The Cultural Life of the Early Polyphonic Mass: Medieval Context to Modern Revival
The 'cyclic' polyphonic Mass has long been seen as the pre-eminent musical genre of the late Middle Ages, spawning some of the most impressive and engrossing musical edifices of the period. Modern study of these compositions has greatly enhanced our appreciation of their construction and aesthetic appeal. Yet close consideration of their meaning - cultural, social, spiritual, personal - for their composers and original users has begun only much more recently. This book considers the genre both as an expression of the needs of the society in which it arose and as a fulfilment of aesthetic priorities that arose in the wake of the Enlightenment. From this dual perspective, it aims to enhance both our appreciation of the genre for today's world, and our awareness of what it is that makes any cultural artefact endure: its susceptibility to fulfil the different evaluative criteria, and social needs, of different times.
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2 Contemporary witnesses
Part II The ritual world of the early polyphonic Mass
Christological imagery and the Caput Masses
the sacred meaning of Lhomme armé
outside texts and music in the Mass
Part III The cradle of the early polyphonic Mass
8 Counterpoint of images counterpoint of sounds
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Agnus allegory altar Ambros Ambros’s American Musicological Society antiphon autem Benedictus body borrowed Bukofzer Canon cantus firmus Mass Caput celebrant chant chapel Chapter Christ Christian church composers contemporary context Corpus Christi Corpus Mensurabilis Musicae cultural cycle cyclic Mass David discussion divine domini Duffy Durandus early earthly Ecclesiae elevation eleyson endowed example Fay’s Feasts fifteenth century firmi Geschichte Gloria Guillaume de Machaut head Holy host ibid isorhythmic Johannes Josquin Jungmann king Kyrie L’homme armé Masses late medieval Liturgy Machaut’s manuscript Marian Mass settings Medieval Music melisma melody Middle Ages Missa motet Musicology notes original Osanna Oxford University Press papal particular Patrologia Latina performance polyphonic Mass prayers present priest quae quam quia quod quotation quoted Reinhard Strohm Renaissance repertory Richard Sherr ritual role sacred Sanctus singing specific spiritual sunt symbolic tenor thirteenth century Tinctoris Tinctoris’s transubstantiation Trent trumpet unity words