| Papers [1-6] of 6 | Search results on "MOTET": |
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Recording: "Christmas Carols and Motets", 2008.
Analyzes the CD recording, "Christmas Carols and Motets" by The Tallis Scholars.
975 words (approx. 3.9 pages), 2 sources, MLA, $ 34.95
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Abstract
This paper analyzes and describes a CD recording performed by The Tallis Scholars and directed by Peter Phillips entitled, "Christmas Carols and Motets". The paper describes the sections that the CD has been divided into and explains how the CD has furthered his understanding of early Western music.
From the Paper
"In the renaissance motets section, there are four settings of Ave Maria: for four voices by Josquin des Pres, for seven voices by Philippe Verdelot, for four voices by Victoria, and for double choir by Victoria. From Grove Music Online it states that, "One of the most important forms of polyphonic music from about 1220 to 1750. No single set of characteristics serves to define it generally, except in particular historical or regional contexts. It originated as a liturgical trope but soon developed into the pre-eminent form of secular art music during the late Middle Ages."
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The Motet, 1980.
This paper discusses the composition form of the motet in England from the late 12th Century to the early 15th Century: Relgious andsecular uses in England; eclectic nature; uses by composers in Gothic & Gregorian forms.
1,350 words (approx. 5.4 pages), 5 sources, $ 47.95
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From the Paper
"The following research is on the subject of the motet in England from the late 12th Century to the early 15th Century. The motet was a French form of the 13th Century and an isorhythmic form of the 14th and 15th centuries, but after that time it took on a broader meaning. Originally, however, a motet was a composition on a liturgical text for use in church. By the latter 13th century the term was applied to works with secular texts as well, including even those which used a secular melody as a tenor cantus firmus. In the isorhythmic motets of the 14th and 15th centuries the tenors were usually Gregorian melodies, and those motets retained the traditional characteristics of a liturgical cantus firmus, multiple texts, and strongly contrapuntal texture. The isorhythmic motet was a conservative form, and the general evolution of musical style during the late ... "
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Isorhythmic Motet, 1999.
Examines the rise of this form of vocal music in the 14th Century, in works of Guillaume de Machaut and John Dunstable and related to Ars Antiqua and Ars Nova eras.
1,350 words (approx. 5.4 pages), 3 sources, $ 47.95
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Abstract
This paper discusses the rise of the isorhythmic motet in the fourteenth century, as exemplified in the works of Guillaume de Machaut and John Dunstable. It will also consider the relationship of this motet form to the shift from the Ars Antiqua to the Ars Nova in the fourteenth century.
From the Paper
"This paper discusses the rise of the isorhythmic motet in the fourteenth century, as exemplified in the works of Guillaume de Machaut and John Dunstable. It will also consider the relationship of this motet form to the shift from the Ars Antiqua to the Ars Nova in the fourteenth century.
The motet was the most important form of vocal music during the late Middle Ages and early Renaissance. It was polyphonic and usually for three voices, although many examples of two- and four-part motets are known (Hughes, 353). Used in both court and church, it also penetrated into the sphere of popular music.
The thirteenth-century motet still bore, to modern ears, a great resemblance to Gregorian chant. Even though the motets are polyphonic and the Gregorian chant monophonic, most motets of the Ars Antiqua move with such solemnity and present such a bland ...."
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John Dunstable?s Cyclical Mass, 2006.
An examination of the works of the composer John Dunstable.
1,247 words (approx. 5.0 pages), 3 sources, MLA, $ 42.95
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Abstract
In this paper the author examines the works of John Dunstable centering on his compositions that were written specifically for the Church. The author looks at Dunstable as one of the great contrapuntalists working in classical music during the Renaissance pointing out that he is known for his work in the motet form, a product of the fourteenth and fifteenth centuries. The author defines the motet as a composition for unaccompanied choir with sacred text sung in Latin, since it was designed to be performed in Roman Catholic liturgical services. He then goes on to describe the different methods with which Dunstable's work can be performed and the developments in music that occurred as a result of his works. In conclusion the author looks at Dunstable as a standard setter for future Masses that were treble-dominated, as well as the harmonic innovation that resulted in the first form of the modern triads that form popular and symphonic music today.
From the Paper
"The mass is a suite that is presented throughout the Latin Mass, a service containing a set series of segments, each addressing a particular aspect of Catholic belief. Dunstable's Missa Rex saeculorum has sometimes been ascribed to Leonel Power, who composed the earliest tenor Mass extant today. In this work, the Kyrie is eliminated, as is common in most cyclic Masses of English origin. There are two long sections in triple and duple meter set against an isorhythmic tenor line. In its compositional structure, the phrasing of the text is ignored and the notes are used as structural support for the piece. Sometimes a phrase breaks off mid-word, taking the chant out of its proper mode The duet sections are written in a form strictly identified with English composers, and the tenor voice provides a unifying factor."
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Guillaume Dufay Music from Medieval and Renaissance Music, 2006.
An examination of Guillaume Dufay's music and its origins.
34 words (approx. 0.1 pages), 6942 sources, MLA, $ 17.95
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Abstract
In this paper the author looks at what Guillaume Dufay's music meant in terms of music history. The author starts with a look at the Gregorian chant from Medieval times which was the main form of sacred music, how it developed and what it gave to modern music. The paper continues with a look at the other forms of music that have developed over the years and contributed to the work of Guillaume Dufay. In particular the author highlights the development of church music in the Renaissance period which, as he points out was the basis for Dufay's music compositions. The author discusses the life and works of Dufay's music as a move towards a clearly defined tonal and functional harmonic structure. The author believes that this helped prepare one of the most important stylistic developments in music of the following century. In conclusion the author reminds us that we are lucky to have the musical pieces that have been curated and restored. A number of Dufay's as well as other composers from that era had masterpieces destroyed because of the political climate.
Outline:
Table of Contents
Introduction
Gregorian Chant
Motet
Troubadour Influence
The Development of Musical Notation
Polyphony
Machaut
Guillaume Dufay a Biography
Dufay's Music
Dufay and Faux-bourdon
Dufay's Motets
Conclusion
From the Paper
"Dufay began composing at a time when musical style was in a period of relative stability and changing that style was not readily accepted. Dufay cannot be thought of as one of the great revolutionaries in Western music; the term 'originality' in the classic sense of the word was not familiar to him. This is not to say, however, that Dufay was in any way lacking of originality or he was in any way reactionary. Quite to the contrary, he played an integral role in the development of faux-bourdon and the cyclic mass. He was one of the first composers to handle four-voice texture with any kind of convincing skill before the end of the 15th century. Furthermore, his attempt to move towards a clearly defined tonal and functional harmonic structure helped prepare one of the most important stylistic developments of the following century. Dufay's works and compositions have come to be known as the supremely polished works of a long period of slow and serene stylistic change."
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Recording: "The Lily and the Lamb", 2008.
Reviews the CD recording "The Lily and the Lamb: Chant and Polyphony from Medieval England" by Anonymous 4.
790 words (approx. 3.2 pages), 4 sources, APA, $ 28.95
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Abstract
This paper explains that the CD recording "The Lily and the Lamb: Chant and Polyphony from Medieval England" by Anonymous 4, an all female quartet that specializes in medieval music is an excellent example of this period's chant and polyphony music. The author points out that the recording is composed of eighteen tracks that are divided up into six different types of songs: one antiphon, five conductuses, two hymns, two motets, one processional hymn and seven sequences. The paper concludes that this recording is helpful in learning about sacred medieval music.
From the Paper
"A sequence is a category of Medieval Latin chant and is also known as prose. It is part of the liturgy and comes after the Alleluia. It usually begins with an introductory phrase of the form "aa." Then phrases are paired together until the concluding phrase "n." The total form of a sequence usually written as: "aabbccddeeff...n." There are seven sequences in this recording and they range in length from a little over a minute to over eight minutes long. While listening to the sequences in this recording, I noticed that they all seemed to follow the same pattern with the voices."
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