The Motet in the Age of Du Fay

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Cambridge University Press, 2003. 10. 16. - 418페이지
During the lifetime of Guillaume Du Fay (c. 1400-1474) the motet underwent a profound transformation. Because of the protean nature of the motet during this period, problems of definition have always stood in the way of a full understanding of this crucial shift. Through a comprehensive survey of the surviving repertory, Julie Cumming shows that the motet is best understood on the level of the subgenre. She employs new ideas about categories taken from cognitive psychology and evolutionary theory to illuminate the process by which the subgenres of the motet arose and evolved. One important finding is the nature and extent of the crucial role that English music played in the genre's transformation. Cumming provides a close reading of many little-known pieces; she also shows how Du Fay's motets were the product of sophisticated experimentation with generic boundaries.

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Introduction
1
Models and methods
5
Approaches and analogies
7
Subgenre interpretation and the generic repertory
24
Fifteenthcentury uses of the term motet
41
Motets in the early fifteenth century the case of Bologna Q15
63
The motet section of Bologna Q15 and its ramifying roots
65
A new hybrid subgenre the cutcircle motet
99
Motets with a tenor cantus firmus c 14301450
206
Freelycomposed fourvoice writing in transition
228
The fourvoice motet c 14501475
254
Conclusion
288
Widely disseminated motets
304
Notes
306
Bibliography of books and articles
357
Modern editions of music
374

Other new hybrid subgenres
125
The motet in the early fifteenth century evolution and interpretation
147
Motets in the midfifteenth century the case of the Trent Codices
165
Motets in the Trent Codices establishing the boundaries
167
English and continental cantilenastyle motets
185
Sources and sigla
379
Notes on the index of works
382
Index of works
384
General index
400
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