Humanism and Early-Renaissance Music: A Study of the Ceremonial Music by Ciconia and Dufay

Elders, Willem

doi:10.2307/938834

Cited by 3 publications

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“…As one of the first Netherlandish composers who worked in Italy, Dufay was deeply impressed by the movement of humanism (see Elders, 1977). The texts of several of his Italian compositions show the influence of humanist thought in the exhibition of certain ideas, in the use of specific words, as well as in the composition of the poetical form.…”

Section: The Communion Vos Qui Secuti Estis Mementioning

confidence: 99%

Guillaume Dufay's Concept of Faux-Bourdon

Elders¹

1989

Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwe

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Section: The Communion Vos Qui Secuti Estis Mementioning

confidence: 99%

Guillaume Dufay's Concept of Faux-Bourdon

Elders¹

1989

Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwe

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Fifteenth-century humanism and music outside Italy

Strohm¹

The Cambridge History of Fifteenth-Century Music

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On Compositional Process in the Fifteenth Century

Blackburn¹

1987

Journal of the American Musicological Society

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The change from "successive composition" to "simultaneous conception" is one of the great turning points in the history of music. The latter term, derived from Pietro Aaron's allusion to the method of composition used by modern composers, does not correctly convey Aaron's meaning. He said that modern composers "take all the parts into consideration at once," disposing them in different ranges and thus allowing the avoidance of awkward clashes between the inner voices. This more harmonic orientation finds confirmation in the writings of Giovanni Spataro, whose theory of harmony, later developed by Zarlino, contradicts a current view of fifteenth-century music as purely intervallic counterpoint founded on a superius-tenor framework in which the bass is nonstructural and nonessential. The theory is grounded in the functional role of dissonance, adumbrated a century earlier in the treatise by Goscalcus. Discussion of the new compositional process can already be found fifty years earlier in the writings of Johannes Tinctoris. That this has not been recognized is due to persistent confusion over the term res facta. The key to comprehending this term lies in a correct understanding of what Tinctoris meant by counterpoint: it is not what we today call counterpoint but successive composition. Res facta differs from counterpoint in that each voice must be related to every other voice so that no improper dissonances appear between them. This method, "harmonic composition," could be quasi-simultaneous or successive; the criterion is the ultimate result-the finished work of art. Res facta is both a method of composition and a term that denotes a work composed in this manner, analogous to Listenius's opus perfectum et absolutum. The musica poetica of the sixteenth century is the legacy of res facta, and the two terms are indirectly connected. The new process of composition is the foundation for Tinctoris's delineation of an ars nova beginning about 1437, a date that may have been chosen in recognition of its first great representation in Dufay's Nuper rosarum flores.

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Humanism and Early-Renaissance Music: A Study of the Ceremonial Music by Ciconia and Dufay

Cited by 3 publications

References 0 publications

Guillaume Dufay's Concept of Faux-Bourdon

Guillaume Dufay's Concept of Faux-Bourdon

Fifteenth-century humanism and music outside Italy

On Compositional Process in the Fifteenth Century

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