Hostname: page-component-848d4c4894-4hhp2 Total loading time: 0 Render date: 2024-05-21T11:21:58.657Z Has data issue: false hasContentIssue false
  • English
  • Français

The Relative Speed of Tempora in the Period of Dufay

Published online by Cambridge University Press:  01 January 2020

Alejandro Enrique Planchart
Get access Rights & Permissions [Opens in a new window]

Extract

Although in recent years there has been a marked increase in performances and recordings of fifteenth-century music, with a consequent focusing of interest on the performance problems presented by this repertory, a number of fundamental notational ambiguities remain that have received little systematic attention. Among them a particularly pressing problem is that of the relationship between tempus perfectum and tempus imperfectum diminutum in a considerable number of works written between 1440 and 1520.

Type
Research Article
Information
Royal Musical Association Research Chronicle , Volume 17 , 1981 , pp. 33 - 51
Copyright
Copyright © Royal Musical Association, 1981

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Bank, J.A., 1972. Tactus, Tempo and Notation in Mensural Music from the Thirteenth to the Seventeenth Century. Amsterdam: Frits KnufGoogle Scholar
Bent, Margaret, and Hughes, Andrew, eds., 1969-73. The Old Hall Manuscript, Corpus mensurabilis musicae 46. American Institute of MusicologyGoogle Scholar
Bent, Margaret, 1975. 'La contenance angloise behind a Continental Mask’, paper read at the forty-first Annual Meeting of the American Musicological Society at Los AngelesGoogle Scholar
Bent, Margaret, ed., 1979. Fifteenth-Century Liturgical Music II: Four Anonymous Masses, Early English Church Music 22. London: Stainer & BellGoogle Scholar
Besseler, Heinrich, ed., 1932. Guillaume Dufay: Zwölf geistliche und weltliche Werke, Das Chorwerk 19. Wolfenbüttel: Möseler VerlagGoogle Scholar
Besseler, Heinrich, 1950. Bourdon und Fauxbourdon: Studien zum Ursprung der niederländischen Musik. Leipzig: Breitkopf & HärtelGoogle Scholar
Besseler, Heinrich, ed., 1951-66. Guillaume Dufay: Opera omnia, Corpus mensurabilis musicae 1. American Institute of MusicologyGoogle Scholar
van den Borren, Charles, ed., 1932. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Burnham: Plainsong & Mediaeval Music Society; revised ed. London 1962Google Scholar
Bukofzer, Manfred F., 1958. ‘Changing Aspects of Medieval and Renaissance Music’, The Musical Quarterly 44, 1–18CrossRefGoogle Scholar
Coussemaker, Edmond de, ed., 1864-76. Scriptorum de musica medii aevi novam seriem a Gerbertina alteram… Paris: A. Durand (reprinted Hildesheim: Olms)Google Scholar
Curtis, Gareth R.K., 1979. ‘Brussels, Bibliothèque Royale, MS 5557, and the Texting of Dufay's “Ecce ancilla Domini” and “Ave regina celorum” Masses’, Acta musicologica 51, 73–86CrossRefGoogle Scholar
CW = Besseler 1951-66Google Scholar
De Van, Guillaume, ed., 1948. Guglielmi Dufay opera omnia. American Institute of MusicologyGoogle Scholar
Gossett, Philip, 1974. ‘The Mensural System and the “Choralis Constantinus”’, Studies in Renaissance and Baroque Music in Honor of Arthur Mendel, ed. d, 71–107. Kassel and Hackensack: BärenreiterGoogle Scholar
Hamm, Charles E., 1964. A Chronology of the Works of Guillaume Dufay Based on a Study of Mensural Practice, Princeton Studies in Music 1. Princeton: Princeton University PressGoogle Scholar
Houdoy, Jules, 1880. Histoire artistique de la cathédrale de Cambrai, ancienne église metropolitaine Notre-Dame. Lille: Impr. L. DaelGoogle Scholar
Lockwood, Lewis, 1973-4. ‘Aspects of the “L'homme armé” Tradition’, Proceedings of the Royal Musical Association 100, 97–122CrossRefGoogle Scholar
McGowan, John Patrick, 1936. Pierre d'Ailly and the Council of Constance. Washington: The Catholic University of AmericaGoogle Scholar
Mixter, Keith, ed., 1965. Johannes Brassart: Opera omnia, Corpus mensurabilis musicae 35. American Institute of MusicologyGoogle Scholar
Palmer, Jill M., 1975. Coussemaker's Anonymous XII: A Text, Translation, and Commentary. M.A. thesis, Brigham Young UniversityGoogle Scholar
Planchart, Alejandro Enrique, 1976. ‘Guillaume Dufay's Masses: A View of the Manuscript Traditions’, Papers Read at the Dufay Quincentenary Conference, Brooklyn, 1975, ed. Allan Atlas. BrooklynGoogle Scholar
Reaney, Gilbert, ed., 1961-. Early Fifteenth-Century Music, Corpus mensurabilis musicae 11. American Institute of MusicologyGoogle Scholar
Reynolds, Christopher, 1979. ‘Music at the Basilica San Pietro in Vaticano during the Papacy of Sixtus IV, paper read at the forty-fifth Annual Meeting of the American Musicological Society at New YorkGoogle Scholar
Schuler, Manfred, 1966. ‘Die Musik in Konstanz während des Konzils 1414 bis 1418’, Acta musicologica 38, 150–68CrossRefGoogle Scholar
Seay, Albert, 1957. ‘The Proportionale musices of Johannes Tinctoris’, Journal of Music Theory 1, 22–75Google Scholar
Wright, Craig, 1975. ‘Dufay at Cambrai: Discoveries and Revisions’, Journal of the American Musicological Society 28, 175–229CrossRefGoogle Scholar