A comparative study in early publications of Willaert’s Magnum haereditatis mysterium motets
DOI:
https://doi.org/10.11606/rm.v14i1.115254Keywords:
motet, Willaert, plainchant, analysis, transmissionAbstract
The transmission history of Magnum haereditatis mysterium from the plainchant early sources is traced towards the early publications of the homonymous motets in Willaert’s settings. Plainchant analysis shows that the sources could follow two streams, one with the hypodorian mode in transposition, the other without it. These sources were compared, alongside with the Liber usualis, to the corresponding canti firmi in the editions of Willaert’s motets for four or five voices, to better understand the variation patterns between corresponding fragments in the motets. For this purpose, the melodic and syllabic text analysis was performed, according with Lanfranco’s and Stocker’s rules for text underlay. Finally, the comparison of a manuscript of this motet prior to its publications is made, along with a discussion of printing culture that suggests the involvement of performers, composers, publishers and theorists in this process.
Downloads
References
ATLAS, Allan. Editing a Chanson: Text Underlay. In: Renaissance Music: Music in Western Europe, 1400–1600. Nova Iorque: W.W. Norton & Co., 1998, cap. 21.
APEL, Willi. The Notation of Polyphonic Music. 900-1600. Cambridge, Massachussets: The Mediaeval Academy of America, 5a. ed., 1953.
BENEDICTINES OF SOLESMES. The Liber Usualis with introduction and rubrics in English. Tornuai: Desclee Company, 1961.
BERNSTEIN, Jane. Print Culture and Music in Sixteenth-Century Venice. New York: Oxford University Press, 2001.
HARRÁN, Don. Vicentino and his Rules of Text Underlay. The Musical Quarterly, v. 59, n. 4, p. 620-632, 1973.
HARRÁN, Don. New Light on the Question of Text Underlay Prior to Zarlino. Acta Musicologica, v. 45, n. 1, p. 24-56, 1973.
HOPPIN, Richard. Medieval Music (Norton Introduction to Music Hystory series). Nova Iorque: W.W.Norton & Company, 1978.
JUDD, Cristle. Exempli Gratia: A reception of Magnus es tu domine / Tu pauperum refugium. In:Reading Renaissance Music Theory: Hearing with the Eyes. New York: Cambridge University Press, 2000, cap. 9.
MUSIC, David. O magnum mysterium: Three Mystical Renaissance Settings. The American Organist, v. 40, n. 11, p. 75-78, 2006.
RIVERA, Benito. Finding the Soggetto in Willaert’s Free Imitative Counterpoint: A Step in Modal Analysis. In: Hatch, C. & Bernstein, D.W. Music Theory and the Exploration of the Past. Chicago: University of Chicago Press, 1993, cap. 4.
SCHUBERT, Peter.; CUMMING, Julie. Text and Motif c. 1500: a new approach to text underlay. Early Music, v. 11, n. 1, p. 3-13, 2012.
VELTMAN, Joshua. Syllable Placemente and Metrical Hierarchy in Sixteenth-Century Motets. Computing in Musicology, v. 14, p. 73-89, 2006.
Downloads
Published
Issue
Section
License
Copyright (c) 2014 Fernando Luiz Cardoso Pereira, Marcos Fernandes Pupo Nogueira

This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
Autores que publicam nesta revista concordam com os seguintes termos:
- Autores mantém os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a CC Attribution-NonCommercial-ShareAlike 4.0 que permite o compartilhamento do trabalho com reconhecimento da autoria e publicação inicial nesta revista.
- Autores têm autorização para assumir contratos adicionais separadamente, para distribuição não-exclusiva da versão do trabalho publicada nesta revista (ex.: publicar em repositório institucional ou como capítulo de livro), com reconhecimento de autoria e publicação inicial nesta revista.
- Autores têm permissão e são estimulados a publicar e distribuir seu trabalho online (ex.: em repositórios institucionais ou na sua página pessoal) a qualquer ponto antes ou durante o processo editorial, já que isso pode gerar alterações produtivas, bem como aumentar o impacto e a citação do trabalho publicado (Veja O Efeito do Acesso Livre).