YEARBOOK OF THE ALAMIRE FOUNDATION
YEARBOOK OF THE ALAMIRE FOUNDATION YEARBOOK OF THE ALAMIRE FOUNDATION
40 JULIE E. CUMMING
FROM VARIETY TO REPETITION: THE BIRTH OF IMITATIVE POLYPHONY Example 5. Anonymous, Ave beatissima, bb. 55–103, TrentC 89 (Trent, Castello del Buon Consiglio, Monumenti e Collezioni Provinciali, MS 1376), fol. 352v–354. Material in boxes is the only music that is repeated. A NEW KIND OF MOTET While the song motet and the chant-paraphrase motet do make use of imitation, they do not yet quite resemble Ave Maria. They are still melismatic, use imitation somewhat erratically, and lack the repeated duos and paired imitation so typical of the style we are looking for. In the 1470s or 1480s, however, a new subgenre of motet emerged: the subgenre of which Ave Maria is a member, and which includes the Milanese motetti missales. I will therefore call it the ‘Milan motet’. 29 This new, simpler kind of four-voice motet is very different from the great bipartite tenor motets that aspired to the status of the cyclic Mass. It uses a much larger selection of texts, drawn from 29 This is inspired by Joshua Rifkin’s description of the style in J. RIFKIN, Munich, Milan, and a Marian Motet. 41
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- Page 3 and 4: Yearbook of the Alamire Foundation
- Page 5 and 6: ... NEC NON TYRONIBUS QUÀM EIUS AR
- Page 7 and 8: DRINKING MOTETS IN MEDIEVAL ARTOIS
- Page 9 and 10: TRIPLUM (TRANSLATION) Hare hare hye
- Page 11 and 12: DRINKING MOTETS IN MEDIEVAL ARTOIS
- Page 13 and 14: TRIPLUM (TRANSLATION) Domine ainz q
- Page 15 and 16: DRINKING MOTETS IN MEDIEVAL ARTOIS
- Page 17 and 18: TENOR (TRANSLATION) Domine tant ai
- Page 19 and 20: FROM VARIETY TO REPETITION: THE BIR
- Page 21 and 22: Vir - - - go se - re - - FROM VARIE
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- Page 49 and 50: Figure 4. Plan of the Marienkirche
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- Page 59 and 60: POLYPHONY AND WORD-SOUND IN ADRIAN
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- Page 76 and 77: 78 LUMINITA FLOREA The Hague, 6 and
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- Page 80 and 81: 82 LUMINITA FLOREA THE SCRIPTOR IN
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40 JULIE E. CUMMING
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