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The Elevation Splendor aeternae glance, for example, for which there are four sources, required both extensive critical commentary, as well as the inclusion of an appendix that holds Brossard's version of the motet, one that presents the work for a different vocal scoring that affects the contrapuntal architecture, thus negating the possibility of describing this source in comparison to the others in the critical report.
As will be clear from this survey, the book pivots from the specifically monstrous to a preoccupation with form and fissure in the ars nova aesthetic more broadly, successfully showing previously unrecognized formal sophistication and representational possibilities in the fourteenth-century motet.
The first part consists a group of motets dedicated to the Lord Jesus Christ and the Blessed Virgin Mary.
The king had many of the grand motets printed by the royal publisher Ballard to disseminate the music to the regions outside Paris and internationally.
The second half of The Sense of Sound, Chapters 5-8, explores the internal sound world of prayer through an examination of iconography in Books of Hours and, by extrapolation, plausible connections in terms of like manner of presentation and decoration with a group of motets in the Montpellier Codex.
She is particularly good at giving the reader a sense of how motet texts relate to other genres, such as romances, dits, pastoral plays, sermons, devotional poetry, miracle stories, rhetorical treatises, the Song of Songs, commentaries and adaptations on the Song of Songs, chansons pieuses, all kinds of trouvere lyrics and, of course, the liturgy.
This publication, entitled Liber quintus cantionum sacrarum, bore a dedication to Granvelle--one that spilled over into the first motet, O decus, o lux patriae, a musical tribute to the prelate.
While many of these works betrayed their ancestry in the polyphonic motet, with the continuo bass often merely supporting the lowest voice or voices, the vocal lines, particularly in the motets for one and two voices and in die solo sections of those for more voices, displayed the newly fashionable florid and expressive vocal styles.
Vocal styles will run the gamut as the 12-member Motet Singers, an a cappella women's group, sing its 19th annual spring concert.
Emilio Ros-Fabregas presents important documentary and historical evidence about the anonymous motet Hostia solemnis, associated with celebrations of the Barcelona martyr St.