. "Tenores ad longum and rhythmic cues in the early fifteenth-century motet." Plainsong and Medieval Music 12, no. 1 (2003): 43–69. http://dx.doi.org/10.1017/s0961137103003036.

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This article deals primarily with a small repertory of early fifteenth-century motets that survive with tenores ad longum - substitute parts for notationally difficult tenors: works by Dunstaple, Binchois, Ciconia, Brassart, Velut, Carmen and Antonius de Civitate. The eight cases, together with Du Fay's O Sancte Sebastiane and the fourteenth-century motet Inter densas, are discussed individually, with consideration of the reason for inclusion of a tenor ad longum or other rhythmic cues, and who might have been responsible for the part.
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40

Everist, Mark. "The Refrain Cento: Myth or Motet?" Journal of the Royal Musical Association 114, no. 2 (1989): 164–88. http://dx.doi.org/10.1093/jrma/114.2.164.

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Of all the genres of thirteenth-century vernacular polyphony, none is more elusive than the so-called refrain cento. Such types of composition as the motet enté and the motet with a single terminal refrain make regular appearances in the literature on the thirteenth-century motet. Most of these genres are defined by the presence or absence of a refrain, the musico-poetic entity which seems to drift from chanson to rondeau, to verse narrative, to motet. The nature of the problem concerns the degree to which the pieces which have been termed refrain cento can actually be seen to constitute a gen
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41

Reynolds, Christopher. "Motive, Structure and Meaning in Willaert’s Motet Videns Dominus." Journal of Musicology 32, no. 3 (2015): 328–45. http://dx.doi.org/10.1525/jm.2015.32.3.328.

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This study of Adrian Willaert’s motet, Videns Dominus flentes sorores Lazari, demonstrates how the construction and distribution of motives indicate a particular reading of the text, the story of Jesus raising Lazarus from the dead. While this reading has important elements in common with artistic renderings of the story of Jesus resurrecting Lazarus, it also demonstrates the ability of music to express a kind of meaning unavailable to artists. Willaert created a symmetrical structure with the command of Jesus to Lazarus placed in the exact middle of the motet, with events on either side order
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42

Dumea, Cristian. "Motetul Sitivit anima mea de G. P. da Palestrina (1525-1594) Analiză muzicală." Analele Universităţii „Dunărea de Jos” din Galaţi. Fascicula XXV,CercetARTE / The Annals of ”Dunarea de Jos” of Galati. Fascicle XXV, ARTSResearch 6 (July 13, 2023): 28–38. https://doi.org/10.35219/cercetarte.2022.04.

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This investigation analyses from morphlogical and synthetical point of view the motet Sitivit anima mea composed by Giovanni Pierluigi da Palestrina, a composer belonged to Renaissance. The motet is the continuation (second part) of the well known creation Sicut cervus of the same composer. His intention is that one, to descompose musical contruction of the motet and to discover the way of organization of the sound material.The basic element which goes to form the motet, starts from the textual phrase which contribute to achieve musical phrase. The connection between the sentences takes place
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43

CLARK, SUZANNAH. "‘S’en dirai chançonete’: hearing text and music in a medieval motet." Plainsong and Medieval Music 16, no. 1 (2007): 31–59. http://dx.doi.org/10.1017/s0961137107000605.

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Abstract.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 performance has led to questions about how motets were meant to be understood, especially by third-party listeners, both medieval and modern. The irony is that the purpose of the music has gone unheard in this debate. Using a single motet as point of focus, this article suggests various ways in which the music clarifies rather than obscures the meaning of the text in performance. These range from the use of simple
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44

Wolinski, Mary E. "The compilation of the Montpellier Codex." Early Music History 11 (October 1992): 263–301. http://dx.doi.org/10.1017/s0261127900001248.

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The manuscript Montpellier, Bibliothèque Interuniversitaire, Section Médecine, H 196 (hereafter called Mo) has long claimed a place as one of the musical monuments of the thirteenth century. It is one of the most comprehensive sources of the early motet and is by far the largest anthology of French three-voice motets. It has long been thought that Mo was compiled in a number of stages that reflect gradual changes in musical notation and style during the second half of the thirteenth century. This assumption has been used to date repertory, theorists and composers.
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45

Fábián, Apolka. "Analytical Aspects of the Three Versions of Confitebor Tibi, Domine by Claudio Monteverdi." Studia Universitatis Babeş-Bolyai Musica 68, no. 2 (2023): 297–310. http://dx.doi.org/10.24193/subbmusica.2023.2.22.

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"This work focuses on the musical analysis of Monteverd’s composition styles in his sacred music. The motets, Confitebor tibi, Domine were printed in 1640 in collection of Selva morale e spiritual. Even in these rigidly bound works, Monteverdi gives full intensity to the meaning of every word of the text, trying to bring it to life in a vivid and convincing way. These three versions of Psalm 111 present different compositional techniques, through which Monteverdi wishes to emphasize the content of the text. Keyword: Renaissance music, Claudio Monteverdi, motet, sacred music"
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46

Odoj, Wojciech. "Costanzo Festa’s (?) motet ‘O altitudo divitiarum’ re-examined: new suggestions regarding its source context, attribution and function." Muzyka 62, no. 3 (2024): 55–70. http://dx.doi.org/10.36744/m.3925.

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In the manuscript VatS 38, copied around 1550–63, there are two anonymous motets: Gaude felix ecclesia (ff. 114v-122r) and O altitudo divitiarum (ff. 122v-126r). Joseph Llorens attributed them to Costanzo Festa (c. 1490–1545) in his catalogue of the musical manuscripts of the Sistine Chapel and both are included in Festa’s Opera omnia. What Llorens apparently missed is the fact that the former, with the text Gaude felix Florentia and attributed to Andreas de Silva – who probably wrote it in honor of Pope Leo X on the occasion of his election in 1513 – appears in the manuscript RomeV 35-40 (the
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47

Bradley, Catherine A. "CONTRAFACTA AND TRANSCRIBED MOTETS: VERNACULAR INFLUENCES ON LATIN MOTETS AND CLAUSULAE IN THE FLORENCE MANUSCRIPT." Early Music History 32 (2013): 1–70. http://dx.doi.org/10.1017/s0261127913000016.

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Dated to the 1240s, the Florence manuscript (F: Biblioteca Medicea Laurenziana, Plut. 29.1) is the earliest surviving source to contain a collection of motets. The exclusively Latin-texted motets in F are widely regarded as the oldest layer(s) of pieces in this new genre. This study closely analyses three motets in F, demonstrating that they are Latin contrafacta reworkings of vernacular motets extant only in chronologically later sources. It traces the influences of secular, vernacular refrains in two supposedly liturgical clausulae in F, proposing that these clausulae are textless transcript
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48

Aspøy, Arild. "Handlingsrommet og motet." Stat & Styring 24, no. 01 (2014): 1. http://dx.doi.org/10.18261/issn0809-750x-2014-01-01.

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49

Bent, Margaret. "Varieties of motet." Early Music XXVIII, no. 1 (2000): 114–16. http://dx.doi.org/10.1093/earlyj/xxviii.1.114.

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50

Dunlop, Margaret. "Response to motet." Nursing Inquiry 7, no. 3 (2000): 214. http://dx.doi.org/10.1046/j.1440-1800.2000.00044-2.x.

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