Relevant bibliographies by topics / Renaissance polyphony

Academic literature on the topic 'Renaissance polyphony'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Renaissance polyphony"

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Williamson, Magnus. "Renaissance polyphony." Early Music 33, no. 4 (November 1, 2005): 717–21. http://dx.doi.org/10.1093/em/cah173.

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Fitch, Fabrice. "Sacred Renaissance polyphony." Early Music XXIII, no. 1 (February 1995): 165–66. http://dx.doi.org/10.1093/earlyj/xxiii.1.165.

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Deford, Ruth. "Analysing Renaissance polyphony." Early Music XXVIII, no. 2 (May 2000): 316–18. http://dx.doi.org/10.1093/earlyj/xxviii.2.316.

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Greavu, Elena-Laura, and Roxana Pepelea. "Polyphony in the Choral Creation for Equal Voices Signed by Dan Voiculescu." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (June 30, 2021): 143–58. http://dx.doi.org/10.24193/subbmusica.2021.1.10.

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"This paper represents a more detailed research of one of the defining stylistic aspects for equal voices choral creation composed by Dan Voiculescu. The composer managed to enrich the children's repertoire with important works, starting from the premise that it must be close to the contemporary musical language. Polyphony, in its various forms, gives this type of repertoire stylistic unity and offers many possibilities for modernizing the choral language. Dan Voiculescu uses poliphony to exploit and materialize it in a multitude of compositional devices. The most used polyphonic process in Voiculescu's choral creation is imitative polyphony. It is materialized in various forms, being connected mainly by the tradition of its application from ancient times (Renaissance, Baroque) to the present day. Keywords: polyphony, Composer Dan Voiculescu, choral music. "
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Москва, Ю. В. "Gregorian Semiology as a Method of Modal Identification in Early and Renaissance Polyphony." Научный вестник Московской консерватории, no. 4(31) (December 21, 2017): 108–21. http://dx.doi.org/10.26176/mosconsv.2017.31.4.04.

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Определение лада в раннем и ренессансном многоголосии принадлежит к самым актуальным и сложным научным проблемам. Раннее многоголосие восходит к григорианскому пению, поэтому исследование модальности в полифонии отталкивает ся от григорианской модальности. Однако григорианские напевы подвержены модификациям (транспозиции, трансмодализации) как сами по себе, так и в условиях модального многоголосия. Поэтому модальность cantus firmus не может служить надежным критерием определения лада в многоголосии. Поскольку лад проявляет ся посредством ритма, автор статьи предлагает новый метод: исследование модальности в раннем многоголосии с помощью григорианской семиологии Эжена Кардина — учения о ритмических и артикуляционных аспектах невменной нотации. В качестве примера приведен модальный анализ мессы Дж. П. да Палестрины «Ecce Sacerdos magnus». The modal identification in the early and Renaissanse polyphony is one of the most important and complicated scientific problems. The early polyphony goes back to Gregorian chant, therefore the study of the polyphonic modality begins with Gregorian modality. However, Gregorian chants mutate (in terms of transposition and transmodalisation) both on their own and as cantus firmus in the modal polyphony. Therefore, Gregorian modality is not a reliable criterion of modal determination in the early polyphony. Because of the connection of modality to rhythm, the author of the article proposes a new method: the investigation of modality in the early polyphony using the Gregorian semiology by Eugène Cardine — the doctrine about rhythmic and articulative aspects of the neumatic notation. As an example there is a modal analysis of G. P. da Palestrina’s mass “Ecce Sacerdos magnus”.
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Meconi, Honey. "Art-Song Reworkings: An Overview." Journal of the Royal Musical Association 119, no. 1 (1994): 1–42. http://dx.doi.org/10.1093/jrma/119.1.1.

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Broadly speaking, we can divide Renaissance polyphony into five groups: works not using any pre-existent material, and pieces based on sacred monophony, secular monophony, sacred polyphony or secular polyphony. This is not the common way to classify Renaissance compositions. The more normal breakdown is by the technique applied to the pre-existent material – cantus firmus, paraphrase, parody – regardless of what that material was. Yet much is to be gained by starting with the original material, and that was, after all, what the composer probably did at least some of the time.
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Meeùs, Nicolas. "Aspects of Modality in Renaissance Polyphony." Musurgia XXVI, no. 2 (2019): 11. http://dx.doi.org/10.3917/musur.192.0011.

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Upham, Finn, and Julie Cumming. "Auditory Streaming Complexity and Renaissance Mass Cycles." Empirical Musicology Review 15, no. 3-4 (June 28, 2021): 202–22. http://dx.doi.org/10.18061/emr.v15i3-4.7980.

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How did Renaissance listeners experience the polyphonic mass ordinary cycle in the soundscape of the church? We hypothesize that the textural differences in complexity between mass movements allowed listeners to track the progress of the service, regardless of intelligibility of the text or sophisticated musical knowledge. Building on the principles of auditory scene analysis, this article introduces the Auditory Streaming Complexity Estimate, a measure to evaluate the blending or separation of each part in polyphony, resulting in a moment-by-moment tally of how many independent streams or sound objects might be heard. When applied to symbolic scores for a corpus of 216 polyphonic mass ordinary cycles composed between c. 1450 and 1600, we show that the Streaming Complexity Estimate captures information distinct from the number of parts in the score or the distribution of voices active through the piece. While composers did not all follow the same relative complexity strategy for mass ordinary movements, there is a robust hierarchy emergent from the corpus as a whole: a shallow V shape with the Credo as the least complex and the Agnus Dei as the most. The streaming complexity of masses also significantly increased over the years represented in this corpus.
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Keyl, Stephen. "Tenorlied, Discantlied, Polyphonic lied: Voices and instruments in German secular polyphony of the Renaissance." Early Music XX, no. 3 (August 1992): 434–46. http://dx.doi.org/10.1093/earlyj/xx.3.434.

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Wickham, Edward. "Realization and Recreation: Texting Issues in Early Renaissance Polyphony." Journal of the Alamire Foundation 3, no. 1 (January 2011): 147–66. http://dx.doi.org/10.1484/j.jaf.1.102197.

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Dissertations / Theses on the topic "Renaissance polyphony"

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Lese, Amy. "Primitive Polyphony? Simple Polyphony Outside the Mainstream of the Music History Narrative." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19281.

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This thesis addresses the relatively narrow understanding of simple polyphony in music history. Using three examples, I provide a survey, mostly of secondary literature available in English, and offer an overview of the use of simple polyphony in three different places and time periods in Western Europe during the Middle Ages and the Renaissance. More specifically, I examine the music of the Devotio Moderna in the Low Countries and Northern Germany during the fifteenth and sixteenth centuries, the Llibre Vermell and Iberian pilgrim culture in the fourteenth century, and the laude and processional genres in Northern Italy during the thirteenth, fourteenth, and fifteenth centuries. My purpose is to bring the topic of simple polyphony—significant despite its simplicity—back to the center of the music history narrative.
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Wilde, Howard Lionel. "Towards a new theory of voice-leading structure in sixteenth-century polyphony." Thesis, Royal Holloway, University of London, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283526.

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Johnson, Nicholas. "Musica Caelestia: Hermetic Philosophy, Astronomy, and Music at the Court of Rudolf II." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354712996.

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Iafelice, Carlos Henrique Cascarelli [UNESP]. "O conceito das protoformas do cânone: aspectos históricos, terminológicos e processos composicionais no século XVI." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/134238.

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Fundamentado a partir de três eixos do conhecimento da polifonia (teórico, prático e especulativo), este trabalho apresenta o ‘conceito das protoformas do cânone’, que consiste em cinco matrizes ou formas-base que sintetizam as variadas manifestações do cânone durante os séculos XIII ao XVI. Para a fundamentação da pesquisa, são considerados primariamente aspectos relacionados à periodicidade motívica em tratados e exemplos musicais do séc. XIII, limitando-se à compreensão do termo como apresentado nos tratados práticos do séc. XVI, propiciando assim, materiais e indícios que apontam as variadas etapas do desenvolvimento e realização do cânone. Ao longo da exposição do estudo, uma série de comentários de excertos diretamente ligados às fontes primárias são apresentados, resultando em uma contribuição teórica às questões terminológicas e conceituais concernentes à sua história.
Based from three axes of polyphony’s knowledge (theoretical, practical and speculative), this work presents the 'concept of the canon’s protoforms', which consists of five matrices or forms-based synthesizing the varied manifestations of the canon during the 13th-16th centuries. In order to support the research, they are considered primarily aspects related to motivic periodicity in treatises and musical examples in 13th century, being limited on understanding of the term as presented in practical treatises in 16th-century, thus providing materials and evidences that link the various stages of development and realization of the canon. Throughout the study’s exposition, a series of excerpts and comments directly related to the primary sources are presented, resulting in a theoretical contribution to the terminological and conceptual issues concerning they history.
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Gilles-Chikhaoui, Audrey. "D'une voix l'autre : plaisirs féminins dans la littérature française de la Renaissance." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3083.

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Étudier les plaisirs féminins dans la littérature française de la Renaissance, c’est d’abord faire le constat d’une pluralité de représentations qui se regroupent autour d’un même enjeu, celui de l’honnêteté. En raison d’une forte tradition misogyne, il est en effet difficile pour une femme de concilier cet impératif social avec le plaisir. Les textes que nous étudions (récit, poésie, littérature d’idées) sont toutefois portés par une dynamique entre voix féminines et voix masculines, qui contribue à faire émerger un discours nouveau sur le plaisir féminin que nous nous proposons d’étudier. La première partie étudie les plaisirs dans l’espace conjugal. Celui-ci fait de la volupté féminine, dans la relation entre époux et dans l’adultère, à la fois une nécessité et une déviance. La deuxième partie s’attache à l’espace social et interroge les plaisirs de cour : les échanges amoureux influencés par l’amour courtois, le néo-platonisme et le pétrarquisme, et les divertissements collectifs, de la danse à la conversation. La troisième partie, consacrée à l’espace de soi, se dégage de la morale sociale dont les deux premières parties sont tributaires pour proposer une réflexion sur le plaisir comme accomplissement de soi dans la maternité, le savoir, la spiritualité et l’écriture
The study of feminine pleasures in the sixteenth-century French literature leads to a multiplicity of representations. All of them coincide with the idea of honesty. Because of a strong misogynist ideology, women could hardly reconcile these social and moral requirements with the notion of pleasure. Nevertheless, the texts studied in this thesis (narratives, poems, essays and treatises) show a dynamic between feminine and masculine voices that gives way to new discourses on pleasure. The first part focuses on pleasure within marriage. Be it within their relationship with their spouses or in adultery, feminine sensual pleasure was considered both an honest need and a déviance. The second part deals with social pleasures: public amusements (from dance to conversations) as well as encounters between lovers, which were influenced by amour courtois, neoplatonism, and, petrarquism. The third part, dedicated to the self, breaks away from the social morals attached to the first two parts in order to study pleasure as self-accomplishment through motherhood, knowledge, spirituality and writing
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Boutet, Anne. "Les recueils français de nouvelles du XVIe siècle, laboratoires des romans comiques." Thesis, Tours, 2017. http://www.theses.fr/2017TOUR2019/document.

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Les nouvelles du XVIe siècle sont souvent lues comme de simples passe-temps, loin derrière les livres de Rabelais. Pourtant, cette littérature labile est dotée d’une « grande variété de formes narratives qui témoignent de [s]a souplesse et de [s]a plasticité […], laboratoire des expériences romanesques à venir » (D. Souiller, La nouvelle en Europe de Boccace à Sade). Il est ainsi difficile de conférer une identité générique à ces textes. En l'absence d’arts poétiques contemporains, la critique propose des définitions discutables. Trop restrictives ou partiales, elles aboutissent à un compromis : donner des caractéristiques majeures (brièveté, moralité, bon tour, bon mot, « réalisme », etc.), sans nettement distinguer le genre de formes narratives voisines (discours bigarrés, histoires tragiques). Pourtant, une autre piste est possible : adopter le point de vue des auteurs de romans comiques pour profiter d'une pratique d'écriture nourrie des conteurs de la Renaissance et d'une réception littéraire plus proche de celle des lecteurs du XVIe siècle, soit affiner les analyses modernes pour aspirer à établir la première liste de critères génériques fiables et opératoires
Read short stories from XVIth french century, it’s like reading fancy stories or recreations, far away from Rabelais’books. However, this unsettled literature has a « grande variété de formes narratives qui témoignent de [s]a souplesse et de [s]a plasticité […], laboratoire des expériences romanesques à venir » (D. Souiller, La nouvelle en Europe de Boccace à Sade). It’s difficult, indeed, to give a set generic identity at these texts. Without contemporary arts of poetry, modern critics suggest debatable definitions. Too restrictive or partial, those definitions end up at a compromise : to give main characteristics (brevity, moral, good trick, good word, « realism », etc.) without make a clear distinction with close narrative forms (« discours bigarrés », « histoires tagiques »). Yet, there is another path : take the point of view of « romans comiques »’ authors in order to take advantage of a writing fed from Renaissance’s storytellers and of a reading closer with XVIth century’s readers, that is to say refine modern studies in order to draw up the first list of reliable and operating generic criteria
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Reimer, Sarah. "Musical borrowing and formal organization in Renaissance polyphonic mass cycles." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/61346.

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Composers in the Renaissance era frequently engaged in the technique of musical borrowing by incorporating a preexisting melody, which functioned as a cantus firmus, into a newly composed polyphonic setting. This study analyzes the structural relationship between a cantus firmus and surrounding polyphonic voices, identifying the distinctive musical features of the cantus firmus that contribute to the overall form of the mass cycle. Analyses of four mass cycles by the fifteenth-century composer Josquin des Prez, spanning his entire oeuvre, examine different ways that a borrowed melody can contribute to structure and formal organization in a polyphonic texture. Before the analysis portion of this study I develop criteria for attributing formal function to segments of monophonic and polyphonic Renaissance compositions. I find that, although the borrowed melodies in Josquin’s mass cycles are diverse, the preexisting formal functions of the cantus firmus usually govern the formal functions of the concurrent polyphonic voices. Consistently, the first statement of the borrowed melody, arguably the most important indicator of initiation formal function, is always retained in the new setting. Similarly, the final cadence of the borrowed melody always aligns with the ending of either a mass section or entire mass movement. There are also moments, however, where the converse is true, such that the polyphony redirects and transforms the expected formal functions of the cantus firmus.
Arts, Faculty of
Music, School of
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Dufourcet, Marie-Bernadette. "Les hymnes "Pange lingua" dans la polyphonie vocale et instrumentale à la Renaissance." Paris 4, 1988. http://www.theses.fr/1988PA040050.

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L'analyse des pange lingua composes en europe aux xve et xvie s. , permet d'examiner dans le detail, les tendances generales du repertoire religieux de l'epoque, comme, par exemple, l'accroissement de l'effectif, l'essor du style imitatif, le recul du cantus firmus en valeurs longues, au profit d'un cantus firmus integre a la polyphonie, l'evolution du langage vers l'equilibre entre contrepoint et harmonie, sentiment modal et tonal, l'incorporation progressive de la tierce majeure dans les accords terminaux et, sur le plan prosodique, la volonte de rendre plus perceptibles les paroles ou de respecter l'accentuation latine, dans les oeuvres post-tridentines. Enfin, les pange lingua instrumentaux illustrent, de facon assez representative, les differents stades de l'emancipation stylistique du repertoire instrumental, par rapport a l'ecriture vocale
The analysis of the pange lingua hymns composed in europe in the 15th and 16th centuries allows us to examine in detail the general tendencies of the religious repertoire of the period. Examples of this include the increasing number of voices, the rise of the imitative style, the decline of the use of the cantus firmus in long note values, towards a cantus firmus integrated into the polyphony, the development of the musical language towards a balance between counterpoint and harmony, modal and tonal feeling, the progressive incorporation of the major third in final chords, and, on the prosodic level, the will to make the words more perceptible and to respect the latin accentuation in the post-tridentine works. Finally, the instrumental pange lingua illustrate, representatively, the different stages of the stylistic liberation of the instrumental repertoire with regard to the vocal writing
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Dufourcet, Marie-Bernadette. "Les Hymnes "Pange lingua" dans la polyphonie vocale et instrumentale à la Renaissance." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376133871.

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Michaud, Philippe. "La chanson polyphonique française de la renaissance ca 1470-ca 1550 : les avatars du populaire." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82934.

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We show, by internal analysis of the texts and references to other contemporary texts, that from 1470 to 1550 the French polyphonic chanson reveals more than ever before a strong tendency to pertain to the "popular" and its related categories, the "carnavalesque" and the "grotesque". From a corpus of close to a thousand popular chansons selected according to the courtly and "good life" "registers", we can assert that, in spite of the essentially learned dimension of polyphonic music, it is the textual component that seems to be popular. This is what indicates the study of their carnavalesque images and the analysis of the grotesque structures of the "cris", the combinative chansons, the "caquets" and the "fricassees", the latter proving to be real crossroads where chansons of the time parade. Our theoretical reflections on the notion of "popular", necessary to justify the use of the concept in a corpus whose texts are usually anonymous, prompts us to both avoid source studies and issues of production and reception, by defining the "popular" as an aesthetic category based on stylistic and rhetorical conventions. In this perspective, the principal characteristic of these chansons consists in the omnipresence of the imperative calls to the participation in the "good life", all of which belong to a popular version of the carpe diem. While a type of carnavalesque chanson accumulates the motifs "dansons", "chansons" and "buvons", many constitute often obscene variants of "baisez-moi", and others multiply military orders. The occurrences of these imperative motifs, usually appearing in direct discourse, confirm, with partially imperative imprecations, a vocabulary of the public place, onomatopeia and plays on words, the orality of the register and its belonging to a popular level of discourse corresponding to a less elevated style than the low style of rhetoric.
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Books on the topic "Renaissance polyphony"

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Heinrich Isaac and polyphony for the proper of the mass in the Late Middle Ages and Renaissance. Turnhout: Brepols, 2011.

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Burn, David, and Stefan Gasch, eds. Heinrich Isaac and Polyphony for the Proper of the Mass in the Late Middle Ages and the Renaissance. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.em-eb.6.09070802050003050402040902.

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Ceccucci, Piero, ed. Fiorenza mia…! Firenze e dintorni nella poesia portoghese d'oggi. Florence: Firenze University Press, 2009. http://dx.doi.org/10.36253/978-88-8453-329-6.

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In the Portuguese imagination Florence is justly considered the cradle of modern western civilisation. Seen and admired from the Renaissance on as the new Athens, for the Portuguese it has always represented not only a model of culture and civilisation to take as inspiration, but also and above all the locus amoenus of spiritual and intellectual harmony and balance, dreamed-of and unattainable, that floods and pervades the soul with a vague, nostalgic sentiment of admiration. Evidence of this, now as in the past, are the serried ranks of poets who for centuries have sung its praises and raised it to the rank of myth. This brief anthology proposes only a few of them, among the most renowned of recent generations. In a truly original way these poets have managed to convey to the hearts and minds of their compatriots their own stunned vision of the city, illustrating emotions that cannot fail to move even the Florentines and, in a broader sense, we Italians as a whole. Thus what is offered in these pages, in fine Italian translation, is this mesh of voices, an intimate and enthralling polyphony of city, poet and reader, unfurling in an evocative melody and proposing the legend of Florence in a new light – possibly more authentic and illuminating.
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Late Renaissance music at the Habsburg Court: Polyphonic settings of the Mass Ordinary at the Court of Rudolf II, 1576-1612. New York: Gordon and Breach Science Publishers, 1987.

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Comberiati, Carmelo Peter. Late Renaissance music at the Habsburg Court: Polyphonic settings of the mass ordinary at the court of Rudolf II (1576-1612). New York: Gordon & Breach, 1987.

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Renaissance Polyphony. University of Cambridge ESOL Examinations, 2020.

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Fitch, Fabrice. Renaissance Polyphony. University of Cambridge ESOL Examinations, 2020.

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Fitch, Fabrice. Renaissance Polyphony. University of Cambridge ESOL Examinations, 2020.

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Clark, Kate, and Amanda Markwick. The Renaissance Flute. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190913335.001.0001.

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The last four decades have seen a revival of interest in the renaissance transverse flute. The few collections of surviving original flutes from the sixteenth century have increasingly attracted musicologists, instrument makers, and players to examine, measure (and copy), perform, and record on them. Renaissance flute workshops and summer courses attract students and amateur players in several corners of Europe every year. At the same time, renaissance manuscripts and early prints have increasingly become available on the internet, providing an ever-expanding supply of materials for flutists wanting to experience renaissance music for themselves. This handbook for renaissance flute players offers all the information needed to buy, maintain, and learn to play the renaissance flute, whether alone or in consort. It explains how to read and interpret renaissance music whether from original notation or in modern editions, how to make your own transcriptions, and how to write your own diminutions. It also introduces readers to the basics of renaissance music theory, in clear and simple language. At a time when the gap between the professional “classical” music world and its public seems to have grown irrevocably, this book aims to demystify the business of making beautiful music together. It is a key to the elegant, cylindrical flute that was played all over Europe in the age of polyphony and to the gentle art of consort playing.
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Snow, Robert J. A New-World Collection of Polyphony for Holy Week and the Salve Service: Guatemala City, Cathedral Archive, Music MS 4 (Monuments of Renaissance Music). University Of Chicago Press, 1996.

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Book chapters on the topic "Renaissance polyphony"

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Cariani, Sergio. "Sala Della Vigna at Belriguardo. A Polyphony of Proportions That the Renaissance Mind Comprehended and the Renaissance Eye was Able to See." In Putting Tradition into Practice: Heritage, Place and Design, 303–11. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-57937-5_32.

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Burn, David J., and Stefan Gasch. "Chant Adorned: The Polyphonic Mass Proper in the Later Middle Ages and Renaissance." In Epitome musical, 25–30. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.em-eb.4.9001.

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"Introducing Renaissance polyphony." In Renaissance Polyphony, 1–8. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781139017299.001.

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"Making polyphony: sources and practice." In Renaissance Polyphony, 9–23. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781139017299.002.

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"Makers of polyphony." In Renaissance Polyphony, 24–45. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781139017299.003.

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"Pitch: an overview." In Renaissance Polyphony, 46–65. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781139017299.004.

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7

"Voice-names, ranges, and functions." In Renaissance Polyphony, 66–82. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781139017299.005.

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8

"Mensural notation, duration, and metre." In Renaissance Polyphony, 83–95. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781139017299.006.

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9

"Genre, texts, forms." In Renaissance Polyphony, 96–108. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781139017299.007.

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10

"‘Cantus magnus’: music for the Mass." In Renaissance Polyphony, 109–19. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781139017299.008.

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