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Compositional Strategies in Mensuration and Proportion Canons, CA. 1400 to CA. 1600

Compositional Strategies in Mensuration and Proportion Canons, CA. 1400 to CA. 1600

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Published by: Jesús Echeverría on Jun 21, 2012
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Compositional Strategies in Mensuration and Proportion Canons,ca. 1400 to ca. 1600
Edward A. MelsonSchulich School of MusicMcGill University, Montreal August, 2008 A thesis submitted toMcGill University in partial fulfillment of the requirements of the degree of Master of ArtsinMusicology.© Edward Andrew Melson 2008
 
ii
 Abstract. This thesis presents a detailed list of mensuration and proportion canons written between 1400 and 1600 and an analysis of several of those canons. Proportioncanons are a subset of mensuration canons, pieces in which one melody, underdifferent rhythmic interpretations according to the rules of mensuration, appearssimultaneously in more than one voice. The type of mensuration and proportioncanons discussed in this thesis display simultaneous entry of the voices: all voices begintogether and sing through the same music at different speeds. This type of composition
is difficult to create, and places extreme demands on composers‘ ingenui
ty. Existing analysis of such pieces is extremely rare and not particularly revealing of compositionalprocess. This thesis presents a method of analysis that explains proportion andmensuration canons in terms of initial conditions of pitch transposition andmensuration, and explores the contrapuntal options thus made available to thecomposer.Résumé.Ce mémoire présente une liste détaillée de canons mensurables et deproportion, composés entre 1400 et 1600, et des analyses de plusieurs de ces canons.Canons de proportion comprennent un sous-ensemble de la catégorie de canonsmensurables, compositions dans lesquelles une mélodie, suivant au moins deuxmensurations simultanés, apparait simultanément dans plusieurs voix. Les canons
soumis à l‘analyse par
le présent document sont tous du type à faire entrer les voixsimultanément
: l‘ensemble des voix commence au même moment et chant la même
mélodie, chacune à une vitesse différente des autres. Cette méthode de composition estextrêmement difficile à maîtri
ser, et met à l‘épreuve l‘ingénuité du compositeur. Les
quelques analyses qui existent déjà ne sont pas révélatrices du processus de
composition. Cette étude dévoile une approche à l‘analyse des canons mensurables et
de proportions qui les explique à partir des conditions initiales : transposition etmensuration, et explore les options contrapuntiques qui en résultent.
 
iii
 Table of Contents. Abstract. Table of Contents. Acknowledgements.List of Examples.List of Figures.List of Tables.Introduction.Chapter 1.
Terms and Definitions.
Chapter 2.
Two-voice Proportion Canons.
Chapter 3.
The Josquin 
 Agnus dei II
and Other Three-Voice Proportion Canons.
Chapter 4.
Pierre de La Rue’s 
 Agnus dei II
in Four Voices.
Chapter 5.
Transmitting Josquin’s Agnus dei I 
I: A Short Reception History.
Conclusion. Appendix.Bibliography.ii.iii.iv. v. vi. viii.ix.1.10.22.38.52.72.75.111.

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