Upper-voice structures and compositional process in the ars nova motet / Anna Zayaruznaya.
In the motets of Philippe de Vitry, Guillaume de Machaut, and their contemporaries, tenors have often been characterized as the primary shaping forces, prior in conception as well as in construction to the upper voices. Tenors are shaped by the interaction of talea and color, medieval terms now used...
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Full Text (via Taylor & Francis) |
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| Format: | eBook |
| Language: | English |
| Published: |
London ; New York :
Routledge,
2018.
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| Series: | Royal Musical Association monographs ;
no. 32. |
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Table of Contents:
- Cover; Title; Copyright; Contents; List of music examples; List of figures; List of tables; Acknowledgments; Note on music examples and naming conventions; 1 Introduction; 2 Foundational tenors and the power dynamics of compositional process; 3 Talea and/as color; 4 A catalog of upper-voice structures; 5 The hermeneutic stakes: reading form in S'il estoit/S'Amours; 6 A new paradigm for motet composition: Colla/Bona reconstructed; Conclusion; Appendix: music-theoretical discussions of talea and color, c. 1340-1430; Bibliography; Index