By Honey Meconi
A well timed addition to Routledge's "Criticism and research of Early track" sequence, this number of essays examines the typical compositional perform of borrowing or imitation in fifteenth-and sixteenth-century song, addressing how and why borrowing used to be used, the importance of borrowing, the ideas of borrowing, and its recognizable good points. The booklet presents a large evaluate of this universal perform and sheds mild on formerly unexplored points of early musical borrowing. It capabilities as either an advent to the topic in addition to a consultant for additional learn. The individuals, all extremely popular of their box, supply new insights that might switch the way in which we view borrowing.
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Additional info for Early Musical Borrowing (Criticism and Analysis of Early Music)
Precisely why the Trent codices were copied is unknown; the capability for performance of complex polyphony at Trent Cathedral during this period appears to have been limited. Much of the repertory transmitted in these sources may have been obtained through the Austrian court chapels in Innsbruck and Wiener Neustadt; see Adelyn Peck Leverett, “Song Masses in the Trent Codices: The Austrian Connection,” Early Music History 14 (1995): 205–56. 14. Christopher Reynolds, “The Origins of San Pietro B 80 and the Development of a Roman Sacred Repertory,” Early Music History 1 (1981): 257–304.
The cantus firmus is stated literally, with few changes of either pitch or rhythm. For example, if we compare the last two phrases of the cantus firmus in the Kyrie with the model, we see very few modifications, and those few that do occur are relatively minor: combining repeated notes into a single note, probably for textual reasons (chanson, mm. 55, 57, and 61) and adding a single passing tone (m. 9 Missa Fors seulement contains many other references to its model besides the cantus firmus. 10 In the chanson, the contratenor outlines a diminished triad in the opening measures, rising from A to E-flat (in most versions); it is interesting to note that in the quotation of the contratenor in this example, Ockeghem not only transposed the line but also eliminated the accidental in m.
Some of the cantus firmus in this mass is very close to the original in terms of pitch content and rhythmic structure, but most of it is melodically and rhythmically paraphrased. The most common type of change that he makes in the cantus firmus is decorating individual long notes (this occurs in all phrases). In these instances, he often repeats a note from the model immediately after a melodic digression and before moving on to the next note from the model (see mm. 14 Another common change that he makes is filling in melodic skips with passing tones.