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Books > Arts & Architecture > Music > Western music, periods & styles > Medieval & Renaissance music (c 1000 to c 1600)
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Upper-Voice Structures and Compositional Process in the Ars Nova Motet - Process in the Ars nova Motet (Hardcover)
Loot Price: R3,621
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Upper-Voice Structures and Compositional Process in the Ars Nova Motet - Process in the Ars nova Motet (Hardcover)
Series: Royal Musical Association Monographs
Expected to ship within 12 - 17 working days
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In the motets of Philippe de Vitry, Guillaume de Machaut, and their
contemporaries, tenors have often been characterized as the primary
shaping forces, prior in conception as well as in construction to
the upper voices. Tenors are shaped by the interaction of talea and
color, medieval terms now used to refer to the independent
repetition of rhythms and pitches, respectively. The presence in
the upper voices of the periodically repeating rhythmic patterns,
often referred to as "isorhythm," has been characterized as an
amplification of tenor structure. But a fresh look at the medieval
treatises suggests a revised analytical vocabulary: for many
fourteenth- and fifteenth-century writers, both color and talea
involved rhythmic repetition, the latter in the upper voices
specifically. And attention to upper-voice taleae independently of
tenor structures brings renewed emphasis to the significant portion
of the repertory in which upper voices evince formal schemes that
differ from those in the tenors. These structures in turn suggest a
revision of the presumed compositional process for motets, implying
that in some cases upper-voice text and forms may have preceded the
selection and organization of tenors. Such revisions have
implications for hermeneutic endeavors, since not only the forms of
motet voices but the meanings of their texts change, depending on
whether analysis proceeds from the tenor up, or from the top down.
Where the presumed compositional and structural primacy afforded to
tenors has encouraged a strand of interpretation that reads the
upper-voice poetry as conforming to, and amplifying, the tenor text
snippets and their liturgical contexts, a "bottom-down" view casts
tenors in a supporting role and reveals the poetic impulse of the
upper voices as the organizing principle of motets.
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