Renaissance polyphony /

Renaissance polyphony /
Fitch, Fabrice, author.
New England Conservatory
Introducing Renaissance polyphony. A musical Renaissance? ; A starting point: the Missa Caput ; Overview -- Making polyphony : sources and practice. Polyphonic manuscripts: choirbook format ; Polyphonic prints: partbook format ; Extemporized polyphony ; From composed to extemporized polyphony (or vice-versa?) -- Makers of polyphony. Renaissance attitudes towards music: theory and practice ; Singer-clerics before 1500 ; A sense of corporate identity ; Singers or composers? ; Composers in the age of print ; Instrumental ensembles and soloists ; Women and polyphony: cloth and court -- Pitch : an overview. The gamut: measuring musical space ; Species and modes ; Measuring musical space with syllables: the hexachord ; Contrapuntal practice: polyphony and modal classification ; The cadence (clausula) ; Cadence and mode ; A short note on musica ficta ; Signature flats and expanded hexachords ('conjunctae') ; Enhanced chromaticisms ; An even shorter note on dissonance treatment -- Voice-names, ranges, and functions. What clefs mean (and what they don't) ; Cadential function and the principal voice-types ; Registral tiers: the English Caput Mass and the contratenor bassus ; From four voice-ranges to chiavette ; Another look at cadence -- Mensural notation, duration, and meter. The four prolations ; Mensural usage and musical style ; Tempo and proportions -- Genre, texts, form. The genre problem ; Words and music -- 'Cantus magnus' : music for the Mass. The Mass cycle ; Propers, requiem masses, and other liturgical forms -- 'Cantus mediocris' : the motet. A snapshot of the motet repertory: the Medici Codex ; Stylistic markers ; Motets for private and public devotion ; Penitential music ; Occasional motets ; Towards the motet of the later Renaissance -- 'Cantus parvus' : secular music. Formes fixes: Ockeghem, "Ma bouche rit" ; Strophic song: Senfl, "Lust hab' ich g'habt zur Musica" ; Epigram: Lassus, "En un chateau" ; Descriptive and narrative songs: Flecha, "La bomba" ; Instrumental music: Tye, "Sit fast" and "O lux" ; Madrigal: Cipriano, "Da le belle contrade" -- Scoring, texture, scale. Scoring: fifteenth-century experiments and beyond ; Texture types: polyphony with and without cantus firmus ; Varietas: texture types and the role of imitation ; English exceptionalism: the Eton Choirbook and beyond ; Pervasive imitation and its aftermath ; 'O che nuovo miracolo': scale as exploration -- Understanding musical borrowing. Chant paraphrase and cantus firmus ; Masses: from cantus firmus to model ; The aesthetics of borrowing: the model as analogy ; Homage, exchange, and competition: the L'Homme armeĢ story ; The Mass cycle and 'peak borrowing' circa 1500 ; The imitation mass and the listener ; The limits of borrowing -- Canons, puzzles, games. Playing with syntax: cadence ; Playing with material: hexachord games and ostinato ; Playing with pitch ; Fugal canon ; Non-fugal and enigmatic canons ; Puzzles and Augenmusik ; Playing with numbers -- Performance practice: a brief introduction. What the sources don't tell us: aspects of pitch ; Tempo and modern performance practice ; Scoring and texting, voices and instruments: a historical overview ; 'The past is a foreign country': strategies of de-familiarization.

Online access:
No online access
Library holdings:
New England Conservatory Spaulding Library
ML172 .F58 2020Available