Surveying Renaissance Liturgical Materials: Methodology and the Computer
1988; Akadémiai Kiadó; Volume: 30; Issue: 1/4 Linguagem: Inglês
10.2307/902237
ISSN1588-2888
Autores Tópico(s)Historical and Archaeological Studies
ResumoFirst I wish to thank Professors Hucke and Dobszay for graciously inviting me to join this study session. For some years my interest has been in Renaissance sacred polyphony, andit has always been clear that I needed to study the liturgical backgrounds for which composers provided their music. The question I need to ask is siinilar to what many of you must ask. What liturgical practices were widespread, and what ones were unique to a particular locality ? I begin with an example by Gaspar de Albertis, a prolific composer of the generation before Palestrina who worked at the church of Santa Maria Maggiore in Bergamo.l One of his compositions is the Introit, (7audete in Domino, the cantus firmus being given in Example I. Gaspar notated his tenor in chant notation, all notes being sung as semibreves, regardless of the design of the neumes. In the line beneath the cantus firmus we see the variants from a Renaicance manuscript gradual from that same church.2 and also, on that same line, the variants in a gradual printed at Venice in 1499.3 The bottom line shows the version given in the Liber Us?zalis. As you can see, the Renaissance versions of the chant are more similar to each other than they are to the chant given in the I>ber Usuatis. Specialists in Renaissance music have often relied upon modern liturgical sources such as those from Solesmes, a methodology that has received
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