KYRIE MACHAUT PDF

Basic Machaut resources Kyrie The Kyrie consists of three distinct textual and melodic sections, each stated three times in succession for a total of nine: Kyrie eleison Lord have mercy Christe eleison Christ have mercy Kyrie eleison Lord have mercy The chant melody for the two Kyrie sections are often related, but not here, so the overall melodic form is A B C. Performers would likely alternate these polyphonic settings with monophonic chant, though it would also be possible simply to repeat the polyphony. In the first Kyrie statement, the pitches of the chant are distributed in rhythmic units four measures long in transcription. The melody is presented in full, once.

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Basic Machaut resources Kyrie The Kyrie consists of three distinct textual and melodic sections, each stated three times in succession for a total of nine: Kyrie eleison Lord have mercy Christe eleison Christ have mercy Kyrie eleison Lord have mercy The chant melody for the two Kyrie sections are often related, but not here, so the overall melodic form is A B C.

Performers would likely alternate these polyphonic settings with monophonic chant, though it would also be possible simply to repeat the polyphony.

In the first Kyrie statement, the pitches of the chant are distributed in rhythmic units four measures long in transcription. The melody is presented in full, once.

The two upper voices move at approximately the same rhythmic level as the tenor and contratenor. That means the tenor does not have the kind of foundational role it does in most contemporary motets, where it has notes much longer than the parts written above it. The generally similar rhythmic movement of both upper and lower voices, however, may be another factor encouraging more continuous motion, and the effect is rather one of four equal voices in through-composed music.

The upper-voice and lower-voice pairs are more rhythmically differentiated in the Christe and in Kyrie II and III than in the opening section, because the upper voices use shorter note values. The tenor phrases are also longer twelve and eight measures, respectively. Moreover, the Christe introduces rising and falling scalar passages of a sort we will find prominently stated in the Gloria. Kyrie II and III not only use short notes in the upper voices, but also add passages of syncopation and hocket that provide increased rhythmic drive toward the end of the movement.

This too is a technique borrowed from the motet. The entire Kyrie, then, uses compositional techniques borrowed from the motet, but the result is appreciably different. The Kyrie, unlike contemporary chant-based motets, sounds like a through-composed piece with a fundamentally equal-voiced texture—in other words, a texture similar to that used in the Gloria and Credo. Proudly powered by Weebly.

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Guillaume de Machaut

By Guillaume de Machaut, midi instrumental version Problems playing this file? See media help. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. Machaut added a contratenor voice that moved in the same low range as the tenor , sometimes replacing it as the lowest voice. Unification[ edit ] In the liturgy of the Mass, the items of the Ordinary are not performed consecutively, but are separated from one another by prayers and chants. Purpose and style[ edit ] Machaut composed his Messe de Nostre Dame for the Cathedral at Reims where he served as a canon, a permanent member of the clergy.

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Machaut’s Messe de Nostre Dame : an overview

This ranges from general remarks about poetics and other aesthetic concepts to details about the composition of particular pieces, questions about their fixing and transmission in writing and their realization in sound. Biographical details also allow the works to be placed in a social context. Oxford Music Online. Oxford University Press.

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