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Добірка наукової літератури з теми "Motet"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 27 липня 2024

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Статті в журналах з теми "Motet"

Bradley, Catherine A. "Re-workings and Chronological Dynamics in a Thirteenth-Century Latin Motet Family." Journal of Musicology 32, no. 2 (2015): 153–97. http://dx.doi.org/10.1525/jm.2015.32.2.153.

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Анотація:

This article examines a family of thirteenth-century discant and motets on the tenor LATUS, tracing complex relationships between the various incarnations of its shared musical material: passages of melismatic discant in two- and three-voices, a three-voice Latin conductus motet, a two-voice Latin and French motet, and a three-voice Latin double motet. I query conventional fundamentally linear models of discant-motet interaction, emphasizing the possibility of simultaneously filial and collateral interrelationships between versions: different motet texts can influence each other, while retaining independent connections with an earlier melismatic discant model. This leads to a reevaluation of traditional evolutionary and stylistic perceptions of sub-genres defined within the category of motet. The article addresses questions of compositional process, reflecting on the types of creative and scribal activities involved in the formulation of motets.

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Smith, Norman E. "The Earliest Motets: Music and Words." Journal of the Royal Musical Association 114, no. 2 (1989): 141–63. http://dx.doi.org/10.1093/jrma/114.2.141.

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The birth of a genre surely is one of the most fascinating occurrences in the history of music, and no genre of medieval music had a more interesting birth than the motet. Study of the motet in modern times found special impetus and direction in 1898 when Wilhelm Meyer announced his discovery of the origin of the motet in the discant clausulae of the Notre Dame organa. Demonstrating the musical identity of certain Latin motets and discant clausulae, he concluded that the motet arose through the addition of Latin texts to the melismatic upper voices of the two-voice clausulae and was thereby able to explain for the first time the previously baffling and unprecedented verse structures of many motet texts. In doing so, he at the same time made it clear that he understood the French motet to be of later origin than the Latin and brushed aside special questions concerning the French type, such as, for example, its most provocative feature: its characteristic use of refrains. How was one to understand the presence of refrains in a French motet supposedly derived from a sacred, liturgical model? This and other difficult questions refused to disappear, and they continued to be raised from time to time, but Meyer's explanation of the origin of the motet gained general acceptance, most decisively and influentially from Friedrich Ludwig. All of Ludwig's writings on the motet bespeak his endorsement of Meyer's position, but nowhere more explicitly than in the Repertorium:These compositions [discant clausulae] were still more important by virtue of the fact that they served in rather large numbers as musical sources of motets, at first for Latin motets and later, although in more limited numbers, also for French motets - a fact, first recognized for the Latin motets by Wilhelm Meyer in 1898 (Der Ursprung des Motetts), claiming central importance for the history of music about 1200.

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Bradley, Catherine A. "Choosing a Thirteenth-Century Motet Tenor: From the Magnus liber organi to Adam de la Halle." Journal of the American Musicological Society 72, no. 2 (2019): 431–92. http://dx.doi.org/10.1525/jams.2019.72.2.431.

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This article explores trends and motivations in the selection of plainchant and vernacular song quotations as the foundations of thirteenth-century motets. I argue that particular tenor melodies that received only cursory treatment in the liturgical polyphony of the Magnus liber organi were adopted in motets on account of their brevity and simplicity, characteristics that enabled their combination with upper-voice song forms and refrain quotations. Demonstrating a preference for short and simple tenors within the earliest layers of the motet repertoire, I trace the polyphonic heritage of the tenor omnes, whose simple melody enabled its combination with another more obscure plainchant quotation, aptatur, in a unique double tenor motet. I propose that motet creators—while sensitive to the semantic connotations of tenor texts—exploited the musical ability of tenor quotations to be combined with or stand in for other musical quotations. Newly identifying a plainchant tenor source in a motet by Adam de la Halle, I show that Adam's polyphonic motet quotations of his own three-voice polyphonic rondeaux were achieved by the careful selection of motet tenors to replicate the freely conceived lowest voices of these preexisting rondeaux. The article further reveals profound modal and melodic similarities between the quotations chosen as thirteenth-century motet tenors and the newly composed lowest voices of polyphonic rondeaux and English pes motets. It offers new perspectives on the relationship between the “elite” genre of the motet and types of polyphony that are less well attested in written sources, often considered to inhabit a more “popular” realm of musical practice.

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BROWN, THOMAS. "Another Mirror of Lovers? - Order, structure and allusion in Machaut's motets." Plainsong and Medieval Music 10, no. 2 (October 2001): 121–33. http://dx.doi.org/10.1017/s0961137101000092.

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Machaut's first twenty motets appear, identically ordered, in a group of manuscripts copied under the composer's supervision. This order highlights connections between individual motets. Proportional relationships between six motets, and an allusion to the mid-point of Le Roman de la rose in the tenth motet, suggest that Machaut intended the motet group to be self-contained and sub-divided into two groups of ten.

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Piéjus, Anne. "THE ROMAN MOTET (1550–1600): A COLLECTIVE ISSUE? NEW ATTRIBUTIONS AND REFLECTIONS ON AUTHORSHIP IN THE LIGHT OF A NEW DOCUMENT." Early Music History 40 (October 2021): 253–93. http://dx.doi.org/10.1017/s0261127921000036.

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In 1984 Noel O’Regan demonstrated that Roman manuscripts containing Lasso’s motets were reworkings of motets found in published editions. This article reopens an investigation of the Roman manuscript motet books in the light of an autograph booklet by the Oratorian priest and censor of music Giovanni Giovenale Ancina (1599). This document contains two lists of motets, comprising a wide selection that reflects a search for variety in the number of voices (with a preponderance of eight-voice motets), age and style of the motet. It shows a large number of concordances with several manuscript anthologies related to the Oratorian circles. Ancina’s bookletallows us to propose new attributions for motets by Zoilo and Prospero Santini, better known as a chapel master. Finally, a comparison with existing sets of music books qualifies the multiple authorship of the motet in the Roman erudite milieu of that time.

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Crook, David. "The Exegetical Motet." Journal of the American Musicological Society 68, no. 2 (2015): 255–316. http://dx.doi.org/10.1525/jams.2015.68.2.255.

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What made a motet appropriate for performance on a particular occasion in the sixteenth century? Previous studies have demonstrated that motets performed on a given day generally drew their texts from the liturgy of that day. Yet many of the eighty-five motets assigned to the Sundays and major feasts of the year in Johannes Rühling's Tabulaturbuch (1583) do not. What mattered to this Lutheran organist was not a motet text's previous liturgical association but its ability to gloss—sometimes in surprising ways—the Gospel or Epistle lesson of the day. His approach has strong parallels in a tradition of Lutheran preaching grounded in exegesis of the assigned lessons. The same exegetical approach figures, moreover, in Catholic use of the motet, exemplified both in musical sources, such as Andreas Pevernage's Cantiones sacrae (1578 and 1602), and in performances recorded in the diaries of the Sistine Chapel.

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Melamed, Daniel R. "The Authorship of the Motet "Ich lasse dich nicht" (BWV Anh. 159)." Journal of the American Musicological Society 41, no. 3 (1988): 491–526. http://dx.doi.org/10.2307/831462.

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The eight-voice motet Ich lasse dich nicht (BWV Anh. 159) has been attributed both to J. S. Bach and to his father's cousin Johann Christoph Bach (1642-1703). A new look at the sources and transmission of the motet makes clear that the attribution to the older Bach was a nineteenth-century speculation that must be rejected. With the question of the motet's authorship reopened, the evidence shows that Ich lasse dich nicht is indeed by J. S. Bach. The oldest source, partly in Bach's hand, may be securely dated to the Weimar period, making the motet one of Bach's earliest extant vocal works. This dating challenges the widely-held assumption that Bach wrote all his motets in Leipzig, and forces a reevaluation of the dating of his other motets.

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LEACH, ELIZABETH EVA. "Adapting the motet(s)? The case of Hé bergier in Oxford MS Douce 308." Plainsong and Medieval Music 28, no. 02 (October 2019): 133–47. http://dx.doi.org/10.1017/s0961137119000032.

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AbstractThe present article seeks to further recent discussion of the diversity of the motet in the long thirteenth century by considering a specific, rather unusual example of motet-related materials in a songbook. It examines a two-stanza pastourelle in the songbook that forms part of Oxford, Bodleian Library, MS Douce 308, and its connection to a network of related materials in various thirteenth-century motet sources. In so doing, it proposes the ostensibly unlikely scenario that this monophonic song derives from two separate motets that may already have been linked through their shared tenor and possibly also performed together in some way. This article brings the important conclusions of Fred Büttner in regard to these materials to Anglophone scholarship, while nuancing his reasoning in light of more recent scholarly work on thirteenth-century motets copied in songbooks.

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SHAFFER, MELANIE. "Finding Fortune in Motet 13: insights on ordering and borrowing in Machaut's motets." Plainsong and Medieval Music 26, no. 2 (October 2017): 115–39. http://dx.doi.org/10.1017/s0961137117000055.

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ABSTRACTOn first glance, Machaut's Tans doucement/Eins que ma dame/Ruina (M13) is a typical motet with few musical or textual anomalies. Perhaps this is why, with the exception of a brief article by Alice V. Clark, little extensive, individual study of M13 has been conducted. This article examines the musico-poetic cues for Fortune found in M13’s many forms of reversal, duality and upset order. The discovery of a new acrostic which references the Roman de Fauvel, whose interpolated motet Super cathedram/Presidentes in thronis/Ruina (F4) is the source of M13’s tenor, further supports a Fortune-based reading of this motet. M13 may therefore be included among the Fortune-prominent motets proposed by Anna Zayaruznaya and Jacques Boogaart (M12, M14 and M15). Understanding that Machaut intentionally ordered his motets, M13 fills a sequential gap, suggesting that M12–15 may serve as a meaningfully ordered group of Fortune-based motets. The acrostic's Fauvel reference also provides additional connections between M13 and F4, offering insight into ways Machaut may have responded to and cleverly cited his sources.

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Anderson, Michael Alan. "FIRE, FOLIAGE AND FURY: VESTIGES OF MIDSUMMER RITUAL IN MOTETS FOR JOHN THE BAPTIST." Early Music History 30 (September 8, 2011): 1–53. http://dx.doi.org/10.1017/s0261127911000027.

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The thirteenth-century motet repertory has been understood on a wide spectrum, with recent scholarship amplifying the relationship between the liturgical tenors and the commentary in the upper voices. This study examines a family of motets based on the tenors IOHANNE and MULIERUM from the feast of the Nativity of John the Baptist (24 June). Several texts within this motet family make references to well-known traditions associated with the pagan festival of Midsummer, the celebration of the summer solstice. Allusions to popular solstitial practices including the lighting of bonfires and the public criticism of authority, in addition to the cultural awareness of the sun's power on this day, conspicuously surface in these motets, particularly when viewed through the lens of the tenor. The study suggests the further obfuscation of sacred and secular poles in the motet through attentiveness to images of popular, pre-Christian rituals that survive in these polyphonic works.

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Дисертації з теми "Motet"

Hatter, Jane Daphne. "Marian motets in Petrucci's Venetian motet anthologies." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112398.

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Анотація:

Although there is a marked increase in the number of surviving motets from the early sixteenth century, the context in which they were performed remains a mystery. The first five printed anthologies of motets, published by Petrucci in Venice between 1502 and 1508, include a significant proportion of Marian motets (95 of the 174 pieces). In the first chapter I provide evidence that these polyphonic Marian motets were used in the Venetian confraternities, or "scuole." The second chapter draws connections between the musical needs of the scuole and the Marian text types of the motet anthologies. The final chapter looks at settings of the most common devotional prayer of the early sixteenth century, the Ave Maria. This thesis thus proposes a new context---the Venetian scuole---for the consumption of printed motet books and the performance of motets, with a special emphasis on their role in lay Marian devotions.

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Montefu, Jennette Lauren, and res cand@acu edu au. "The Latin Texted Motets of Guillaume de Machaut." Australian Catholic University. School of Arts and Sciences, 2003. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp37.29082005.

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Guillaume de Machaut’s motets constitute a cycle. This study focuses upon Machaut’s six Latin texted motets and their influence upon these cyclical contexts. Former research into these motets has uncovered references to contemporary poetry, liturgical texts, literary sources, particular persons, and historical events. Through an examination of recent research into the cyclical nature of the motets it is possible to critically evaluate these hypotheses in the light of the past historical, codicological, liturgical, musical and poetic analysis of these works to create a rounded picture of each motet. In this way it was found that many of the previously researched aspects of the motets follow in line with recent theories surrounding motet grouping structures. In this way when placing these works within a mystical theological literary context their sacred nature, evident within the tenor chant fragments upon which many of them are built, becomes evident and a greater plan apparent. Beyond this, with an examination of Machaut’s life and the events which occurred in his lifetime the context for composition of the remaining motets is unearthed. Within these motets elements have now been identified which link them to Machaut’s canonries at both Saint Quentin and Reims as well as the events of the Hundred Years’ War. In this way the deep connection between Machaut’s motets and all levels of his life is becoming increasingly apparent. Through an examination of these six Latin texted motets it is found that a liturgical context is key to the analysis of all voices. This is apparent in the mere use of vocabulary idiomatic to the liturgy present within these texts. In this way the selection of words within motet 21 points to a Marian allusion and the apocalyptic, drawing motet 21 even closer in context to motets 22-23. This apocalyptic reference is also seen in specific words within in triplum text of motet 22. Furthermore, the Marian allusions discovered throughout these last three motets in their upper voices are apparent only with a close examination of the Salve Regina texts. In this way the influence and importance of liturgical context to the analysis of the motet has been extended to all voices. This study has also uncovered allusions to other fourteenth century works in the analysis of Machaut’s motets. In the case of motet 9 a connection between its chant tenor and another from the Roman de Fauvel reveals a political context which brings an added richness to the interpretation of these texts. Furthermore, as with motets 18-19, it may be gleaned that as Machaut and Vitry were both canons at Saint Quentin that perhaps it was here and with these two motets that Machaut began his tutelage with the older master of the motet. These conclusions may be drawn by the striking similarities between Machaut’s works and those believed to have originated from within the Vitry circle. In the course of this study there have been additions to evidence the necessity of looking to all aspects of Guillaume de Machaut’s motets in their analysis. This includes use of numerical symbolism in varying aspects as shown in motet 9 as well as a thorough exploration of Machaut’s use of vocabulary within his texts to find its literary, historical, motet, and liturgical allusions. The identification of these sources may either serve to reinforce or expand the context of the motet leading to a deeper understanding of its purpose within a group of motets or individually.

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Bonfield, Stephan. "Mode, text and syntax in selected motets of Cristóbal de Morales." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0007/MQ34878.pdf.

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Rusak, Helen Kathryn. "Rhetoric and the motet passion." Title page, table of contents and introduction only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armr949.pdf.

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Ycard, Sébastien. "L'invention musicale dans le motet du XIIIème siècle." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040273.

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Dès lors que l’on s’intéresse au XIIIe siècle, le motet est l’exemple musical le plus fréquemment employé pour illustrer la rationalisation de la pensée médiévale. De ce fait, celui-ci s’inscrit difficilement dans le cadre normé d’une continuité polyphonique.Pourtant, le motet est un passage, nécessaire et transitoire, entre l’organum et la polyphonie contrapuntique du XIVe siècle. La musique qui en découle exacerbe la technique du déchant tout en conservant l’originalité mélodique de chaque voix.C’est la difficulté propre à tout lieu médian : conserver, reproduire, modifier, transmettre puis figer sur une feuille de parchemin. Dans le cas du motet, le principal questionnement porte sur la possibilité de réaliser une oeuvre polyphonique entièrement mesurée dans laquelle subsiste une, voire plusieurs, trames mélodiques prolongeant le style formulaire des organa. L’analyse musicale permet-elle d’identifier les différents gestes compositionnels du motet ? En d’autres termes, peut-on se faire une idée précise du motet au XIIIe siècle à partir des seules traces écrites les concernant et construire un modèle analytique cohérent de type émique ?L’ambition de cette étude est d’identifier les éléments normatifs du motet au XIIIe siècle et de déterminer, en filigrane, les gestes d’inventivité de chacune des dix pièces analysées. C’est par la mise en place d’une norme, incessamment renouvelée par l’invention musicale, au sens médiéval du terme, qu’il est possible de reconstituer le motet au sein même de son environnement socioculturel
Since we are interested in the 13th-century, the motet is the musical example most frequently called to illustrate the rationalization of the medieval thought. Therefore, this one joins with difficulty in the standardized frame of a polyphonic continuity.Nevertheless, the motet is a passage, necessary and passing, between the organum and the contrapuntal polyphony of the 14th-century. The music which ensues from it aggravates the technique of the discant while keeping the melodic originality of every voice.It’s the difficulty appropriate for any median place: preserve, reproduce, modify, to pass on then the congeal on a leaf of parchment. In the case of the motet, the main questioning concerns the possibility of realizing one polyphonic completely measured work in which remains one, even some, melodic wefts extending the “style formulaire” of organa. Does the musical analysis allow to identify the various compositional gestures of the motet? In other words, we can be made a precise idea of the motet at the 13th-century from the only written sources concerning them and to build a coherent emic analytical model?The ambition of this study is to identify the normative elements of the motet in the 13th-century and to determine, between the lines, the gestures of inventiveness of each of ten analyzed parts. It’s by the implementation of a standard, presently renewed by the musical invention, in the medieval sense, that it’s possible to reconstitute the motet within its sociocultural environment

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Borgerding, Todd Michael. "The motet and Spanish religiosity ca 1550-1610 /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37122214n.

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Brobeck, John Thomas. "The motet at the court of Francis I /." Ann Arbor (Mich.) : UMI, 2003. http://catalogue.bnf.fr/ark:/12148/cb392686076.

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Banks, Jon. "The motet as a formal type in Northern Italy ca 1500 /." New York ; London : Garland, 1993. http://catalogue.bnf.fr/ark:/12148/cb36961785c.

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Chiu, Remi. "Motet settings of the Song of Songs ca. 1500-1520." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99361.

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Анотація:

This thesis investigates early sixteenth-century motet settings of texts taken from the Song of Songs. By way of contextualization, I will explore the Christian history of Song of Songs exegesis from the third century to the twelfth. I will also consider generic properties of the renaissance motet---contemporary definitions of the genre, performance context, types of texts used, and repertory dissemination---and make a case that both the Song of Songs and the motet occupy a sort of "intermediate" position between the secular and the sacred world, participating in both the earthly and the spiritual.
Several motets---Tota pulchra es by Ludwig Senfl, Tota pulchra es by Nicolaus Craen, Nigra sum sed formosa by Johannis Lheritier, and the anonymous Vulnerasti cor meum from Petrucci's Motetti de la Corona I print---will be analyzed through the lens of the historical Christian exegesis and generic considerations of the motet. I interpret diverse musical parameters---among them, texture, quotation of pre-existent material, motivic structuring, cadential manipulation, mode and modal commixture---as some of the ways in which the composers responded to their Song of Songs texts.

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Banks, J. R. M. "The motet as a formal type in northern Italy, ca.1500." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315071.

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Книги з теми "Motet"

Maillard, Keith. Motet: A novel. Toronto: HarperPerennial, 1997.

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J.S. Bach and the German motet. Cambridge: Cambridge University Press, 1995.

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Melamed, Daniel R. J.S. Bach and the German motet. Cambridge: Cambridge University Press, 1995.

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Tischler, Hans. The style and evolution of The earliest motets (to circa 1270). Henryville, [Pa.]: Institute of Mediæval Music, 1985.

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Tischler, Hans. The style and evolution of the earliest motets (to circa 1270). Henryville: Institute of Mediaeval Music, 1985.

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Tischler, Hans. The style and evolution of The earliest motets (to circa 1270). Henryville, (Pa.): Institute of Mediaeval Music, 1985.

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Abert, Anna Amalie. Die stilistischen Voraussetzungen der "Cantiones sacrae" von Heinrich Schütz. Kassel: Bärenreiter, 1986.

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Cardiff, Janet. Forty-part motet: A sound installation. Cleveland, Ohio: Cleveland Museum of Art, 2013.

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Bushati, Hamdi. Shkodra dhe motet: Traditë, ngjarje, njerëz--. Shkodër: [s.n.], 1998.

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Ritual meanings in the fifteenth-century motet. New York: Cambridge University Press, 2012.

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Частини книг з теми "Motet"

Pesce, Dolores. "Motet Refrains Shared with Other Motets." In The Malmariée in the Thirteenth-Century Motet, 87–113. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003335405-9.

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Ferreira, Manuel Pedro. "L'identité du motet parisien." In Revisiting the Music of Medieval France, VII_83—VII_91. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003420866-7.

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McCarthy, Kerry. "In search of the English motet." In Mapping the Motet in the Post-Tridentine Era, 193–205. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315463094-9.

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Pesce, Dolores. "Motet Refrains Shared with Other Genres." In The Malmariée in the Thirteenth-Century Motet, 63–86. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003335405-8.

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Rodríguez-García, Esperanza, and Daniele V. Filippi. "The motet in the post-Tridentine world." In Mapping the Motet in the Post-Tridentine Era, 1–15. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315463094-1.

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Cummings, Anthony M. "Isaac, the Mass Proper, and the Motet." In Epitome musical, 157–66. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.em-eb.4.9007.

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Bent, Margaret. "The Fourteenth-Century Italian Motet." In The Motet in the Late Middle Ages, 497–530. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190063771.003.0027.

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Abstract The retrospective anthologies of Italian trecento repertory are dominated by the madrigal, ballata and caccia. Due to its absence from these manuscripts, the Italian motet had not been recognised as a distinctive genre until this essay (originally given at a conference in 1984 and here heavily revised since its delayed 1992 publication) reinstated its tradition on the basis of often fragmentary sources. That tradition is traced here, starting with Marchetto’s motet Ave regina celorum/Mater innocencie. Twenty-nine motets are listed with their characteristics, culminating in the motets of Ciconia, mostly composed in Padua c. 1400–1411, and for which earlier motets provide precedents and context. Several of the texts embed names of dedicatees or composers. The many similarly formed compositions in the ensuing generation are not addressed here, except that a more recently discovered (later) motet O Antoni is included.

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Baltzer, Rebecca A. "The Polyphonic Progeny of an Et gaudebit: Assessing Family Relations in the Thirteenth-Century Motet." In Hearing The Motet, 17–27. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195097092.003.0003.

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Abstract hen seeking a useful way to begin at the beginning, so to speak, in our consideration of the motet in the Middle Ages and the Renaissance, I decided to choose a clausula-based motet complex that exemplified as many different types of thirteenth-century motets as possible. The motet complex whose various texts are numbered 315-21 in Ludwig and Gennrich’s cata logues, all built on a single Et gaudebit clausula from the Ascension Alleluia Non vos relinquam (M24), is perhaps the most widely traveled in the thirteenth century. The verse of the Alleluia, which comes from John 14:18, is a state ment made by Christ to his disciples: “Non vos relinquam orphanos, vado et venio ad vos et gaudebit cor vestrum” (I will not leave you orphans; I go away, and I come to you, and your heart shall rejoice).

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Bent, Margaret. "Mayshuet and the Deo gratias Motets in the Old Hall Manuscript." In The Motet in the Late Middle Ages, 445–61. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190063771.003.0025.

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Abstract The Old Hall manuscript ended with two Deo gratias motets; these evidently also ended a younger fragmentary royal choirbook partly copied from it (RC), which enables completion of one of the motets, Post missarum sollennia, whose text is closely related to an older French motet. The other motet, Are post libamina, is ascribed to ‘Mayshuet’, whose identity is investigated in the light of a statement within the text that it was composed by a distinguished Frenchman and adapted by him to Latin to accommodate English tastes. Identity of this composer with Matheus de Sancto Johanne is rejected, and other possible candidates are cautiously explored.

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Walker, Paul. "Fugue in the Renaissance Motet." In Fugue in the Sixteenth Century, 21–140. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190056193.003.0003.

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This chapter explores fugal writing in the genre that contemporary writers indicated was the “home” of fugue: the motet. Beginning with the establishment by Jean Mouton and others of the classic Renaissance motet—based on serious counterpoint within a point-of-imitation structure—in the first two decades of the century, the fugal motet received its most important features at the hands of Nicolas Gombert in the 1530s when he expanded the use of imitation beyond a single thematic statement in each voice to feature a texture based on multiple returning statements. This approach then formed the basis for motet writing by Thomas Crecquillon and Jacobus Clemens non Papa around mid-century and later by Francesco Guerrero and G. P. da Palestrina. By century’s end, composers had grown weary of fugue’s use in vocal music, such that it plays a lesser role in the motets of Lassus, but English composers contributed their own efforts in the 1580s and 1590s.

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Тези доповідей конференцій з теми "Motet"

Szymanska-Stulka, Katarzyna. "MODERN MOTET STYLE IN PAWEL LUKASZEWSKI�S MUSIC." In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.2/s07.040.

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Wen, Yao-Jung, Alice M. Agogino, and Kai Goebel. "Fuzzy Validation and Fusion for Wireless Sensor Networks." In ASME 2004 International Mechanical Engineering Congress and Exposition. ASMEDC, 2004. http://dx.doi.org/10.1115/imece2004-60964.

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Miniaturized, distributed, networked sensors — called motes — promise to be smaller, less expensive and more versatile than other sensing alternatives. While these motes may have less individual reliability, high accuracy for the overall system is still desirable. Sensor validation and fusion algorithms provide a mechanism to extract pertinent information from massively sensed data and identify incipient sensor failures. Fuzzy approaches have proven to be effective and robust in challenging sensor validation and fusion applications. The algorithm developed in this paper — called mote-FVF (fuzzy validation and fusion) — uses a fuzzy approach to define the correlation among sensor readings, assign a confidence value to each of them, and perform a fused weighted average. A sensor network implementing mote-FVF for monitoring the illuminance in a dimmable fluorescent lighting environment empirically demonstrates the timely response of the algorithm to sudden changes in normal operating conditions while correctly isolating faulty sensor readings.

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Galos, Richard, Xi Chen, and Yong Shi. "Ultra Low Power Energy Storage Circuit for Piezoelectric Nanogenerators." In ASME 2011 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/detc2011-48734.

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MEMS and NEMs devices benefit many applications due to their unique performance and tiny size. We have researched replacing components of a Wireless Sensor Network (WSN) mote with several such devices. In this paper, we present an energy conversion and storage circuit that can be used with piezoelectric nanogenerators for self powered motes. Energy from external vibration or environmental acoustics is capacitively stored and released at certain time intervals according to the application. Stored and lost power is compared against a detailed WSN mote power budget to size the generator and capacitor.

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Zhao, Yue. "Research on the Development of Motet and Its Decline after 1750 Taking Mozart's Ave Verum Corpus and Exsultate Jubilate as an Example." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.32.

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Qi, Lin, and Markus Schneider. "MONET." In the Third ACM SIGSPATIAL International Workshop. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2442968.2442975.

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Pissis, Solon P., Alexandros Stamatakis, and Pavlos Pavlidis. "MoTeX." In BCB'13: ACM-BCB2013. New York, NY, USA: ACM, 2013. http://dx.doi.org/10.1145/2506583.2506587.

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Challa, Rajesh, S. M. Raza, Sangyep Nam, and Hyunseung Choo. "SD-MONET." In IMCOM '16: The 10th International Conference on Ubiquitous Information Management and Communication. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2857546.2857652.

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Tang, Yongyi, Lin Ma, and Lianqiang Zhou. "Hallucinating Optical Flow Features for Video Classification." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/130.

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Appearance and motion are two key components to depict and characterize the video content. Currently, the two-stream models have achieved state-of-the-art performances on video classification. However, extracting motion information, specifically in the form of optical flow features, is extremely computationally expensive, especially for large-scale video classification. In this paper, we propose a motion hallucination network, namely MoNet, to imagine the optical flow features from the appearance features, with no reliance on the optical flow computation. Specifically, MoNet models the temporal relationships of the appearance features and exploits the contextual relationships of the optical flow features with concurrent connections. Extensive experimental results demonstrate that the proposed MoNet can effectively and efficiently hallucinate the optical flow features, which together with the appearance features consistently improve the video classification performances. Moreover, MoNet can help cutting down almost a half of computational and data-storage burdens for the two-stream video classification. Our code is available at: https://github.com/YongyiTang92/MoNet-Features

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Danaher, David, Sean McDonough, Drew Donaldson, and Reece Cochran. "Validation of MoTeC Data Acquisition System." In WCX SAE World Congress Experience. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2023. http://dx.doi.org/10.4271/2023-01-0630.

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<div class="section abstract"><div class="htmlview paragraph">Technology is ever advancing in the world around us, and it is no different when it comes to data acquisition systems used in accident reconstruction. In 2016, the SAE publication “Data Acquisition Using Smart Phone Applications,” Neale et al. evaluated the accuracy of basic fitness applications in tracking position within the smart phone itself [<span class="xref">1</span>]. In 2018, a follow up publication “Mid-Range Data Acquisition Units Using GPS and Accelerometers” tested the Harry’s Lap Timer<sup>TM</sup> application for use in smart phones and compared the data to the Race Logic VBOX [<span class="xref">2</span>]. In this paper, another data acquisition system, the MoTeC C185, was tested. The MoTeC C185 data logger contains an internal 3-axis accelerometer and was also equipped with an external Syvecs 50Hz GPS Module with 6-axis accelerometer. A test vehicle was instrumented with the MoTeC C185, Race Logic VBOX, and Harry’s Lap Timer<sup>TM</sup>. Data collected by the MoTeC C185 was then compared to data collected by the other acquisition systems to validate the capabilities of the MoTeC C185. The purpose of this paper is to validate the MoTeC data acquisition system to provide an alternative for use in the field of accident reconstruction.</div></div>

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Kling, Ralph, Robert Adler, Jonathan Huang, Vincent Hummel, and Lama Nachman. "Intel Mote." In the 2nd international conference. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1031495.1031561.

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Звіти організацій з теми "Motet"

Amalberti, René, Laurent Magne, and Gilles Motet. Débats lors du forum IFIS 2008. Fondation pour une culture de sécurité industrielle, May 2009. http://dx.doi.org/10.57071/420ynp.

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Ce document retranscrit les grandes lignes de trois des interventions suivies de tables rondes organisées lors de la première édition du International Forum on Industrial Safety, qui s’est tenu à Toulouse en 2008: (1) «Quel équilibre entre sécurité contrainte et sécurité gérée?», animée par René Amalberti; (2) «Introduction à l’incertitude», animée par Laurent Magne; (3) «Introduction aux notions de risque au travers d’un conte de fées», animée par Gilles Motet.

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Enoch, Elizabeth. Monet. Ames: Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-970.

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Yoon, Hye-in, and Kyoung-Hee Cho. Monet of the orient. Ames: Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-1091.

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de Gelder, Arie, Rick van der Burg, and Ben Hartog. LED in rozen het moet beter! Bleiswijk: Wageningen University & Research, BU Glastuinbouw, 2018. http://dx.doi.org/10.18174/460963.

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Zurek, Wojciech H., Jacek Dziarmaga, and Marek Tylutki. Quench from Mott Insulator to Superfluid. Office of Scientific and Technical Information (OSTI), June 2012. http://dx.doi.org/10.2172/1042999.

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Jackel, Janet. Enhancement of the Monet/Atonet Washington DC Network. Fort Belvoir, VA: Defense Technical Information Center, January 2003. http://dx.doi.org/10.21236/ada411868.

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Bao, W., C. Broholm, G. Aeppli, S. A. Carter, D. Dai, C. D. Frost, J. M. Honig, and P. Metcalf. Magnetic correlations in a classic Mott system. Office of Scientific and Technical Information (OSTI), July 1997. http://dx.doi.org/10.2172/672105.

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Dalton, Meghan M., and Erica Fleishman. Fifth Oregon climate assessment. Oregon Climate Change Research Institute, Oregon State University, 2021. http://dx.doi.org/10.5399/osu/1160.

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Consistent with its charge under Oregon House Bill 3543, the Oregon Climate Change Research Institute (OCCRI) conducts a biennial assessment of the state of climate change science, including biological, physical, and social science, as it relates to Oregon and the likely effects of climate change on Oregon. This fifth Oregon Climate Assessment builds on previous assessments (Dello and Mote 2010; Dalton et al. 2013, 2017; Mote et al. 2019) by continuing to evaluate past and projected future changes in Oregon’s climate and hydrology. This Assessment is structured with the goal of serving as a resource for the state’s mitigation planning for natural hazards and implementation of the 2021 Oregon Climate Change Adaptation Framework.

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Poirier, M. R. Evaluation of Mott Filter Performance: Solids Removal Efficiency. Office of Scientific and Technical Information (OSTI), September 2002. http://dx.doi.org/10.2172/801016.

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Montgomery, Eric, and Joseph Grames. CRADA Final Report CRADA 2021S007: Diamond Mott Polarimeter. Office of Scientific and Technical Information (OSTI), November 2021. http://dx.doi.org/10.2172/1831126.

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