The Motet in the Age of Du Fay by Julie E. Cumming

By Julie E. Cumming

This booklet strains the evolution and transformation of the style of Latin-texted vocal track referred to as the motet through the life of the top composer of the age, Guillaume Du Fay (c. 1400-1474). The ebook contains an account of inner and exterior forces that prompted the transformation of the motet and of fifteenth-century tune extra in general. even as it offers a style for the translation of person works in response to popularity of the positive aspects and institutions of some of the subgenres of the motet.

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24 However, rhythmic organization on the level of the long, as in perfect modus, or cantus firmi that are repeated according to some scheme of strict proportions (as in Busnoys’s In hydraulis), also result in large-scale rhythmic organization. Works demonstrating this kind of rhythmic organization tend to be ambitious, formal, and backward-looking: these works are at the top of the genre hierarchy, and they are often occasional or dedicatory.  The complexity of a work’s construction also affects its style height.

This is not, then, a typical isorhythmic motet: it is in fact extremely unusual. But it is clearly “related” to the isorhythmic motet – all of its features can be understood as related to (or descended from) features of the traditional model. One way of expressing that relationship is to describe the structure of the category “isorhythmic motet” as a prototype or family resemblance category. The features of this unusual motet then become part of the ongoing definition of the category. These examples have brought out a number of important points.

36 Subgenre, interpretation, and the generic repertory Pre-existent texts can be divided many different ways. Important questions to ask about a pre-existent text are as follows.        If well known, then the recognition factor would have played a role in the “composer’s hearing” of the motet; if extremely rare the distinction between it and a new text disappears.                It was fairly normal to use selected stanzas of a strophic text, or simply excerpts or fragments of longer texts.

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