CRIM

Citations: The Renaissance Imitation Mass Project

Relationships

ID Observer Model Derivative Relationship type Show details
<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 Quotation, Non-mechanical transformation Expand

Quotation, Non-mechanical transformation

Exact: True

Monnayage: False

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: 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, Non-mechanical transformation Expand

Mechanical transformation, Non-mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: False

Double or invertible counterpoint: False

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: 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

<R1711> Ian Lorenz <3421> Quo abiit dilectus tuus <3422> Missa Quo abiit dilectus tuus: Kyrie Omission Expand

Omission

<R1712> Ian Lorenz <3423> Quo abiit dilectus tuus <3424> Missa Quo abiit dilectus tuus: Kyrie Omission Expand

Omission

<R1713> Ian Lorenz <3425> Quo abiit dilectus tuus <3426> Missa Quo abiit dilectus tuus: Kyrie Omission Expand

Omission

<R1714> Ian Lorenz <3427> Quo abiit dilectus tuus <3428> Missa Quo abiit dilectus tuus: Kyrie Omission Expand

Omission

<R1715> Ian Lorenz <3429> Quo abiit dilectus tuus <3430> Missa Quo abiit dilectus tuus: Kyrie Omission Expand

Omission

<R1716> Ian Lorenz <3431> Quo abiit dilectus tuus <3432> Missa Quo abiit dilectus tuus: Kyrie Omission Expand

Omission

<R1717> Ian Lorenz <3433> Quo abiit dilectus tuus <3434> 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

<R1718> Ian Lorenz <3435> Quo abiit dilectus tuus <3436> Missa Quo abiit dilectus tuus: Kyrie New material Expand

New material

<R1719> Ian Lorenz <3437> Quo abiit dilectus tuus <3438> Missa Quo abiit dilectus tuus: Kyrie 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: False

<R1720> Ian Lorenz <3439> Quo abiit dilectus tuus <3440> Missa Quo abiit dilectus tuus: Kyrie New material Expand

New material

<R1721> Jon Oddie <3441> Benedicta es <3442> Benedicta es 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

<R1722> Jon Oddie <3443> Benedicta es <3444> Benedicta es 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

<R1723> Jon Oddie <3445> Benedicta es <3446> Benedicta es Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1724> Jon Oddie <3447> Benedicta es <3448> Benedicta es 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

<R1725> Jon Oddie <3449> Benedicta es <3450> Benedicta es 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

<R1726> Jon Oddie <3451> Benedicta es <3452> Benedicta es 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

<R1727> Jon Oddie <3453> Benedicta es <3454> Benedicta es 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

<R1728> Raphaëlle Rouzic <3455> Veni sponsa Christi <3456> Missa Veni sponsa Christi: Credo Quotation, Mechanical transformation Expand

Quotation, Mechanical transformation

Exact: False

Monnayage: True

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: False

Double or invertible counterpoint: False

Remarks: Monnayage : of the rhythmic durations

<R1729> Raphaëlle Rouzic <3457> Veni sponsa Christi <3458> Missa Veni sponsa Christi: Credo New material Expand

New material

Remarks: Le mouvement mélodique de descentes de tierces + texte :"descendit de caeli" Ce passage est un FIGURALISME très clairement mis en valeur.

<R1730> Raphaëlle Rouzic <3459> Veni sponsa Christi <3460> Missa Veni sponsa Christi: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: Monnayage des valeurs rythmiques.

<R1731> Raphaëlle Rouzic <3461> Veni sponsa Christi <3462> Missa Veni sponsa Christi: Credo Mechanical transformation, Non-mechanical transformation Expand

Mechanical transformation, Non-mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

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

Remarks: Amplified : SOGGETTO -> FUGA

<R1732> Scott Troyer <3463> O gente brunette <3464> Missa O gente brunette: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

<R1733> Scott Troyer <3465> O gente brunette <3466> Missa O gente brunette: Credo New material Expand

New material

<R1734> Scott Troyer <3467> O gente brunette <3468> Missa O gente brunette: Credo New material Expand

New material

<R1735> Scott Troyer <3469> O gente brunette <3470> Missa O gente brunette: Credo New material Expand

New material

<R1736> Scott Troyer <3471> O gente brunette <3472> Missa O gente brunette: Credo New material Expand

New material

<R1737> Scott Troyer <3473> O gente brunette <3474> Missa O gente brunette: Credo New material Expand

New material

<R1738> Scott Troyer <3475> O gente brunette <3476> Missa O gente brunette: Credo New material Expand

New material

<R1739> Scott Troyer <3477> O gente brunette <3478> Missa O gente brunette: 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

<R1740> Raphaëlle Rouzic <3479> Veni sponsa Christi <3480> Missa Veni sponsa Christi: Credo New material Expand

New material

Remarks: Ce CD se découpe en deux parties : - 1ere partie: la tête du motif (mes.68-69) - 2eme partie: à partir de 69 ("xus" pour le Superius "fixus" pour la voix d'Altus) La FUGA qui suivra mesures 71 à 75 (T>B) se fondera sur cette seconde partie.

<R1741> Raphaëlle Rouzic <3481> Veni sponsa Christi <3482> Missa Veni sponsa Christi: Credo New material Expand

New material

Remarks: Réutilisation d'un nouveau matériel : CD S>A S1 @5- mesures 68-72

<R1742> Scott Troyer <3483> O gente brunette <3484> Missa O gente brunette: Credo New material Expand

New material

<R1743> Scott Troyer <3485> O gente brunette <3486> Missa O gente brunette: Credo New material Expand

New material

<R1744> Raphaëlle Rouzic <3487> Veni sponsa Christi <3488> Missa Veni sponsa Christi: Credo New material Expand

New material

<R1745> Scott Troyer <3489> O gente brunette <3490> Missa O gente brunette: Credo New material Expand

New material

<R1746> Scott Troyer <3491> O gente brunette <3492> Missa O gente brunette: Credo New material Expand

New material

<R1747> Scott Troyer <3493> O gente brunette <3494> Missa O gente brunette: Credo New material Expand

New material

<R1748> Scott Troyer <3495> O gente brunette <3496> Missa O gente brunette: Credo New material Expand

New material

<R1749> Scott Troyer <3497> O gente brunette <3498> Missa O gente brunette: Credo 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

Remarks: Global Transposition

<R1750> Scott Troyer <3499> O gente brunette <3500> 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

Remarks: Global transposition 5-

<R1751> Scott Troyer <3501> O gente brunette <3502> Missa O gente brunette: Gloria 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

Remarks: Global transposition 5-

<R1752> Scott Troyer <3503> O gente brunette <3504> Missa O gente brunette: Agnus Dei 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

Remarks: Global transposition 5-

<R1753> Raphaëlle Rouzic <3505> Veni sponsa Christi <3506> 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: False

Old counter-subject transposed: False

New combination: True

Remarks: New combination : Modèle: entre le SOGGETTO de la voix de Tenor et la voix de Bassus qui est liée à celle de Tenor par un IP P3. On retrouve les valeurs rythmiques et les notes du SOGGETTO du Tenor, le mouvement mélodique de noires du même SOGGETTO + l'intervalle final de la voix de Bassus du modèle (quinte) aux deux voix de la FUGA.

<R1754> Scott Troyer <3507> O gente brunette <3508> Missa O gente brunette: Sanctus 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

Remarks: Global transposition 5-

<R1755> Raphaëlle Rouzic <3509> Veni sponsa Christi <3510> Missa Veni sponsa Christi: Credo New material Expand

New material

Remarks: New material : Dans l'esprit de certains mouvements mélodiques.

<R1756> Raphaëlle Rouzic <3511> Veni sponsa Christi <3512> Missa Veni sponsa Christi: Credo New material Expand

New material

Remarks: New material : Dans l'esprit de certains mouvements mélodiques du modèle.

<R1757> Raphaëlle Rouzic <3513> Veni sponsa Christi <3514> Missa Veni sponsa Christi: Credo New material Expand

New material

Remarks: Mouvement mélodique du motif de tête présent dans la FUGA précédente (mesure 86 >T)

<R1758> Manon Manfredi <3515> Je suis déshéritée <3516> Missa Je suis déshéritée: Gloria Quotation, Non-mechanical transformation Expand

Quotation, Non-mechanical transformation

Exact: False

Monnayage: True

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: quotation de la fugue (et non simplement du soggetto), puisque qu'il reprend bien la voix de basse et commence bien la voix d'alto sur un mi, mais l'alto dans la messe expose lui aussi le soggetto, la ou dans le modèle il ne l'expose pas. truncated car le PEN est à trois entrées alors que la fugue est à quatre.

<R1759> Manon Manfredi <3517> Je suis déshéritée <3518> Missa Je suis déshéritée: Gloria Quotation, Non-mechanical transformation Expand

Quotation, Non-mechanical transformation

Exact: False

Monnayage: True

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

<R1760> Raphaëlle Rouzic <3519> Veni sponsa Christi <3520> Missa Veni sponsa Christi: Credo New material Expand

New material

<R1761> Raphaëlle Rouzic <3521> Veni sponsa Christi <3522> Missa Veni sponsa Christi: Credo New material Expand

New material

<R1762> Manon Manfredi <3523> Je suis déshéritée <3524> Missa Je suis déshéritée: Gloria 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: combinaison du soggetto de la fugue superius mesure 3-5 tenor mesure 1-3,et du soggetto du NIM de la mesure 5-9 du modèle. reduced: le contre sujet à la basse dans la messe est réduit par rapport au soggetto du NIM du modèle. Amplified: soggetto du modèle transformé en PEN avec trois entrées dans la messe.

<R1763> Raphaëlle Rouzic <3525> Veni sponsa Christi <3526> Missa Veni sponsa Christi: Credo New material Expand

New material

Remarks: Le motif de tête est le même que la précédente FUGA/ID : mesures 90 à 94 C'est une réutilisation d'un "new material".

<R1764> Manon Manfredi <3527> Je suis déshéritée <3528> Missa Je suis déshéritée: Gloria Quotation Expand

Quotation

Exact: False

Monnayage: True

<R1765> Raphaëlle Rouzic <3529> Veni sponsa Christi <3530> Missa Veni sponsa Christi: Credo New material Expand

New material

Remarks: Le motif de tête est le même que la précédente FUGA/ID : mesures 90 à 94 C'est une réutilisation d'un "new material".

<R1766> Jon Oddie <3531> Benedicta es <3532> Benedicta es Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1767> Jon Oddie <3533> Benedicta es <3534> Benedicta es Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

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 embellishment of this three-note chant fragment takes the form of repeating it twice, the second time ornamented, and adding a concluding cantizans cadence

<R1768> Jon Oddie <3535> Benedicta es <3536> Benedicta es 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

<R1769> Jon Oddie <3537> Benedicta es <3538> Benedicta es Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1770> Jon Oddie <3539> Benedicta es <3540> Benedicta es 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

<R1771> Jon Oddie <3541> Benedicta es <3542> Benedicta es 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

<R1772> Jon Oddie <3543> Benedicta es <3544> Benedicta es 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

<R1773> Jon Oddie <3545> Benedicta es <3546> Benedicta es Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1774> Jon Oddie <3547> Benedicta es <3548> Benedicta es Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1775> Jon Oddie <3549> Benedicta es <3550> Benedicta es 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

<R1776> Jon Oddie <3551> Benedicta es <3552> Benedicta es Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

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 chant is ornamented with an added final stepwise descent, and augmented twofold (relative to its rhythmic values in the preceding point of imitation on the same chant soggetto).

<R1777> Jon Oddie <3553> Benedicta es <3554> Benedicta es New material Expand

New material

<R1778> Anne Nautré <3555> Voulant honneur <3556> Missa Voulant honneur: 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

<R1779> Anne Nautré <3557> Voulant honneur <3558> Missa Voulant honneur: Credo Mechanical transformation, Non-mechanical transformation Expand

Mechanical transformation, Non-mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

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

<R1780> Anne Nautré <3559> Voulant honneur <3560> Missa Voulant honneur: 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: Reduced: rythme de la ligne mélodique condensé Amplified: le soggetto de la chanson est traité en fugue dans le credo

<R1781> Scott Troyer <3561> Je n’en puis plus durer <3562> Missa Je n’en puis plus durer: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R1782> Scott Troyer <3563> Je n’en puis plus durer <3564> Missa Je n’en puis plus durer: 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

<R1783> Scott Troyer <3565> Je n’en puis plus durer <3566> Missa Je n’en puis plus durer: Kyrie New material Expand

New material

<R1784> Anne Nautré <3567> Voulant honneur <3568> Missa Voulant honneur: Credo Quotation, Mechanical transformation Expand

Quotation, Mechanical transformation

Exact: False

Monnayage: True

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: False

Double or invertible counterpoint: False

Remarks: Inversion des voix T et S par rapport au modèle.

<R1785> Scott Troyer <3569> Je n’en puis plus durer <3570> Missa Je n’en puis plus durer: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R1786> Anne Nautré <3571> Voulant honneur <3572> Missa Voulant honneur: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

<R1787> Scott Troyer <3573> Je n’en puis plus durer <3574> Missa Je n’en puis plus durer: 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

<R1788> Scott Troyer <3575> Je n’en puis plus durer <3576> Missa Je n’en puis plus durer: 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

<R1789> Ian Lorenz <3577> Quo abiit dilectus tuus <3578> Missa Quo abiit dilectus tuus: Kyrie Mechanical transformation, Non-mechanical transformation Expand

Mechanical transformation, Non-mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

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

<R1790> Scott Troyer <3579> Je n’en puis plus durer <3580> Missa Je n’en puis plus durer: 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

<R1791> Scott Troyer <3581> Je n’en puis plus durer <3582> Missa Je n’en puis plus durer: Kyrie New material Expand

New material

<R1792> Scott Troyer <3583> Je n’en puis plus durer <3584> Missa Je n’en puis plus durer: Kyrie New material Expand

New material

<R1793> Ian Lorenz <3585> Quo abiit dilectus tuus <3586> 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

<R1794> Jon Oddie <3587> Benedicta es <3588> Missa Benedicta es: Kyrie 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: Morales's version of the chant soggetto most closely matches Mouton's in rhythm and ornamentation (though one could make a case for Pieton as well)

<R1795> Ian Lorenz <3589> Quo abiit dilectus tuus <3590> Missa Quo abiit dilectus tuus: Kyrie Mechanical transformation, Non-mechanical transformation Expand

Mechanical transformation, Non-mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: False

Double or invertible counterpoint: False

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

<R1796> Scott Troyer <3591> Je n’en puis plus durer <3592> Missa Je n’en puis plus durer: Kyrie 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

Remarks: The mass composer adds a fourth entry not present in the model.

<R1797> Scott Troyer <3593> Je n’en puis plus durer <3594> Missa Je n’en puis plus durer: Kyrie New material Expand

New material

<R1798> Ian Lorenz <3595> Quo abiit dilectus tuus <3596> Missa Quo abiit dilectus tuus: Kyrie New material Expand

New material

<R1799> Jon Oddie <3597> Benedicta es <3598> Missa Benedicta es: Kyrie Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: False

Double or invertible counterpoint: True

Remarks: This relationship captures only the fuga entries in Mouton and Morales; see other relationship for details of how Morales also borrows non-imitative material from the model. The first two imitative duos in Morales are a mechanical transformation of Mouton (ic8/ic15 transforming imitation at 5- into imitation at 4+ or 11+); the third fuga interlock is a new combination in which the time interval is shifted from S1 to S3 while the pitch interval changes to 8+

<R1800> Ian Lorenz <3599> Quo abiit dilectus tuus <3600> Missa Quo abiit dilectus tuus: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True