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Most of the movements feature pairs of mensuration canons. The interval separating the two voices in each canon grows successively in each consecutive movement, beginning at the unison, proceeding to the second, then the third, and so forth, reaching the octave at the "Osanna" section in the Sanctus. The four voices each sing in a different ...
An example of a prolation canon. Play ⓘ Agnus Dei from Missa l'homme armé super voces musicales, by Josquin des Prez. In this example, the first 12 bars of the Agnus Dei II of the earlier of the two masses Josquin wrote based on the L'homme armé tune, each voice sings the same music, but at different speeds. The top voice is barred in 3/4 ...
In a mensuration canon, each voice sings the same notes, but the length of time each note is sung differs. The opening Kyrie of Josquin's mass contains consecutive mensuration canons based on each phrase of the L'homme armé tune, with the tenor leading each and the other voices entering in turn. [ 7 ]
Example of a canon in three voices at the unison sung with a text of a German poem, four beats apart. In music, a canon is a contrapuntal (counterpoint-based) compositional technique that employs a melody with one or more imitations of the melody played after a given duration (e.g., quarter rest, one measure, etc
Instead of being based on a fixed cantus firmus, each movement is a mensuration canon, with the interval of imitation expanding from the unison to the octave during the course of the mass (Leeman Perkins called this "the most extraordinary contrapuntal achievement of the 15th century", and compared it in scope and execution with the Goldberg ...
In mensural notation, prolation (also called prolatio) [1] describes the rhythmic structure of medieval and Renaissance music on a small scale. The term is derived from the Medieval Latin word prolatio (meaning "bearing" or "manner"), [2] first used by the medieval French composer Philippe de Vitry in describing Ars Nova, a musical style that arose in 14th-century France.
Imaginary 19th-century depiction of la Rue. Pierre de la Rue (c. 1452 – 20 November 1518) was a Franco-Flemish composer and singer of the Renaissance.His name also appears as Piersson or variants of Pierchon and his toponymic, when present, as various forms of de Platea, de Robore, or de Vico. [1]
Folio 12v of the Old Hall Manuscript contains the decorated opening to a Gloria by Roy Henry (probably King Henry V).. The Old Hall Manuscript (British Library, Add MS 57950) is the largest, most complete, and most significant source of English sacred music of the late 14th and early 15th centuries, and as such represents the best source for late Medieval English music.