Who Devised the Proportional Notation in Isaac's Choralis Constantinus?
Identifieur interne : 000009 ( Main/Exploration ); précédent : 000008; suivant : 000010Who Devised the Proportional Notation in Isaac's Choralis Constantinus?
Auteurs : Ruth I. DefordSource :
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- Agnus, Alleluia, American institute, Arte, Arte canendi, Augmentation, Bassus, Bayerische staatsbibliothek, Beata virgine, Berlds, Berlieferung, Breve, Budos, Canendi, Ccii, Cciii, Choralis, Choralis constantinus, Choralis print, Christe, Coloration, Commune confessoris, Complete sequence, Complex proportion, Confessoribus, Constance, Constance commission, Constantinus, Cuyler, Discantus, Dissonance, Duple, Duple proportion, Exemplar, Facsimile, Frische teutsche liedlein, Georg, Georg forster, Georg rhau, Gossett, Heidelberg inventory, Heinrich, Heinrich isaac, Henricus isaac, Heyden, Imperial court, Independent source, Individual saint, Introit, Isaac, Isaac example, Johannes, Johannes petreius, Liturgical, Marie magdalene, Mass ordinary, Mass propers, Mensural, Mensural notation, Mensural system, Mensuration, Mensuration canon, Minim, Minim level, Missa, Missa paschalis, Modern edition, More difficult, More likely, Munbs, Musicum, Neue wege, Notated, Notation, Notational, Note value, Nuremberg, Opus musicum, Original notation, Original print exemplar, Original sign, Otation, Other example, Other voice, Other work, Paschalis, Perfect breve, Perfect prolation, Perfect semibreve, Present volume, Print, Print exemplar, Prolation, Propers, Proportion, Proportion other, Proportion sign, Proportional notation, Qualis, Radice, Radice jesse, Repertoire, Roportional, Saac, Same meaning, Sancto conrado, Schuler, Semibreve, Senfl, Sequence exultent filiae syon, Sesquialtera, Sesquialtera proportion, Sesquitertia proportion, Single number, Single voice, Source dependent, Staatsbibliothek, Sterreichische nationalbibliothek, Subduple, Subduple proportion, Subquadruple, Systematic series, Tactus, Theorist, Tion, Treatise, Triple proportion, Uncut sign, Unusual notation, Unusual sign, Viennb, Vols.
Abstract
The important contribution of Heinrich Isaac (ca. 1455–1517) to the genre of the proper of the mass has long been recognised. His work in this genre, collected in the monumental posthumously published Choralis Constantinus, was considered a landmark even in the sixteenth century. Yet Isaac’s magnum opus was by no means isolated. The mass proper played a much greater and more significant musical and symbolic role in the landscape of later-medieval and Renaissance music-making than is currently acknowledged. The present collection of fifteen essays offers new insights into both Isaac's mass propers themselves, which are still shrouded by many enigmas, and their context within broader later-fifteenth and sixteenth-century mass proper traditions. The circumstances under which Isaac's mass propers were composed, performed, and transmitted are discussed afresh, as is the striking late-sixteenth-century reception that the Choralis experienced. Studies of previously unknown or little-examined mass proper collections from countries as widely seperated as Portugal and Poland, as well as of the transformation of the genre in Lutheran territories and in the hands of William Byrd, show that Isaac's enterprise, though the largest of its kind, was built on and embedded in a strong and ongoing tradition of proper settings and cycles.
The music in Isaac’s Choralis constantinus became known for its exceptionally complex proportional notation even before the work was published. The earliest known examples of the unusual proportions in the work appeared in the second and third editions of the treatise De arte canendi (1537 and 1540) by the Nuremberg music theorist Sebald Heyden (Isaac’s originals are lost). New evidence suggests that the notation in these examples is not Isaac’s; rather, Heyden appears to have altered it significantly for the purpose of supporting his theory. Heyden apparently revised the notation of some additional verses in the work as well, and his notation was incorporated into the printed version of the collection. This scenario has implications for our understanding of Isaac’s character as a composer, his attitude toward notational complexity, and the more general interpretation of signs in the mensural system.
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DOI: 10.1484/M.EM-EB.4.9008
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His work in this genre, collected in the monumental posthumously published Choralis Constantinus, was considered a landmark even in the sixteenth century. Yet Isaac’s magnum opus was by no means isolated. The mass proper played a much greater and more significant musical and symbolic role in the landscape of later-medieval and Renaissance music-making than is currently acknowledged. The present collection of fifteen essays offers new insights into both Isaac's mass propers themselves, which are still shrouded by many enigmas, and their context within broader later-fifteenth and sixteenth-century mass proper traditions. The circumstances under which Isaac's mass propers were composed, performed, and transmitted are discussed afresh, as is the striking late-sixteenth-century reception that the Choralis experienced. Studies of previously unknown or little-examined mass proper collections from countries as widely seperated as Portugal and Poland, as well as of the transformation of the genre in Lutheran territories and in the hands of William Byrd, show that Isaac's enterprise, though the largest of its kind, was built on and embedded in a strong and ongoing tradition of proper settings and cycles.</div><div type="abstract">The music in Isaac’s Choralis constantinus became known for its exceptionally complex proportional notation even before the work was published. The earliest known examples of the unusual proportions in the work appeared in the second and third editions of the treatise De arte canendi (1537 and 1540) by the Nuremberg music theorist Sebald Heyden (Isaac’s originals are lost). New evidence suggests that the notation in these examples is not Isaac’s; rather, Heyden appears to have altered it significantly for the purpose of supporting his theory. Heyden apparently revised the notation of some additional verses in the work as well, and his notation was incorporated into the printed version of the collection. This scenario has implications for our understanding of Isaac’s character as a composer, his attitude toward notational complexity, and the more general interpretation of signs in the mensural system.</div></front></TEI><affiliations><list></list><tree><noCountry><name sortKey="Deford, Ruth I" sort="Deford, Ruth I" uniqKey="Deford R" first="Ruth I." last="Deford">Ruth I. Deford</name></noCountry></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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