Hearing the Motet: Essays on the Motet of the Middle Ages and RenaissanceDolores Pesce Oxford University Press, 1998 M12 10 - 393 pages The motet was unquestionably one of the most important vocal genres from its inception in late twelfth-century Paris through the Counter-Reformation and beyond. Heard in both sacred and secular contexts, the motet of the Middle Ages and Renaissance incorporated a striking wealth of meaning, its verbal textures dense with literary, social, philosophic, and religious reference. In Hearing the Motet, top scholars in the field provide the fullest picture yet of the motet's "music-poetic" nature, investigating the virtuosic interplay of music and text that distinguished some of the genre's finest work and reading individual motets and motet repertories in ways that illuminate their historical and cultural backgrounds. How were motets heard in their own time? Did the same motet mean different things to different audiences? To explore these questions, the contributors go beyond traditional musicological methods, at times invoking approaches used in recent literary criticism. Providing as well a cutting-edge look at performance questions and works by composers such as Josquin, Willaert, Obrecht, Byrd, and Palestrina, the book draws a valuable new portrait of the motet composer. Here, intriguingly, the motet composer emerges as a "reader" of the surrounding culture--a musician who knew liturgical practice as well as biblical literature and its exegetical traditions, who moved in social contexts such as humanist gatherings, who understood numerical symbolism and classical allusion, who wrote subtle memorie for patrons, and who found musical models to emulate and distort. Fresh, broad-ranging, and unique, Hearing the Motet makes vital reading for scholars, performers, and students of medieval and Renaissance music, and anyone else with an interest in the musical culture of these periods. Contributors include Rebecca A. Baltzer, Margaret Bent, M. Jennifer Bloxam, David Crook, James Haar, Paula Higgins, Joseph Kerman, Patrick Macey, Craig Monson, Robert Nosow, Jessie Ann Owens, Dolores Pesce, Joshua Rifkin, Anne Walters Robertson, Richard Sherr, and Rob C. Wegman. |
Contents
3 | |
Conference Introductory Remarks | 12 |
Assessing Family Relations in the ThirteenthCentury Motet | 17 |
The Old Made New in me fu griefRobin maimePortare Mout | 28 |
3 Which Vitry? The Witness of the Trinity Motet from the Roman de Fauvel | 52 |
Tribum que non abhorruitQuoniam secta latronumMerito hec patimur and Its Quotations | 82 |
5 Du Fay and the Cultures of Renaissance Florence | 104 |
Reading and Hearing Busnoyss Anthoni usque limina | 122 |
9 Conflicting Levels of Meaning and Understanding in Josquins O admirabile commercium Motet Cycle | 193 |
10 Josquin Good King René and O bone et dulcissime Jesu | 213 |
Adrian Willaerts Videns Dominus flentes sorores Lazari and Some Aspects of Motet Composition in the 1520s | 243 |
The CantusFirmus Motets | 265 |
13 Tonal Compass in the Motets of Orlando di Lasso | 286 |
Motets from the Song of Songs | 307 |
15 On William Byrds Emendemus in melius | 329 |
The Hearing Reopened | 348 |
A Reading of Busnoyss Anima mea liquefacta estStirps Jesse | 142 |
Reading Factor orbis as a Christmas Sermon | 169 |
Other editions - View all
Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance Dolores Pesce Limited preview - 1997 |
Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance Dolores Pesce No preview available - 1997 |
Common terms and phrases
Alleluia Alleluia Benedictus altus American Musicological Society Anima mea Anthoni usque limina antiphon Antoine Busnoys Arras bassus Bel acueil Bibliothèque bone et dulcissime breves Busnoys Busnoys's Byrd Byrd's cadence Cambrai cantus durus cantus firmus cantus mollis chapel Christ composer composition dame Deus Domine duplum early edition Emendemus Example F:Pn Factor orbis feast final Gaude virgo mater ihesu ij ij ij imitation isorhythmic Jesse Josquin Josquin des Prez Lasso Latin liturgical manuscript Marian Mary Mass measure medieval melody Middle Ages Mirandas parit Misericordias domini missal motet Musicology notes Obrecht octave Orlando di Lasso Oxford Palestrina Paris Philippe de Vitry phrase piece pitch positions polyphonic portare prayer quam sancta reading Renaissance Roman de Fauvel saint semibreves sermon sixteenth-century Song of Songs sources superius tenor textual texture Tillay tion tonal compass triplum University Press Videns Dominus Virgin virgo mater christi voices Willaert words