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Early Musical Borrowing (Criticism and Analysis of Early by Honey Meconi

By Honey Meconi

A well timed addition to Routledge's "Criticism and research of Early song" sequence, this choice of essays examines the typical compositional perform of borrowing or imitation in fifteenth-and sixteenth-century tune, addressing how and why borrowing used to be used, the importance of borrowing, the recommendations of borrowing, and its recognizable beneficial properties. The e-book presents a vast evaluate of this universal perform and sheds gentle on formerly unexplored facets of early musical borrowing. It capabilities as either an creation to the topic in addition to a advisor for additional examine. The individuals, all extremely popular of their box, provide new insights that would switch the best way we view borrowing.

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Early Musical Borrowing (Criticism and Analysis of Early Music)

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Extra resources for Early Musical Borrowing (Criticism and Analysis of Early Music)

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46. For the complete text of the poem, see Jean Molinet, Les faictz et dictz de Jean Molinet, ed. Noël Dupire (Paris: Société des anciens textes français, 1936–39), 2:531–35. Dupire treats this poem as an example of parody; see his Jean Molinet: La Vie—Les Œuvres, 117. 47. On the idea of register in medieval poetry, see Paul Zumthor, “Style and Expressive Register in Medieval Poetry,” in Seymour Chatman, ed. , Literary Style: A Symposium (London and New York: Oxford University Press, 1971), 263–91.

In this example, both voices involved in the quotation have combined repeated semibreves into a single breve in m. 5; the first bassus has divided what was a long F into a breve D and a breve F in mm. 3–4; and it has also omitted a dissonant passing tone in m. 6. Despite these alterations, this quotation is still very close to the original and is clearly recognizable. Ockeghem’s Missa Ma maistresse consists of only two movements (Kyrie and Gloria) and is based on his own bergerette. The cantus firmus is derived from the tenor of the chanson and placed in the bassus of the mass in the Kyrie, and derived from the superius and placed in the contratenor in the Gloria.

La Messe de Tournai: Une messe polyphonique en l’honneur de Notre-Dame à la Cathédrale de Tournai au XIVe siècle (Tournai: Archives du Chapitre Cathédral, and Louvain-la-Neuve: Université Catholique de Louvain, 1988). The only composer to include the music of love songs within masses before the rise of the chanson mass was Antonius dictus Zacharias de Teramo (fl. ca. 1400), who based two Gloria settings on his own ballatas Rosetta che non cambi mai colore and Un fior gentil m’apparse (both apparently Marian).

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