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FOLIO FORMAT AND MUSICAL ORGANISATION IN THE LITURGICAL REPERTOIRE OF THE IVREA AND APT CODICES

Published online by Cambridge University Press:  16 September 2004

KEVIN N. MOLL
Affiliation:
East Carolina University

Extract

Most music historians would probably have little trouble accounting for the normative formal principles of a fourteenth-century rondeau or isorhythmic motet. A topic that has occasioned much less notice, however, is the question of formal articulation in the parallel corpus of liturgical works produced in no small quantity through to the end of the century, from the Tournai Mass to the earliest layer of works contained in fifteenth-century sources such as Bologna Q 15. What relatively little the scholarly literature offers on this subject has tended to portray the composition of masses either as being wholly derivative of secular forms (the typical view), or at best as reflecting some sort of murky attempt at through-composition.

Type
Research Article
Copyright
© 2004 Cambridge University Press

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Footnotes

   Partial versions of this paper were presented at the 30th annual Congress of Medieval Studies, Western Michigan University, Kalamazoo, Michigan (5 May 1995), and at a joint session of the Northern California and Southwest Chapters of the American Musicological Society, University of California at Los Angeles (26 April 1997).The following sigla are used: Apt MS 116 bis Apt, Trésor de la Basilique Sainte-Anne, MS 16 bis Bologna MS Q 15 Bologna, Civico Museo Bibliografico Musicale, MS Q 15 Ivrea MS 115 Ivrea, Biblioteca Capitolare, MS 115
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FOLIO FORMAT AND MUSICAL ORGANISATION IN THE LITURGICAL REPERTOIRE OF THE IVREA AND APT CODICES
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