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5 results

  • 6 - Pieces Exemplifying Varietas

  • from Part II - Tinctoris’s Varietas
  • Jesse Rodin, Stanford University, California
  • Book:
    The Art of Counterpoint from Du Fay to Josquin
    Published online:
    05 December 2024
    Print publication:
    12 December 2024, pp 113-136

  • Summary

    When discussing varietas Tinctoris cites six works that exemplify the concept, of which four survive. Chapter 6 considers up to what point these pieces, which span the major genres of the day, illustrate Tinctoris’s ideas. The chapter analyzes this music at different levels of zoom, and in light of the relevant compositional parameters.

  • 11 - Some Songs by Du Fay

  • from Part IV - The Art in Action
  • Jesse Rodin, Stanford University, California
  • Book:
    The Art of Counterpoint from Du Fay to Josquin
    Published online:
    05 December 2024
    Print publication:
    12 December 2024, pp 203-218

  • Summary

    The bulk of Part IV digs into the repertoire to explore the myriad ways composers activated an esthetics of opposition across a nearly 100-year span. Chapter 11 considers how Guillaume Du Fay’s early songs pit introductory melismas against densely texted phrases to create productive oppositions. The chapter also shows how Du Fay’s stunning Malheureulx cueur gives voice to the virelai form.

The Art of Counterpoint from Du Fay to Josquin
  • Jesse Rodin
  • Published online:
    05 December 2024
    Print publication:
    12 December 2024
  • This book transforms our understanding of a fifteenth-century musical revolution. Renaissance composers developed fresh ways of handling musical flow in pursuit of intensifications, unexpected explosions, dramatic pauses, and sudden evaporations. A new esthetics of opposition, as this study calls it, can be contrasted with smoother and less goal-oriented approaches in music from before – and after – the period ca. 1425–1520. Casting wide evidentiary and repertorial nets, the book reinterprets central genres, theoretical concepts, historical documents, famous pieces, and periodizations; a provocative concluding chapter suggests that we moderns have tended to conceal the period's musical poetics by neglecting central evidence. Above all the book introduces an analytical approach sensitive to musical flow and invites new ways of hearing, performing, and thinking about music from Du Fay to Josquin.

  • 13 - Humanism and music in Italy

  • from Part III - Humanism
  • Edited by Anna Maria Busse Berger, University of California, Davis, Jesse Rodin, Stanford University, California
  • Book:
    The Cambridge History of Fifteenth-Century Music
    Published online:
    05 July 2015
    Print publication:
    16 July 2015, pp 231-262

  • Summary

    The source situation for Guillaume Du Fay's music, particularly in his early years, is quite good. Over a period of twenty-five years, a series of manuscripts transmits Du Fay's music in consistently good versions and with solid attributions. Du Fay's personal and clerical career is considerably better documented than those of most of his contemporaries. Despite the loss of late sources, Du Fay's music survives in higher proportion than that of his contemporaries and immediate successors. Du Fay was unusual in defining himself primarily as what is called today a "composer" rather than as a singer or even a clergyman. Du Fay promoted his music and sought to disseminate it. One of his earliest works is based on a plainsong that was sung at Cambrai as part of the Missa ad tollendum schismam. Du Fay's turn toward paraphrased cantus firmi led him to largely abandon the free cantilena style in liturgical and ceremonial works.

  • 23 - The papal chapel in the late fifteenth century

  • from Part V - Music in churches, courts, and cities
  • Edited by Anna Maria Busse Berger, University of California, Davis, Jesse Rodin, Stanford University, California
  • Book:
    The Cambridge History of Fifteenth-Century Music
    Published online:
    05 July 2015
    Print publication:
    16 July 2015, pp 446-462

  • Summary

    This chapter examines the effect of humanism on the Latin poetry set by fifteenth-century composers, primarily from the formal point of view. By the early sixteenth century, humanism had made quantitative meters almost the only acceptable vehicle for Latin poetry and encouraged the composition of music that at least to some extent respected the meter of the texts. Guillaume Du Fay's Latin motets have texts of varied styles and merit; the only one that speaks in his name is in elegiac couplets, and the quantitative poems likeliest to be his own work are by no means the worst. The setting of classical poetry revived a practice known from the tenth to the twelfth centuries, which would be much favored in the sixteenth, especially with passages from the fourth book of the Aeneid relating to Dido and Aeneas.