Front matter (“Contents”,“Figures”, “Tables”, “Musical Examples”, “Abbreviations”, “Contributors”)
Identifieur interne : 000025 ( Main/Exploration ); précédent : 000024; suivant : 000026Front matter (“Contents”,“Figures”, “Tables”, “Musical Examples”, “Abbreviations”, “Contributors”)
Auteurs :Source :
English descriptors
- Teeft :
- Alleluia, Arquivo distrital, Arte canendi, Assistant professor, Associate professor, Augss, Bassus, Bayerische staatsbibliothek, Beata virgine, Benedictine abbey, Biblioteca publico, Ccii, Cciii, Chant, Chant melody, Choir alternation, Choralis, Choralis constantinus, Cibavit, Commune confessoris, Commune unius martyris, Commune virginum, Complex combination, Conceptio mariae, Constantinus, Corpus christi, Discantus, Duple, Duple proportion, Erhard ratdolt, Facsimile, Festa celebretur, First section, Fols, Fourth verse, Gradual benedictus, Graduale, Graduale pataviense, Graduale romanum, Gregor gastel, Gregorian chant, Heinrich, Heinrich isaac, Henricus isaac, Heyden, Introit, Introit cibavit, Introit mihi autem, Late middle age, Liber introitus, Mass propers, Melodic contour, Musical repertory, Musicology, Numerous article, Nunc dimittis, Offertory elegerunt apostoli, Oxford university press, Polyphonic, Princeton university, Propers, Recent publication, Research fellow, Research interest, Research project, Responsum accepit simeon, Sacred music, Second verse, Sesquialtera, Single voice, Subduple, Subduple equal duple, Subduple proportion, Systematic series, Taxi hofbibllothek, Triple proportion, Universidade nova, Usical example, Watermark distribution, William byrd.
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.
Url:
DOI: 10.5555/M.EM-EB.6.090708020500030504020409020100
Affiliations:
Links toward previous steps (curation, corpus...)
Le document en format XML
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<term>Arquivo distrital</term>
<term>Arte canendi</term>
<term>Assistant professor</term>
<term>Associate professor</term>
<term>Augss</term>
<term>Bassus</term>
<term>Bayerische staatsbibliothek</term>
<term>Beata virgine</term>
<term>Benedictine abbey</term>
<term>Biblioteca publico</term>
<term>Ccii</term>
<term>Cciii</term>
<term>Chant</term>
<term>Chant melody</term>
<term>Choir alternation</term>
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<term>Choralis constantinus</term>
<term>Cibavit</term>
<term>Commune confessoris</term>
<term>Commune unius martyris</term>
<term>Commune virginum</term>
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<term>Erhard ratdolt</term>
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<term>First section</term>
<term>Fols</term>
<term>Fourth verse</term>
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<term>Graduale</term>
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<term>Gregor gastel</term>
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<term>Heinrich</term>
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<term>Nunc dimittis</term>
<term>Offertory elegerunt apostoli</term>
<term>Oxford university press</term>
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<term>Princeton university</term>
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<term>Research interest</term>
<term>Research project</term>
<term>Responsum accepit simeon</term>
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<term>Second verse</term>
<term>Sesquialtera</term>
<term>Single voice</term>
<term>Subduple</term>
<term>Subduple equal duple</term>
<term>Subduple proportion</term>
<term>Systematic series</term>
<term>Taxi hofbibllothek</term>
<term>Triple proportion</term>
<term>Universidade nova</term>
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<front><div type="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.</div>
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