Renaissance Counterpoint

Complete transcription and reconstruction of the canon a13 for Christ and his Twelve Disciples on the Apostles Creed. This piece is found in both the Eton Choirbook and the Baldwin Manuscript. This edition contained both the fully realized canon as well as a modern reconstruction of the original monophonic version of the canon, as found in the manuscripts.

For a recording with a score animation see the link below:
https://www.youtube.com/watch?v=TBu66rLAv7I

A transcription of Leonin's "Viderunt Omnes" (c. mid to late 12th century), showing excerpts of the original two sources with comparative variations and a modern transcription.

For a recording and score-video see the link below:
https://www.youtube.com/watch?v=_p9WQlyVPrA

A Prolation Canon for three voices by Johannes Ciconia (c. 1370 – 1412). this piece is a unique example of irregular prolation from the French Ars Subtilior. Utilizing a 4:3:1 proportion, this piece creates an interesting rhythmic phasing effect between the triplum and the cantus (top two voices) nearly 600  years before the 20th century composer Steve Reich popularized such musical textures. Check out the score in motion at https://www.youtube.com/watch?v=YrOEOuwYy3M

A critical and performance edition of Alexander Agricola's chanson "De tous biens plaine" for three voices. The cantus firmus of the tenor is extracted from Hayne Van Ghizeghem's (c. 1445 – 1476 to 1497) eponymous chanson.

The text of the first verse is underlaid in this edition, though only the first few words actually appear in the manuscript. The complete text as found in a number of Ghizeghem's sources with a complete translation is given at the end.

It seems unlikely that the outer voices should be sung, given their continual motion, frequent awkward leaps, and extreme ambitus.  However, the inner voice certainly could be sung.

A non-barred critical transcription of Alexander Agricola's motet-chanson "Belles sur toutes - Tota pulchra es" from Florence, Bibliotea del Conservatorio Luigi Cherubini,  MS 2439 ff. 63v-64r.

For a recording of the music with a score-video see link below:
https://www.youtube.com/watch?v=r2N_Ru9xjuA

Performance score of Francesco Landini's madrigal, " Musica Son - Già Furon - Ciascun Vuol" transcribed from the Squarcialupi Codex (121v-122r). For a video of the score with a performance see the link below.

https://www.youtube.com/watch?v=YNcfZSBF9ow

This is a threefold transcription of Baude Cordier's "circle canon," two versions in rondeau form and one in perpetual canon. Included with the music transcriptions are full translations from Medieval French to English of all the accompanying texts as well as an English text underlay for the music.

Also included is a full explanation of the various mensurations and colorations that appear in the piece.

The design of the scores attempts to illustrate the rondeau form overlaying the canonic conceit.

For a score animation with the transcription and original manuscript, see this link:
https://www.youtube.com/watch?v=iaeOWdXM4Pg

This is a comparative manuscript edition of Gherardello da Firenze's (c. 1350) caccia "Tosto che l'alba". Herein you can see the difference between the piece's three available sources listed below. For a performable realization of this piece taken from these three sources, see the related title under "performance edition".

Biblioteca Medicea-Laurenziana [I-Fl], MS Mediceo Palatino 87 “Codex Squarcialupi”, no. 40 fol 25v-26r
Bibliothèque Nationale [F-PN], MS fonds italien 568 “Pit”, no. 40 fol. 25v-26r
British Library [GB-Lbl], Add. MS 29987, no 31 fol. 25r

For a recording and video of the score see
https://www.youtube.com/watch?v=ok4VOFvLE2Y

A pedagogical transcription of Richard Sampson's (attr.) motet in double canon, "Salve radix," written to celebrate the union of Henry VIII to Catherine of Aragon and the birth of their daughter, Mary.

For a video with recording accompanying the modern transcription with side-by-side animated original notated music see the link below:
https://www.youtube.com/watch?v=R9wl1XqV6Nk

This is a performance edition of Gherardello da Firenze's (c. 1350) caccia, "Tosto che l'alba." This edition is a combination of the three available sources for this piece, selecting those options which are optimal when differences arise between the manuscripts. If one desires to see the other available options in each source, please refer to the related title under "comparative manuscript edition". The complete text of the piece is provided with a translation at the end of the score.

For a recording and video of the score see
https://www.youtube.com/watch?v=ok4VOFvLE2Y

For an audio-video animation of the manuscript with the modern transcription see the link below:
https://www.youtube.com/watch?v=dO56v7qltNo

An edition of the anonymous labyrinthine ballade on three canons, "En la maison Dedalus" (In the House of Dedalus) from the Berkeley Manuscript.

This edition includes a modern transcription of the music, the original manuscript excerpted, poetic and literal translations of the text, reconstruction of the 11-tier labyrinth upon which the music is overlain, and pedagogical materials/explanations of the musical and poetic medieval Ballade forme-fixe.

This study situates theories of movable counterpoint by the Russian composer and theorist Sergei Ivanovich Taneyev (1856–1915) against current scholarship on Renaissance music. Analytical approaches that draw upon Taneyev’s theories can lead to rich insights into the inner workings of Renaissance counterpoint, most especially processes that have hitherto escaped attention. Through reference to specific repertoire examples discussed in recent scholarship, the present study demonstrates how Taneyev’s methodology and terminology can provide a basis for systematic identification of key procedures prevalent in Renaissance music. This study also considers how knowledge of Taneyev’s work can inform an approach that points to new possibilities for analyzing contrapuntal processes that operate across fifteenth- and sixteenth-century music.

A transcription of a lesser known masterpiece from the early 16th century. The only known work by composer Johannes Mittner, this Mass, and particularly its Sanctus movement, demonstrates one of the largest mensuration canons from the Renaissance - five voices from one.

For a audio-visual animation with recording see the link here:
https://www.youtube.com/watch?v=FCe7WGoJVLI

Johannes Mittner: Missa Hercules Dux Ferrarae, Sanctus
Sanctus a4,
Pleni sunt coeli a2,
Osanna I a5 mensuration canon,
Benedictus a4
Osanna II a3

A critical transcription of the three-voice Caça (“chace” or canon) known as “O Virgo Splendens” (“O splendorous virgin”), the first in the small collection of music from the Llibre Vermell. It is perhaps the oddest of the set, being the most stylistically remote. It is the only piece not notated or composed in the contemporary style of the Ars Nova. Rather, its notation and style harken to previous centuries, possibly as recent as the discant style of the Parisian school of Notre Dame or of Santiago de Compostela from the 12th and 13th century, or as old as the free organum style of the 10th and 11th centuries such as that found in the Ad organum faciendum. Given its apparent lack of rhythmic mode of any kind, its relation to the 10th and 11th centuries seem more likely.

For a video of the score with a recorded performance visit
https://www.youtube.com/watch?v=5BkzBK5-oDw

A non-barred critical transcription of Alexander Agricola's contrafacta motet, "Virgo sub ethereis" (Source: Berlin, Deutsche Staatsbibliothek, MS 40021 ff. 131v-132r) as derived from his "Comme femme desconfortée".

For a video of the score with a performance recording see the link below:
https://www.youtube.com/watch?v=5_nnTzNXeUY

Edition of Lorenzo da Firenze's caccia, "A poste messe" with english lyrical text underlay. For a video-score of this edition with a recording see the link below:

https://www.youtube.com/watch?v=UN1dFq0jK-U

Transcribed from the Biblioteca Medicea-Laurenziana [I-Fl], MS Mediceo Palatino 87, “Codex Squarcialupi”, fol 25v-26r and the
Biblioteca Nazionale Centrale, Florence (Firenze), Italy [I-Fn], MS Panciatichiano 26, "Panciatichi", fol. 76v-77r.

The form of this piece is canonic with monophonic (?) ritornello. As indicated in the codices, the first part of the piece is clearly a canon for ether two or three voices. The second part, however, gives no sign that it should be performed canonically. Furthermore, there seems to be no reasonable way to render the second half of this piece as a canon without numerous and egregious counterpoint errors. Thus, it is generally accepted that the Ritornello is not a canon like the first part.

The second part can be performed monophonically or by many voices in octaves. However, many recordings have taken the liberty to arrange polyphonic parts to fit with the given monophonic line. Most such arrangements borrow material from the monophonic line, parts of which work contrapuntally well together when isolated and extracted arbitrarily.

[Complete Dissertation]
Abstract
Interval-succession treatises convey idiomatic polyphony by explaining what vertical intervals between two voices could follow one another in improvisation and counterpoint, as connected by specified melodic motions. They were the primary means of the transmission of contrapuntal teaching in treatises for centuries. This dissertation is the first to take a comprehensive, computer-assisted approach to the study of these treatises’ numerous examples. I focus on the interval-succession lists in book I of Johannes Tinctoris’s Liber de arte contrapuncti (1477), and in book II of Pietro Pontio’s Ragionamento di musica (1588). By comparing Tinctoris’s list of 768 interval successions to the theoretical list of all the successions that follow his five explicitly-stated voice-leading principles, I refute the commonly-held misconception that Tinctoris’s list is exhaustive. In my examination of the 167 interval successions that respect all of Tinctoris’s explicit constraints, yet that he omits from his list, I uncover nine tacit voice-leading principles that all of Tinctoris’s successions respect despite the fact that he does not explicitly state them.
This study is also the first in-depth examination of the contrapuntal teaching found in Pontio’s list of 123 interval successions. I draw attention to the multitude of contextual enrichments that he brings to the theoretical genre, the most significant of which is the inclusion of dissonance directly into interval-succession theory. I expose the tacit theoretical assumptions and analytical methods that are apparent in his interval-succession examples when considered together as a coherent whole. Well-known for the numerous repertoire references that Pontio makes to his own and other composers’ works, I show that his approach to interval-succession theory is more akin to teaching through the use of commonplaces than through the memorization of tables of numerous examples. My examination of Tinctoris and Pontio’s interval-succession treatises culminates in a comparison of their theoretical and pedagogic approaches. An appendix provides a transcription of all the examples from book II of Pontio’s treatise.
I draw on these newly-uncovered facets of Tinctoris and Pontio’s intervallic thinking and some important concepts from Nicola Vicentino and Joachim Burmeister’s treatises to problematize the discernment of structural tones in a contrapuntal passage. These authors highlight important points to consider, but do not offer a viable approach to counterpoint reduction. I develop Ruth DeFord’s (2015) theoretical discussions of her terms “compositional tactus” and “contrapuntal rhythm” into a historically-informed method of determining the structural tones of Renaissance counterpoint. An automated implementation of this approach, which I call the dynamic-offset method, can be used to reduce a contrapuntal passage, or to more generally characterize its rhythmic profile. It is made freely available online as part of the VIS Framework (Vertical Interval Successions) for music analysis of scores in symbolic notation. This music-analysis framework is a tool open to music researchers looking to make empirical observations about a piece or corpus of music. By taking my research on Renaissance interval-succession treatises into account in the computational tools I have created, my research findings and new analysis methods are made available to other researchers both in written form in my dissertation, and as computational tools in the VIS Framework.

Résumé
Les traités de suites d’intervalles enseignent les idiomes de la polyphonie en expliquant les intervalles pouvant s’enchaîner dans l’improvisation et dans la composition, telles que connectées par des mouvements mélodiques précis. Ces traités ont été, pendant des siècles, le principal moyen de transmettre l’art du contrepoint. Cette thèse est la première à adopter une approche systématique et assistée par l’ordinateur pour l’analyse des nombreux exemples de ces traités. Mon étude porte spécifiquement sur les listes de suites d’intervalles incluses dans le premier livre du Liber de arte contrapuncti (1477) de Johannes Tinctoris, et dans le deuxième livre de Ragionamento di musica (1588) de Pietro Pontio. En comparant la liste des 768 suites d’intervalles de Tinctoris à la liste théorique de toutes les suites qui respectent ses cinq principes de maniement de voix explicitement développés dans son traité, je réfute l’idée fausse mais courante que son inventaire est exhaustif. Dans mon analyse des 167 enchaînements d’intervalles qui se conforment à toutes les contraintes explicites de Tinctoris mais qu’il a omis de sa liste, j’ai découvert dix principes tacites de maniement des voix que toutes ses suites d’intervalles respectent, bien qu’il ne les mentionne pas explicitement.
Cette étude constitue le premier examen en profondeur de l’enseignement pédagogique fait à partir de la liste des 123 suites d’intervalles identifiées par Pontio. Je souligne la multitude d’enrichissements contextuels qu’il apporte au genre théorique, le plus important étant l’inclusion de la dissonance directement dans sa théorie des suites d’intervalles. J’expose les suppositions tacites de son approche et de ses méthodes d’analyse qui sont apparentes dans ses exemples de suites intervalliques lorsque considérées comme un tout cohérent. Bien connu pour les nombreuses références à ses propres œuvres et à celles d’autres compositeurs, je montre que l’approche de Pontio concernant la théorie des suites d’intervalles est plus semblable à l’enseignement avec des lieux communs qu’à celui fondé dans la mémorisation de tables de nombreux exemples. Mon examen des traités de suites d’intervalles de Tinctoris et Pontio aboutit ainsi à une comparaison de leurs approches théoriques et pédagogiques. Une annexe fournit une transcription de tous les exemples du deuxième livre du traité de Pontio.
Je puise dans ces facettes nouvellement découvertes de la pensée intervallique de Tinctoris et Pontio et dans les traités de Nicola Vicentino et Joachim Burmeister afin de problématiser le discernement des notes structurales dans un passage de contrepoint. Ces auteurs soulignent beaucoup d’éléments importants à considérer, sans toutefois offrir une approche viable pour la réduction contrapuntique. Je développe la discussion théorique de Ruth DeFord (2015) à propos de ses termes « tactus de composition » et « rythme contrapuntique » en utilisant une méthode historiquement informée qui détermine les notes structurales dans le contrepoint de la Renaissance. Une mise en œuvre automatisée de cette approche, que j’appelle le « dynamic-offset method », peut être employée pour réduire un passage contrapuntique, ou pour caractériser son profil rythmique de façon plus générale. Cet outil est librement disponible en tant que partie du VIS Framework pour l’analyse musicale d’œuvres en notation symbolique. Ce logiciel d’analyse est mis à la disposition des chercheurs en musique qui souhaitent faire des observations empiriques à propos d’un morceau ou d’un corpus. En prenant en compte ma recherche sur les traités de suites d’intervalles de la Renaissance dans la création de ces outils d’analyse, mes conclusions et nouvelles méthodes d’analyses sont disponibles aux autres chercheurs dans cette thèse, et aussi comme outils numériques dans le VIS Framework.

This study applies Kofi Agawu's proposed method for analyzing texted music (1992), in which the music and the text are analyzed separately before they are considered together, to an early madrigal by Willaert. Focusing primarily on counterpoint, I offer a detailed study of Willaert's complex compositional technique. I show that he responded to the poem in many ways, but at the same time he made many purely musical decisions. Finally, I consider what his motivations for these decisions might have been and enumerate musical means he used to respond to the different aspects of his text.

In this essay I will examine the role of extempore counterpoint in the teaching system of Spanish ‘capillas musicales’ during the Renaissance. First, through analysis of the chapter acts of some representative Spanish cathedrals, I will establish the place of counterpoint in the curriculum of young singers; second, I will try to define the characteristics of extempore counterpoint in the Spanish musical tradition, as well as its importance as a daily practice in standard chapels; and finally, I will attempt to reconstruct how young singers were supposed to become skilled in the practice of ‘contrapunto’.

j oe optional opening plainsong chant solo oe oe oe oe oe oe oe oe oe oe oe oe oe oe O -sa -crum con -vi -vi -um! V # 2 oe oe oe oe oe # oe oe # oe oe oe oe oe oe oe # oe oe oe oe in quo Christ -us su -mi tur : J oe oe oe oe oe oe oe oe oe oe # oe oe oe oe # oe J oe # J oe re -co -li -tur mem -o -ri -a V # 4 J oe oe oe oe oe oe oe J oe oe oe oe J oe oe

A performance and critical edition of Agricola's two voiced polyphonic setting of "Gaudeamus omnes", Introit for the Feast of the Assumption. For two different recordings and video-scores of the piece see the links below:

https://www.youtube.com/watch?v=FZnRmQ-B2Zc
https://www.youtube.com/watch?v=LxK8zd2hLEM

Only the incipit "Gaudeamus omnes in domino" appears with Agricola's music. The Introit text set to the chant cantus firmus used in this transcription is the text for the Introit for the Feast of the Assumption (also Gaudeamus omnes in domino).

Furthermore, Agricola only set down as semibreves each of the first 38 notes of the "Gaudeamus omnes in domino" chant. This transcription, following the example of Edward Learner's edition, reconstructs the remaining tenor notes. This edition differs from Learner's in that it uses the Introit chant for Assumption from Cambrai, Bibliotheque Municipale [F-CA], MS B-12, fol. 49r-v (c. 1500), rather than a British version from the Sarum rite.

______________________________

Gaudeamus omnes in domino,
diem festum celebrantes sub honore Mariae Virginis:
de cujus assumptione gaudent angeli,
et collaudant filium dei.

Let us all rejoice in the Lord
celebrating this day the feast in honor of the Virgin Mary,
in whose solemnity the angels rejoice,
and praising the Son of God.

A study and critical edition of Agricola's two voiced polyphonic setting of "Gaudeamus omnes", Introit for the Feast of the Assumption. This is intended for teaching various 14th and 15th century mensuration signs and their modern translations and persisting problems.

For two recordings and video-scores of the piece see the link below:

https://www.youtube.com/watch?v=FZnRmQ-B2Zc
https://www.youtube.com/watch?v=LxK8zd2hLEM

Only the incipit "Gaudeamus omnes in domino" appears with Agricola's music. The Introit text set to the chant cantus firmus used in this transcription is the text for the Introit for the Feast of the Assumption (also Gaudeamus omnes in domino).

Furthermore, Agricola only set down as semibreves each of the first 38 notes of the "Gaudeamus omnes in domino" chant. This transcription, following the example of Edward Learner's edition, reconstructs the remaining tenor notes. This edition differs from Learner's in that it uses the Introit chant for Assumption from Cambrai, Bibliotheque Municipale [F-CA], MS B-12, fol. 49r-v (c. 1500), rather than a British version from the Sarum rite.

______________________________

Gaudeamus omnes in domino,
diem festum celebrantes sub honore Mariae Virginis:
de cujus assumptione gaudent angeli,
et collaudant filium dei.

Let us all rejoice in the Lord
celebrating this day the feast in honor of the Virgin Mary,
in whose solemnity the angels rejoice,
and praising the Son of God.

Despite the frequently critiqued prolixity in much of his oeuvre, Alexander Agricola (1445/46-1506) crafted music comprehensible enough to elicit great praise from numerous contemporaries. What is then inherently praiseworthy in this abstruse music? In his Salve Regina I, Agricola crafts a musical argument for his garrulity, the thesis of which aims to clarify and justify the virtue of his style. While Agricola employed cantus firmus conventions to provide formal scaffolding, he also imbues discursiveness with comprehensibility through rhetorical techniques, such as inflection of cadence, clearness of imitation, phraseology of text, and varied implementation of cantus firmus. Articulating the micro-structure of his music, these components are then couched in the discourse of the classical argument: an introduction, confirmation, and refutation of a thesis. In Agricola’s Salve Regina I, motet becomes a medium for the exhibition and logical justification of his musical thesis of abstract polystylism.

A transcription of Alexander Agricola's office hymn to the Virgin Mary, "Ave maris stella." Note the canonic inner tenor voices. This is one of Agricola's unicum.

For a recording and score video see the link below:
https://www.youtube.com/watch?v=9hE0rMPcBvo

Con este trabajo estudiamos el manuscrito 2044 conservado en la Biblioteca de Reserva de la Universitat de Barcelona, datado a principios del siglo XVI, una colección miscelánea de nociones de teoría musical, ejemplo de lo que se conoce como “apuntes de estudiante de música”. Gracias a este tipo de documentos es posible profundizar en el conocimiento de los contextos de aprendizaje musical a fines de la Edad Media, la transmisión de la teoría musical y la teoría de la práctica, y el papel de la imprenta en este proceso que enriqueció y a la vez unificó las prácticas musicales hispanas en tiempos de los Reyes Católicos.

We discuss the Ms. 2044 preserved in the Biblioteca de Reserva of the University of Barcelona, from the beginning of the sixteenth century, a miscellany of notions of musical theory, and an example of what is known as "student notebook". Thanks to this type of documents it is possible to deepen the knowledge of the contexts of musical learning in the late Middle Ages, the transmission of musical theory and the theory of practice, and the role of the musical press in this process that enriched and unified Hispanic musical prac-tices in the time of the Catholic Monarchs.
http://www.epccm.es/index.php?journal=epccm&page=article&op=view&path%5B%5D=427

This motet is the second "Salve Regina" motet composed by Alexander Agricola.
For a recording and score-video of Salve Regina II see here:
https://www.youtube.com/watch?v=yoQLA3BXvQs

For a transcription of his first Salve Regina see here:
https://www.academia.edu/21795600/Alexander_Agricola_Salve_Regina_I_Brussels_Bibliotheque_Royale_MS_9126_fol._138v-143r_
For a recording and score-video of Salve Regina I see here:
https://www.youtube.com/watch?v=Q3B-j3fUbqc

"Salve Regina II" is not only based off the classical "Salve Regina" (solemn tone) chant. The tenor of this piece is derived from Walter Frye's (d. 1474?) Marian motet, "Ave Regina".

For information and a video-score on Frye's motet see the link here:
https://www.youtube.com/watch?v=BH43f-yd9oA
For a transcription see here:
https://www.academia.edu/31933857/Walter_Frye_-_Ave_Regina_tenor_for_Agricola_Salve_Regina_II_-_Full_Score.pdf

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Ave Regina (Latin text):

Ave Regina coelorum mater Regis angelorum.
O Maria flos virginum velut rosa, velut lilium.
Funde preces ad filium pro salute fidelium.
O Maria flos virginum velut rosa, velut lilium.


Hail Queen (English translation):

Hail, Queen of heaven, Mother of the King of angels.
O Mary, flower of virgins, like the rose, like the lily.
Pour out prayers to the Son for the salvation of the faithful.
O Mary, flower of virgins, like the rose, like the lily.

________________________


Salve Regina (Latin text):

Salve, Regina, Mater misericordiæ,
vita, dulcedo, et spes nostra, salve.
Ad te clamamus exsules filii Hevæ,
Ad te suspiramus, gementes et flentes
in hac lacrimarum valle.
Eia, ergo, advocata nostra, illos tuos
misericordes oculos ad nos converte;
Et Jesum, benedictum fructum ventris tui,
nobis post hoc exsilium ostende.
O clemens, O pia, O dulcis Virgo Maria.


Hail, holy Queen (English translation):

Hail, holy Queen, Mother of Mercy,
Our life, our sweetness and our hope.
To you do we cry,
Poor banished children of Eve;
To you do we send up our sighs,
Mourning and weeping in this valley of tears.
Turn then, most gracious advocate,
Your eyes of mercy toward us;
And after this our exile,
Show us the blessed fruit of your womb, Jesus.
O clement, O loving,
O sweet Virgin Mary.

Panel Discussion entitled ‘The Presentation of the Results of the Reconstruction of Missing Parts in Performance, Recording,
and Critical Edition’, in which Niels Berentsen, Philippe Canguilhem, Richard Freedman, Marcello Mazzetti, Jessie Ann Owens, Livio Ticli and Marina Toffetti illustrated a wide spectrum of international projects
and discussed different approaches and techniques for recovering musical  works from the past.

En 1482, el músico y teórico Ramos de Pareja, publicaba en Bolonia el primer tratado musical impreso de un autor español, titulado Musica practica. Ramos, nacido en Baeza unos cuarenta años antes, debió cursar estudios en la Universidad de Salamanca, donde viviría los turbulentos años finales del reinado de Enrique IV de Castilla, antes de que le sucediese en el trono su hermanastra, la infanta Isabel. Una sucesión complicada por la Este artículo presenta un nuevo tratado musical español del siglo XV escrito por Pedro Martínez de Osma, catedrático de Teología en la Universidad de Salamanca. De esta obra se tenía noticia por referencias coetáneas debidas a su colega Ramos de Pareja, pero hasta ahora no se había identificado. Este texto, escrito en 1465 y conservado en la Biblioteca Nacional de Nápoles, permite obtener nueva información de un periodo muy poco ex-plorado en cuanto al pensamiento musical en España, precisamente por la ausencia de fuentes documentales. Analizando su contenido se detalla el ambiente reformista y pre-humanista que se vivía en esos años en el Estudio salmantino y se perfila la corriente de pensamiento que, pasando por Ramos y otros autores en torno al 1500, llevarán al flore-cimiento de los insignes autores del quinientos, en especial Francisco Salinas. Palabras clave: Pedro Martínez de Osma, Universidad de Salamanca, Ramos de Pareja, teoría musical, Renacimiento español, Humanismo.

This article presents a new fifteenth-century Spanish music treatise written by Pedro Martínez de Osma, Professor of Theology at the University of Salamanca. This text was known through contemporary references by his colleague Ramos de Pareja, but had not been identified until now. Written in 1465 and preserved at the Biblioteca Nazionale Vittorio Emanuele III in Naples, the text provides new information from a very little explored period in Spain in terms of music philosophy, precisely because of the lack of documentary sources. By analysing its content, the author explains the reformist and pre-humanist climate that characterized those years in Salamanca, and outlines the school of thought that would allow distinguished theorists of the sixteenth century century to flourish in the wake of Ramos and other composer-theorists around 1500, especially Francisco Salinas.
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Erschienen in: Maren Goltz/Kai Schabram (Hrsg.): Melchior Vulpius - Beiträge zu Leben, Werk und Wirkung. - Beeskow : Ortus Musikverlag, 2018.
Der Autor vergleicht zwei hinsichtlich ihrer modalen, kontrapunktischen und textausdeutenden Mittel sehr unterschiedlich geartete Vertonungen des lateinischen Vater unser durch den Weimarer Kantor Melchior Vulpius (ca. 1570-1615). Eine dritte, doppelchörige Vertonung desselben Textes durch denselben Komponisten wird flankierend einbezogen. Schließlich widmet sich der Autor einer Parodiemesse des Naumburger Domorganisten Georg Vintz (1580-1635), der eine der beiden Pater noster Vertonungen von Vulpius als Grundlage seiner Messe nahm und untersucht genau, wie Vintz dabei vorging und wie groß sein eigener kreativer Anteil im Rahmen des Parodieverfahrens ist. (Autor)

A scroll realization of Johannes Mittner's "Osanna" 5-voice mensuration canon from the Sanctus of his Missa Hercules Dux Ferrarae. For a recording of the Sanctus with the Osanna, please see the link below.

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Perhaps Walter Frye's most famous piece, "Ave Regina" was a significant work during the early Renaissance. Its idiomatic english style (called Contenance Angloise) helped ignite the transition to tertian polyphony in Burgundy during the first half of the 15th century.

Frye's "Ave Regina" appears in 13 difference sources, (only one of which is English), demonstrating its staggering popularity on the continent. Surpassing his two other widely popular shorter works, "Tout a par moy and "So ys emprentid", Ave regina also appears with notation in three paintings from the period. Frye's "Ave Regina" is quoted by musical theorists and rearranged and plagiarized by later composers. Its tenor was borrowed by Obrecht for a motet and mass of the same title; Alexander Agricola in turn borrowed Obrecht’s borrowed tenor as the basis for his Salve Regina II.

It is in ballade form and may have originated with an English text. Whatever its original form however, Frye’s "Ave regina" played an important part in establishing the taste for the song-motet in Burgundy during the 15th century.

For a recording and score-video of Frye's "Ave Regina" see here:
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Ave Regina (Latin text):
Ave Regina coelorum mater Regis angelorum.
O Maria flos virginum velut rosa, velut lilium.
Funde preces ad filium pro salute fidelium.
O Maria flos virginum velut rosa, velut lilium.

Hail Queen (English translation)
Hail, Queen of heaven, Mother of the King of angels.
O Mary, flower of virgins, like the rose, like the lily.
Pour out prayers to the Son for the salvation of the faithful.
O Mary, flower of virgins, like the rose, like the lily.

Assesses the stacked canonic structure in Palestrina's Missa Sacerdotes Domini against the theories of fuga and modular counterpoint of John Milsom and Peter Schubert respectively. Provides detailed analyses of the openings of the the Gloria and Benedictus sections and proposes a threefold modular structure based on underlying hexachordal melodic motion in the Pleni sunt coeli section.

Der Aufsatz ist in folgendem Band erschienen:
Maren Goltz/Bernhard Schrammek (Hrsg.): Johann Steurlein 1546-1613. Amtsdiener, Komponist und Poet zwischen Tradition und Innovation (Ortus Studien Band 15), Ortus Musikverlag Beeskow 2014

In diesem Aufsatz untersuche ich die motettische Passionsvertonung Johann Steurleins auf die Frage hin, welche Werkzeuge ein Komponist der Zeit hatte, eine solche ausführliche Passionskomposition im Rahmen der zur Verfügung stehenden Mittel dramaturgisch zu gestalten. Besonders der Umgang mit den Möglichkeiten der modalen Stimmdisposition scheint dabei ein persönliches Charakteristikum der "Deutschen Passion" Steurleins zu sein, in der nicht länger - wie etwa in Antoine de Longuevals vorbildhafter "Passio Domini nostri Jesu Christi secundum Matthaeum" - der traditionelle liturgische Passionston das gerüst für die musikalische Architektur bildet.

El cambio de siglo en torno al año 1500 destaca en la actividad musical española por la importante producción de tratados teóricos impresos. Con un carácter eminentemente práctico, estos tratados incluyen entre sus diversos contenidos relaciones de consonancias para varias voces de contrapunto, características en la producción española, a los cuales se ha venido a sumar novedades como el hallazgo de unas tablas manuscritas de combinaciones para tres y cuatro voces, en un ejemplar del tratado Musica practica de Franchino Gafurio conservado en la Biblioteca de la Universidad de Salamanca, encabezados a nombre de Juan de Urrede. Estas tablas representan el conjunto de ejemplos de consonancias en polifonía más completo de los conservados hasta el momento en los textos españoles del periodo, y complementan y se suman a los ejemplos ya conocidos de estos tratados. Estudiando estos testimonios en conjunto y relacionándolos con la producción teórica europea contemporánea, se pueden comprender como pruebas de un escenario de práctica polifónica vocal improvisada especialmente sofisticada en España ya en el siglo XV, basada en unas sonoridades complejas diferenciables de otras técnicas más rígidas como el fabordón, en uso no obstante en determinados contextos litúrgicos. Escenario que será confirmado y descrito con detalle en los tratados posteriores del siglo XVI. Presentamos un estudio comparado de este tipo de tablas teórico-prácticas, en las diversas fuentes que las presentan, y a partir de este análisis proponemos un modelo de rica práctica polifónica influida por la recepción de determinados tratados teóricos y prácticas europeas, pero enraizada en la práctica y conocimiento autóctono, demostrada por la producción de los tratadistas españoles.