George Kirbye's Clemens parody
Identifieur interne : 000326 ( Main/Exploration ); précédent : 000325; suivant : 000327George Kirbye's Clemens parody
Auteurs : David Humphreys [Niger]Source :
- Early Music [ 0306-1078 ] ; 2008.
English descriptors
- Entity :
- org : Cambridge University, Cardiff University, Senate House.
- pers : A. T. Davison, Alfonso Ferrabosco, B. Kempers, B. Meier, C. Monson, D. Humphreys, David Brown, David Humphreys, E. Lowinsky, Edward Lowinsky, Edward Paston, Ferdinand Heybourne, George Kirbye, Henry, J. Milsom, J. Morehen, J. S. Bach, Jacobus Clemens, Jane Beeson, John Merro, John Petre, John Sadler, Joseph Kerman, Lowinsky, M. Hofman, Martin Peerson, O. W. Neighbour, Peter Philips, Philip van Wilder, Philippe Rogier, Princess Elizabeth, Rama, Richard Dering, Robert Ramsey, Ross W. Duffin, Sir, Thomas Hamond, Thomas Lupo, Thomas Morley, Thomas Tomkins, Tudor Catholicism, W. Apel, W. Duffin.
- place : Amsterdam, Brussels, Cambridge, Chelmsford, England, MA, Rome.
- Teeft :
- Alternative chromatic reading, Cadence, Cantiones sacrae, Clemens, Early music, Early music february, Easie introduction, Edward paston, Elder ferrabosco, Emphatic cadence, English musician, February, First section, Fourth note, Gaude maria virgo, Jacobean, Jacobean court, Jacobean motet, Jacobean polyphonic motet, Jacobus clemens, Kirbye, Latin motet, Latin music, Minor chord, Modal, Modal ambiguity, Modern edition, Morley, Motet, Octave stretto, Parody motet, Plorans semitonus, Practicall musicke, Quare tristis, Rama, Rama audita, Secret chromatic.
Abstract
The recent appearance of an anthology of Jacobean Latin motets edited by Ross W. Duffin in the RRMR series focuses attention on a little-explored repertory of English music. Although the motet went into decline in the years following the death of William Byrd, there are some accomplished and interesting Jacobean and Caroline examples which repay study. George Kirbye’s two surviving motets (Quare tristis es (a4) and Vox in Rama (a6)) are among the most distinguished examples of the Jacobean motet repertory. The second of these is of particular interest, because it turns out to be closely modelled on the setting of the same text by Clemens non Papa, published by Ulhard in Augsburg in 1549. Kirbye’s motet, which survives in an incomplete set of manuscript partbooks (GB-Ob Tenbury 087–11), takes up all the main imitative points of the modal and elaborates them, removing the modal ambiguity in the original and applying techniques which Kirbye had apparently learnt from his study of the works of Byrd and the elder Ferrabosco. Kirbye’s setting, which may have been designed as a response to Weelkes’s Laboravi in gemitu meo (a6), also adds something to our knowledge of Clemens reception in England.
Url:
DOI: 10.1093/em/cam128
Affiliations:
Links toward previous steps (curation, corpus...)
Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title>George Kirbye's Clemens parody</title><author wicri:is="90%"><name sortKey="Humphreys, David" sort="Humphreys, David" uniqKey="Humphreys D" first="David" last="Humphreys">David Humphreys</name></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:DDD7BDC57B830BF7A561297F0F06778D16CCD124</idno><date when="2008" year="2008">2008</date><idno type="doi">10.1093/em/cam128</idno><idno type="url">https://api.istex.fr/ark:/67375/HXZ-4FJDPKGG-P/fulltext.pdf</idno><idno type="wicri:Area/Main/Corpus">000513</idno><idno type="wicri:explorRef" wicri:stream="Main" wicri:step="Corpus" wicri:corpus="ISTEX">000513</idno><idno type="wicri:Area/Main/Curation">000513</idno><idno type="wicri:Area/Main/Exploration">000326</idno><idno type="wicri:explorRef" wicri:stream="Main" wicri:step="Exploration">000326</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a" type="main">George Kirbye's Clemens parody</title><author wicri:is="90%"><name sortKey="Humphreys, David" sort="Humphreys, David" uniqKey="Humphreys D" first="David" last="Humphreys">David Humphreys</name><affiliation></affiliation><affiliation wicri:level="1"><country wicri:rule="url">Niger</country></affiliation></author></analytic><monogr></monogr><series><title level="j" type="main">Early Music</title><idno type="eISSN">1741-7260</idno><idno type="ISSN">0306-1078</idno><imprint><publisher>Oxford University Press</publisher><date>2008</date><biblScope unit="vol">36</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="41">41</biblScope><biblScope unit="page" to="50">50</biblScope></imprint><idno type="ISSN">0306-1078</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0306-1078</idno></seriesStmt></fileDesc><profileDesc><textClass><keywords scheme="Entity" type="org" xml:lang="en"><term>Cambridge University</term><term>Cardiff University</term><term>Senate House</term></keywords><keywords scheme="Entity" type="pers" xml:lang="en"><term>A. T. Davison</term><term>Alfonso Ferrabosco</term><term>B. Kempers</term><term>B. Meier</term><term>C. Monson</term><term>D. Humphreys</term><term>David Brown</term><term>David Humphreys</term><term>E. Lowinsky</term><term>Edward Lowinsky</term><term>Edward Paston</term><term>Ferdinand Heybourne</term><term>George Kirbye</term><term>Henry</term><term>J. Milsom</term><term>J. Morehen</term><term>J. S. Bach</term><term>Jacobus Clemens</term><term>Jane Beeson</term><term>John Merro</term><term>John Petre</term><term>John Sadler</term><term>Joseph Kerman</term><term>Lowinsky</term><term>M. Hofman</term><term>Martin Peerson</term><term>O. W. Neighbour</term><term>Peter Philips</term><term>Philip van Wilder</term><term>Philippe Rogier</term><term>Princess Elizabeth</term><term>Rama</term><term>Richard Dering</term><term>Robert Ramsey</term><term>Ross W. Duffin</term><term>Sir</term><term>Thomas Hamond</term><term>Thomas Lupo</term><term>Thomas Morley</term><term>Thomas Tomkins</term><term>Tudor Catholicism</term><term>W. Apel</term><term>W. Duffin</term></keywords><keywords scheme="Entity" type="place" xml:lang="en"><term>Amsterdam</term><term>Brussels</term><term>Cambridge</term><term>Chelmsford</term><term>England</term><term>MA</term><term>Rome</term></keywords><keywords scheme="Teeft" xml:lang="en"><term>Alternative chromatic reading</term><term>Cadence</term><term>Cantiones sacrae</term><term>Clemens</term><term>Early music</term><term>Early music february</term><term>Easie introduction</term><term>Edward paston</term><term>Elder ferrabosco</term><term>Emphatic cadence</term><term>English musician</term><term>February</term><term>First section</term><term>Fourth note</term><term>Gaude maria virgo</term><term>Jacobean</term><term>Jacobean court</term><term>Jacobean motet</term><term>Jacobean polyphonic motet</term><term>Jacobus clemens</term><term>Kirbye</term><term>Latin motet</term><term>Latin music</term><term>Minor chord</term><term>Modal</term><term>Modal ambiguity</term><term>Modern edition</term><term>Morley</term><term>Motet</term><term>Octave stretto</term><term>Parody motet</term><term>Plorans semitonus</term><term>Practicall musicke</term><term>Quare tristis</term><term>Rama</term><term>Rama audita</term><term>Secret chromatic</term></keywords></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract">The recent appearance of an anthology of Jacobean Latin motets edited by Ross W. Duffin in the RRMR series focuses attention on a little-explored repertory of English music. Although the motet went into decline in the years following the death of William Byrd, there are some accomplished and interesting Jacobean and Caroline examples which repay study. George Kirbye’s two surviving motets (Quare tristis es (a4) and Vox in Rama (a6)) are among the most distinguished examples of the Jacobean motet repertory. The second of these is of particular interest, because it turns out to be closely modelled on the setting of the same text by Clemens non Papa, published by Ulhard in Augsburg in 1549. Kirbye’s motet, which survives in an incomplete set of manuscript partbooks (GB-Ob Tenbury 087–11), takes up all the main imitative points of the modal and elaborates them, removing the modal ambiguity in the original and applying techniques which Kirbye had apparently learnt from his study of the works of Byrd and the elder Ferrabosco. Kirbye’s setting, which may have been designed as a response to Weelkes’s Laboravi in gemitu meo (a6), also adds something to our knowledge of Clemens reception in England.</div></front></TEI><affiliations><list><country><li>Niger</li></country></list><tree><country name="Niger"><noRegion><name sortKey="Humphreys, David" sort="Humphreys, David" uniqKey="Humphreys D" first="David" last="Humphreys">David Humphreys</name></noRegion></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/WilliamByrdV0/Data/Main/Exploration
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000326 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Main/Exploration/biblio.hfd -nk 000326 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= WilliamByrdV0
|flux= Main
|étape= Exploration
|type= RBID
|clé= ISTEX:DDD7BDC57B830BF7A561297F0F06778D16CCD124
|texte= George Kirbye's Clemens parody
}}
| This area was generated with Dilib version V0.6.39. |  |