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008 720908_1963_______ ____ __eng_u;

010 a| 63015469;

035 a| (Sirsi) o00401317;

035 a| (OCoLC)401317;

040 c| OUNd| EREd| UtOrBLW;

049 a| EREM;

050 00 a| ML174.S7b| C3;

082 0 a| 781.4;

100 1 a| Sparks, Edgar H.=| ^A40927;

245 10 a| Cantus firmus in mass and motet, 1420-1520.;

260 a| Berkeley :b| University of California Press,c| 1963.;

300 a| xi, 504 pages :b| music ;c| 26 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 431-488) and index.;

520 a| From the beginnings of Western polyphonic music, it had been customary to choose a borrowed melody as a starting point for composition and to complete the work by adding contrapuntal voices. The medieval musician founded his new work upon a relevant quotation from an authoritative musical source, just as the scholastic founded his arguments upon quotations from Scriptures or some other authoritative literary source. The borrowed melody - the cantus firmus - was usually sacred, but at times composers made use of secular tunes. The purpose of this book is to study the use of the cantus firmi which form the basis of large numbers of compositions of the fifteenth century. The addition of counterpoint to cantus firmus remained a standard method of composing large works until the early sixteenth century. The fifteenth century, the last in which the practice was of major importance, is of special interest because of the methods of handling the cantus firmus became more complex and various than ever before. The author concentrates on the manner of quotation, the way the composer alters the borrowed material, and the way he remainst true to it. The borderline between elaboration of a borrowed melody and free composition is often vague, and occasionally the question of whether or not cantus firmus is being used is difficult to determine. The author discusses a number of dubious instances in an Appendix. The book is organized chronologically, and emphasis is placed on well-known composers whose works are widely available in modern editions.;

650 0 a| Mass (Music)=| ^A40928;

650 0 a| Motetsy| 15th centuryx| History and criticism.=| ^A33696;

650 0 a| Counterpointx| History.=| ^A991137;

650 0 a| Music theoryx| Historyy| 16th century.=| ^A535906;

650 0 a| Music theoryx| Historyy| 15th century.=| ^A520618;

919 a| BOOK;

596 a| 3;

998 a| 31525;

999 a| ML174.S7 C3w| LCc| 1i| 30372010813639d| 4/17/2019e| 4/9/2019f| 2/25/2024g| 3l| MSTm| JMUSICn| 29q| 2r| Ys| Yt| MGESBKu| 2/9/1986x| BOOKz| MCIRCo| .STAFF. .note. Temporary transfer #1 to HSL Temporary transfer #2 to HSLo| .STAFF. 0;

Cantus firmus in mass and motet, 1420-1520.

Author/creator	Sparks, Edgar H.
Format	Book
Publication Info	Berkeley : University of California Press, 1963.
Description	xi, 504 pages : music ; 26 cm
Subjects	Mass (Music) Motets--15th century. --History and criticism. Counterpoint--History. Music theory--History. --16th century. Music theory--History. --15th century.

Contents	Part I. Development of the procedures, circa 1420-1450. The melodic cantus firmus in the conductus of the old hall manuscript ; The cantus firmus elaboration ; The structural cantus firmus ; Cantus firmus in the mass ; Cantus firmus in more than one voice -- Part II. The mass and motet from circa 1450-1485. The masses of Dufay, Ockeghem, and their contemporaries ; The motets of Dufay, Ockeghem, and their contemporaries ; New trends -- Part III. Obrecht and Josquin des Prez. The masses and motets of Jacob Obrecht ; The masses and motets of Josquin des Prez -- Appendix: some theories of cantus firmus usage.
Abstract	From the beginnings of Western polyphonic music, it had been customary to choose a borrowed melody as a starting point for composition and to complete the work by adding contrapuntal voices. The medieval musician founded his new work upon a relevant quotation from an authoritative musical source, just as the scholastic founded his arguments upon quotations from Scriptures or some other authoritative literary source. The borrowed melody - the cantus firmus - was usually sacred, but at times composers made use of secular tunes. The purpose of this book is to study the use of the cantus firmi which form the basis of large numbers of compositions of the fifteenth century. The addition of counterpoint to cantus firmus remained a standard method of composing large works until the early sixteenth century. The fifteenth century, the last in which the practice was of major importance, is of special interest because of the methods of handling the cantus firmus became more complex and various than ever before. The author concentrates on the manner of quotation, the way the composer alters the borrowed material, and the way he remainst true to it. The borderline between elaboration of a borrowed melody and free composition is often vague, and occasionally the question of whether or not cantus firmus is being used is difficult to determine. The author discusses a number of dubious instances in an Appendix. The book is organized chronologically, and emphasis is placed on well-known composers whose works are widely available in modern editions.
Bibliography note	Includes bibliographical references (pages 431-488) and index.
LCCN	63015469

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Music	Music Stacks	ML174.S7 C3	✔ Available	Place Hold

Cantus firmus in mass and motet, 1420-1520.

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