Aural Images of Lost Tradition: Sharps and Flats in the by Robert Toft

April 3, 2017 | Instruments | By admin | 0 Comments

By Robert Toft

The oral traditions surrounding the applying of sharps and residences to sixteenth century vocal song are documented relating to theoretical literature, vocal resources, and intabulations of vocal track. particular reference is made to the motets of Josquin Desprez, Clemens non Papa, and Alexander Agricola.

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Extra info for Aural Images of Lost Tradition: Sharps and Flats in the Sixteenth Century

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De adonde infiero, que todas las consonancias pueden tener mas, o menos sin desabrimiento del buen oydo: pero lo octava y sus semejantes no lo suffren' / 'But fa against mi in an octave has no preparation, because we must maintain the true composition of the unisonal [consonance]. Whence it follows that all consonances can have [this dissonance] more or less without displeasure to the good ear, but the octave and similar [intervals] will not tolerate this [dissonance]' (Bermudo Dec v 32, f 140r).

Si debbe pero avertire, die alle volte si pone la Semidiapente ne i Contrapunti in luogo della Diapente; similmente il Tritono in luogo della Diatesseron, che fanno buoni effetti' / 'One must never place the syllable mi against^ in perfect consonances, as we shall see later. 10 Permissible vertical dissonance in counterpoint in place of the diapente, similarly the tritono in place of the diatesseron, [both of] which make good effects' (Z^rlino IH m 24, p 169). 25 More than eighty years earlier, Tinctoris (1477) had discussed the mi contra fa precept in similar terms: Quippe et falsum unisonum et falsum diapente et falsum diapason et quamlibet aliam falsum concordantiam per defectum aut superabundantiam semitonii maioris effectam evitare debemus.

8). Usually, however, the diversity discussed above was associated with cadences in which the application of the subsemitone was precluded by an upper or a lower voice. 8 'Qui habitat' 197-9 ftGerle 1533 and Ochsenkun 1558; jBakfark 1565) dissonance between the parts. And although the instrumentalists differ in their interpretation of these particular passages, the intabulations are frequently consistent in their treatment of clausulae with precluded subsemitones. 10 for two such instances). But of course, even though this unanimity occurs repeatedly among the intabulations, individual instrumentalists do not always interpret this type of cadence uniformly.

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