CRIM

Citations: The Renaissance Imitation Mass Project

Relationships

ID Observer Model Derivative Relationship type Show details
<R1611> Alessandra Ignesti <3221> Mente Tota (from Vultuum tuum) <3222> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: True

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R1612> Alessandra Ignesti <3223> Mente Tota (from Vultuum tuum) <3224> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R1613> Alessandra Ignesti <3225> Mente Tota (from Vultuum tuum) <3226> Missa Mente tota: Credo Quotation, Non-mechanical transformation Expand

Quotation, Non-mechanical transformation

Exact: False

Monnayage: True

Embellished: False

Reduced: True

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1614> Alessandra Ignesti <3227> Mente Tota (from Vultuum tuum) <3228> Missa Mente tota: Credo New material Expand

New material

<R1615> Alessandra Ignesti <3229> Mente Tota (from Vultuum tuum) <3230> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

Remarks: The soggetto was part of a NIm in the model, but since it is only a fragment this seems to be not significant. Something similar happens at bars 74-77.

<R1616> Alessandra Ignesti <3231> Mente Tota (from Vultuum tuum) <3232> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: The soggetto was part of a NIm in the model, but since it is only a fragment this seems to be not significant. Something similar happens at bars 74-77 and 150-151; 154-155.

<R1617> Alessandra Ignesti <3233> Mente Tota (from Vultuum tuum) <3234> Missa Mente tota: Credo Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: False

Double or invertible counterpoint: False

Remarks: The module 8-7-6-8 is reproduced in the mass. The contrapuntal context is different though: in the model the two parts are involved in a two-part Phrygian cadence (D), while in in the mass they come right before an authentic cadence (G).

<R1618> Alessandra Ignesti <3235> Mente Tota (from Vultuum tuum) <3236> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R1619> Alessandra Ignesti <3237> Mente Tota (from Vultuum tuum) <3238> Missa Mente tota: Credo New material Expand

New material

<R1620> Alessandra Ignesti <3239> Mente Tota (from Vultuum tuum) <3240> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1621> Alessandra Ignesti <3241> Mente Tota (from Vultuum tuum) <3242> Missa Mente tota: Credo None Expand

Relationship

<R1622> Alessandra Ignesti <3243> Mente Tota (from Vultuum tuum) <3244> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: The cadence in the mass is much amplified and, unlike the one in the model, ends with an octave.

<R1623> Alessandra Ignesti <3245> Mente Tota (from Vultuum tuum) <3246> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: True

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1624> Alessandra Ignesti <3247> Mente Tota (from Vultuum tuum) <3248> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R1625> Raphaëlle Rouzic <3249> Veni sponsa Christi <3250> Missa Veni sponsa Christi: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: Monnayage : des valeurs rythmiques Malgré quelques modifications essentiellement rythmiques, le début du Credo respecte dans ses grandes lignes le déroulement des imitations du modèle.

<R1626> Alessandra Ignesti <3251> Mente Tota (from Vultuum tuum) <3252> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: Just a portion of the presentation found in the model is quoted exactly in the mass. If only this portion is considered, we have exact quotation; if the whole point of imitation is considered in the model, we have truncation in the mass.

<R1627> Alessandra Ignesti <3253> Mente Tota (from Vultuum tuum) <3254> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R1628> Alessandra Ignesti <3255> Mente Tota (from Vultuum tuum) <3256> Missa Mente tota: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

<R1629> Alessandra Ignesti <3257> Mente Tota (from Vultuum tuum) <3258> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R1630> Alessandra Ignesti <3259> Mente Tota (from Vultuum tuum) <3260> Missa Mente tota: Credo Quotation, Non-mechanical transformation Expand

Quotation, Non-mechanical transformation

Exact: False

Monnayage: True

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: Clever insertion of embellishments in the mass, which may be cut out to get the original contrapuntal framework.

<R1631> Alessandra Ignesti <3261> Mente Tota (from Vultuum tuum) <3262> Missa Mente tota: Credo Quotation Expand

Quotation

Exact: True

Monnayage: False

<R1632> Raphaëlle Rouzic <3263> Veni sponsa Christi <3264> Missa Veni sponsa Christi: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: Monnayage : of some rhythmic durations

<R1633> Raphaëlle Rouzic <3265> Veni sponsa Christi <3266> Missa Veni sponsa Christi: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: Monnayage : of some rhythmic durations

<R1634> Alessandra Ignesti <3267> Mente Tota (from Vultuum tuum) <3268> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: True

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: The whole passage could also have been described as a fuga (stretto fuga) between the Superius and the Tenor, but in so doing the character of progression would have been lost along with the participation of the Contratenor in the creation of the module.

<R1635> Alessandra Ignesti <3269> Mente Tota (from Vultuum tuum) <3270> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1636> Raphaëlle Rouzic <3271> Veni sponsa Christi <3272> Missa Veni sponsa Christi: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: Monnayage : of some rhythmic durations The schema has changed too : FUGA -> ID (Malgré le changement pour un ID, Palestrina garde les notes de départ des entrées du modèle. Le second duo est donc transposé)

<R1637> Alessandra Ignesti <3273> Mente Tota (from Vultuum tuum) <3274> Missa Mente tota: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

<R1638> Raphaëlle Rouzic <3275> Veni sponsa Christi <3276> Missa Veni sponsa Christi: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: Metrically shifted : Model: S4/2 -> Mass: M4/2/4/1/1/4/6 Reduced : first note of the head motif of the model: Model: 1 semi breve -> Mass: 1 minim Amplified: the fuga is longer overall.

<R1639> Raphaëlle Rouzic <3277> Veni sponsa Christi <3278> Missa Veni sponsa Christi: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

Remarks: Embellished : Ajout de notes supplémentaires + IP P3 devient une FUGA

<R1640> Alessandra Ignesti <3279> Mente Tota (from Vultuum tuum) <3280> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: While the second contrapuntal duo in the mass (bars 2-250) has the same interval succession as the two NIms in the model, the first one (247-248) has the countersubject shifted of M1 and transposed up a third.

<R1641> Alessandra Ignesti <3281> Mente Tota (from Vultuum tuum) <3282> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R1642> Raphaëlle Rouzic <3283> Veni sponsa Christi <3284> Missa Veni sponsa Christi: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

Remarks: Amplified : SOGGETTO -> FUGA Monnayage : de certaines valeurs rythmiques

<R1643> Alessandra Ignesti <3285> Mente Tota (from Vultuum tuum) <3286> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1644> Alessandra Ignesti <3287> Mente Tota (from Vultuum tuum) <3288> Missa Mente tota: Credo New material Expand

New material

<R1645> Alessandra Ignesti <3289> Mente Tota (from Vultuum tuum) <3290> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1646> Alessandra Ignesti <3291> Mente Tota (from Vultuum tuum) <3292> Missa Mente tota: Credo New material Expand

New material

<R1647> Alessandra Ignesti <3293> Mente Tota (from Vultuum tuum) <3294> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1648> Alessandra Ignesti <3295> Mente Tota (from Vultuum tuum) <3296> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1649> Alessandra Ignesti <3297> Mente Tota (from Vultuum tuum) <3298> Missa Mente tota: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

<R1650> Alessandra Ignesti <3299> Mente Tota (from Vultuum tuum) <3300> Missa Mente tota: Credo Quotation Expand

Quotation

Exact: True

Monnayage: False

<R1651> Ian Lorenz <3301> Quo abiit dilectus tuus <3302> Missa Quo abiit dilectus tuus: Kyrie New material Expand

New material

<R1652> Ian Lorenz <3303> Quo abiit dilectus tuus <3304> Missa Quo abiit dilectus tuus: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R1653> Ian Lorenz <3305> Quo abiit dilectus tuus <3306> Missa Quo abiit dilectus tuus: Kyrie Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

<R1654> Ian Lorenz <3307> Quo abiit dilectus tuus <3308> Missa Quo abiit dilectus tuus: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1655> Ian Lorenz <3309> Quo abiit dilectus tuus <3310> Missa Quo abiit dilectus tuus: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R1656> Ian Lorenz <3311> Quo abiit dilectus tuus <3312> Missa Quo abiit dilectus tuus: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R1657> Ian Lorenz <3313> Quo abiit dilectus tuus <3314> Missa Quo abiit dilectus tuus: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R1658> Ian Lorenz <3315> Quo abiit dilectus tuus <3316> Missa Quo abiit dilectus tuus: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R1659> Ian Lorenz <3317> Quo abiit dilectus tuus <3318> Missa Quo abiit dilectus tuus: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1660> Ian Lorenz <3319> Quo abiit dilectus tuus <3320> Missa Quo abiit dilectus tuus: Kyrie Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: False

Double or invertible counterpoint: False

<R1661> Ian Lorenz <3321> Quo abiit dilectus tuus <3322> Missa Quo abiit dilectus tuus: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1662> Ian Lorenz <3323> Quo abiit dilectus tuus <3324> Missa Quo abiit dilectus tuus: Kyrie Omission Expand

Omission

<R1663> Ian Lorenz <3325> Quo abiit dilectus tuus <3326> Missa Quo abiit dilectus tuus: Kyrie Omission Expand

Omission

<R1664> Ian Lorenz <3327> Quo abiit dilectus tuus <3328> Missa Quo abiit dilectus tuus: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: 2 overlapping Imitative Duos

<R1665> Ian Lorenz <3329> Quo abiit dilectus tuus <3330> Missa Quo abiit dilectus tuus: Kyrie New material Expand

New material

<R1666> Ian Lorenz <3331> Quo abiit dilectus tuus <3332> Missa Quo abiit dilectus tuus: Kyrie Omission Expand

Omission

<R1667> Ian Lorenz <3333> Quo abiit dilectus tuus <3334> Missa Quo abiit dilectus tuus: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1668> Ian Lorenz <3335> Quo abiit dilectus tuus <3336> Missa Quo abiit dilectus tuus: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1669> Ian Lorenz <3337> Quo abiit dilectus tuus <3338> Missa Quo abiit dilectus tuus: Kyrie New material Expand

New material

<R1670> Ian Lorenz <3339> Quo abiit dilectus tuus <3340> Missa Quo abiit dilectus tuus: Kyrie Omission Expand

Omission

<R1671> Ian Lorenz <3341> Quo abiit dilectus tuus <3342> Missa Quo abiit dilectus tuus: Kyrie Omission Expand

Omission

<R1672> Scott Troyer <3343> O gente brunette <3344> Missa O gente brunette: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R1673> Scott Troyer <3345> O gente brunette <3346> Missa O gente brunette: Kyrie New material Expand

New material

<R1674> Scott Troyer <3347> O gente brunette <3348> Missa O gente brunette: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R1675> Scott Troyer <3349> O gente brunette <3350> Missa O gente brunette: Kyrie Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

<R1676> Scott Troyer <3351> O gente brunette <3352> Missa O gente brunette: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R1677> Scott Troyer <3353> O gente brunette <3354> Missa O gente brunette: Kyrie Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

<R1678> Scott Troyer <3355> O gente brunette <3356> Missa O gente brunette: Kyrie Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

<R1679> Scott Troyer <3357> O gente brunette <3358> Missa O gente brunette: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R1680> Scott Troyer <3359> O gente brunette <3360> Missa O gente brunette: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R1681> Scott Troyer <3361> O gente brunette <3362> Missa O gente brunette: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

Remarks: The superius and bassus parts from the model have been used to create a contrapuntal duo in the tenor and bassus parts of the mass.

<R1682> Scott Troyer <3363> O gente brunette <3364> Missa O gente brunette: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: True

New combination: False

Remarks: The bassus part from the model initially sounds in the tenor voice of the mass. The line shifts back to the bassus in measure 26 of the mass, at which time the tenor picks up its own part from the corresponding section of the model. Each voice in the mass also contains an amplification that extends the passage by two two semibreves: measure 28 in the superius and contratenor, the second half of measure 27 and the first half of measure 28 in the tenor and bassus.

<R1683> Scott Troyer <3365> O gente brunette <3366> Missa O gente brunette: Kyrie Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

<R1684> Scott Troyer <3367> O gente brunette <3368> Missa O gente brunette: Credo New material Expand

New material

<R1685> Scott Troyer <3369> O gente brunette <3370> Missa O gente brunette: Credo New material Expand

New material

<R1686> Scott Troyer <3371> O gente brunette <3372> Missa O gente brunette: Credo New material Expand

New material

<R1687> Scott Troyer <3373> O gente brunette <3374> Missa O gente brunette: Credo New material Expand

New material

<R1688> Scott Troyer <3375> O gente brunette <3376> Missa O gente brunette: Credo New material Expand

New material

<R1689> Scott Troyer <3377> O gente brunette <3378> Missa O gente brunette: Credo New material Expand

New material

<R1690> Scott Troyer <3379> O gente brunette <3380> Missa O gente brunette: Credo New material Expand

New material

<R1691> Jon Oddie <3381> Mente Tota (from Vultuum tuum) <3382> Missa Mente tota: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

Remarks: The soggetto with which the double canon begins is taken from Josquin's opening PEn. Its first two canonic entrances are combined with a countersubject in the free voices, whose first five notes are taken from Josquin's seventh point of imitation ("preces nostras")

<R1692> Scott Troyer <3383> O gente brunette <3384> Missa O gente brunette: Credo New material Expand

New material

<R1693> Jon Oddie <3385> Mente Tota (from Vultuum tuum) <3386> Missa Mente tota: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

Remarks: Willaert transforms one voice of Josquin's non-imitative duo into fuga (and later into different non-imitative duos)

<R1694> Jon Oddie <3387> Mente Tota (from Vultuum tuum) <3388> Missa Mente tota: Kyrie Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: False

Double or invertible counterpoint: False

Remarks: This portion of Willaert's double canon arguably quotes (in twofold augmentation) one of the two soggetti from Josquin's setting of "Preces nostras", although the motive in question is sufficiently generic that this is arguable. The other subject from this section of the Josquin was already used in the first point of imitation.

<R1695> Jon Oddie <3389> Mente Tota (from Vultuum tuum) <3390> Missa Mente tota: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: The first presentations of the borrowed NIm in Willaert are nearly exact; the later entrances of the countersubject omit one of its notes, simplifying G-Bb-A-G to G-A-G.

<R1696> Scott Troyer <3391> O gente brunette <3392> Missa O gente brunette: Credo New material Expand

New material

<R1697> Scott Troyer <3393> O gente brunette <3394> Missa O gente brunette: Credo New material Expand

New material

<R1698> Scott Troyer <3395> O gente brunette <3396> Missa O gente brunette: Credo New material Expand

New material

<R1699> Scott Troyer <3397> O gente brunette <3398> Missa O gente brunette: Credo New material Expand

New material

<R1700> Scott Troyer <3399> O gente brunette <3400> Missa O gente brunette: Credo New material Expand

New material

<R1701> Scott Troyer <3401> O gente brunette <3402> Missa O gente brunette: Credo New material Expand

New material

<R1702> Scott Troyer <3403> O gente brunette <3404> Missa O gente brunette: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

<R1703> Jon Oddie <3405> Mente Tota (from Vultuum tuum) <3406> Missa Mente tota: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: These two fragments of Willaert's canon seemingly allude to the same motive from Josquin. Interestingly, Willaert's version of the motive most closely resembles the *flexed* entrance in Josquin's tenor (bb. 29--31) rather than the other entrances (which are all strict). Note that only the melodic material is quoted, but not its contrapuntal treatment

<R1704> Scott Troyer <3407> O gente brunette <3408> Missa O gente brunette: Credo Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: False

Double or invertible counterpoint: False

Remarks: The first seven minims of the passage in the mass exchange the tenor and contratenor parts from the model. Each voice is varied slightly to facilitate the return to the voice roles of the model. Additionally, the end of the passage is reharmonized in the mass.

<R1705> Ian Lorenz <3409> Quo abiit dilectus tuus <3410> Missa Quo abiit dilectus tuus: Kyrie Omission Expand

Omission

<R1706> Ian Lorenz <3411> Quo abiit dilectus tuus <3412> Missa Quo abiit dilectus tuus: Kyrie Omission Expand

Omission

<R1707> Ian Lorenz <3413> Quo abiit dilectus tuus <3414> Missa Quo abiit dilectus tuus: Kyrie Omission Expand

Omission

<R1708> Ian Lorenz <3415> Quo abiit dilectus tuus <3416> Missa Quo abiit dilectus tuus: Kyrie Omission Expand

Omission

<R1709> Ian Lorenz <3417> Quo abiit dilectus tuus <3418> Missa Quo abiit dilectus tuus: Kyrie Omission Expand

Omission

<R1710> Ian Lorenz <3419> Quo abiit dilectus tuus <3420> Missa Quo abiit dilectus tuus: Kyrie Omission Expand

Omission