CRIM

Citations: The Renaissance Imitation Mass Project

Relationships

ID Observer Model Derivative Relationship type Show details
<R1801> Ian Lorenz <3601> Quo abiit dilectus tuus <3602> 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: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1802> Scott Troyer <3603> Je n’en puis plus durer <3604> Missa Je n’en puis plus durer: Kyrie New material Expand

New material

<R1803> Ian Lorenz <3605> Quo abiit dilectus tuus <3606> Missa Quo abiit dilectus tuus: Kyrie New material Expand

New material

<R1804> Ian Lorenz <3607> Quo abiit dilectus tuus <3608> 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

<R1805> Ian Lorenz <3609> Quo abiit dilectus tuus <3610> 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: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1806> Jon Oddie <3611> Benedicta es <3612> Missa Benedicta es: Kyrie Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: False

Double or invertible counterpoint: True

<R1807> Ian Lorenz <3613> Quo abiit dilectus tuus <3614> Missa Quo abiit dilectus tuus: Kyrie New material Expand

New material

<R1808> Ian Lorenz <3615> Quo abiit dilectus tuus <3616> 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: True

Reduced: True

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1809> Ian Lorenz <3617> Quo abiit dilectus tuus <3618> 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

<R1810> Jon Oddie <3619> Benedicta es <3620> Missa Benedicta es: Kyrie 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

<R1811> Jon Oddie <3621> Benedicta es <3622> 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: In the middle of two sections based on the same or similar segments of chant ("et mundi totius Domina" / "et aegris medicina", which have almost the same melody), Morales inserts a borrowing from Josquin's setting of this chant segment -- but he takes only the countersubject, combining it in fuga entrances and omitting the chant soggetto from the borrowed material.

<R1812> Jon Oddie <3623> Benedicta es <3624> 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: The source of this chant soggetto is ambiguous: it could equally well come from Pieton (whose fuga Morales may have imitated in the following section), but only Josquin states the subject in S-M-M-S-S rhythm at the outset (as opposed to M-M-M-S-S in Pieton and in the following point of imitation). In either case Morales's countersubject to the chant soggetto appears to be new.

<R1813> Jon Oddie <3625> Benedicta es <3626> 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: It is difficult to decide whether this passage of fuga from Morales derives from Josquin, Pieton, both, or neither. All three composers wrote a passage of complex fuga on this subject, and given the restrictions of counterpoint they would inevitably have arrived at similar combinations. Morales shares with Pieton the rhythm of the subject (beginning with a minim rather than a semibreve), and the interlocks at M2 distance and pitch intervals 11- or 7+. On the other hand, Josquin also uses an interlock at M2,4- (congruent to 11-); in addition, Morales and Josquin both feature interlocks with time interval M4 and pitch intervals 8+ and 4+/5-. A separate relationship records this possible borrowing from Josquin.

<R1814> Jon Oddie <3627> Benedicta es <3628> 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: Pieton and Josquin are both possible sources for this passage of fuga from Morales. (See the relationship to Pieton's motet for further details). Morales shares with Josquin the interlocks (M2,4- [or 11- in Morales]) and (M4,8+); Josquin also uses (M4,5-) while Morales uses its inversion, (M4,4+). Both Josquin and Pieton are more regular in structure than Morales.

<R1815> Jon Oddie <3629> Benedicta es <3630> Missa Benedicta es: 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

Remarks: This concluding segment of cantus firmus in Morales seems to be his own rhythmicisation / ornamentation of the chant: it does not correspond exactly to any soggetto in Pieton, Mouton, or Josquin that I could identify.

<R1816> Manon Manfredi <3631> Je suis déshéritée <3632> 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

<R1817> Manon Manfredi <3633> Je suis déshéritée <3634> Missa Je suis déshéritée: Gloria Quotation Expand

Quotation

Exact: False

Monnayage: True

<R1818> Manon Manfredi <3635> Je suis déshéritée <3636> Missa Je suis déshéritée: Gloria 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

<R1819> Manon Manfredi <3637> Je suis déshéritée <3638> Missa Je suis déshéritée: Gloria Quotation Expand

Quotation

Exact: True

Monnayage: False

<R1820> Manon Manfredi <3639> Je suis déshéritée <3640> Missa Je suis déshéritée: Gloria Quotation, Non-mechanical transformation Expand

Quotation, Non-mechanical transformation

Exact: False

Monnayage: True

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

Remarks: Reduced pour la voix de ténor.

<R1821> Manon Manfredi <3641> Je suis déshéritée <3642> Missa Je suis déshéritée: Gloria 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

<R1822> Manon Manfredi <3643> Je suis déshéritée <3644> Missa Je suis déshéritée: Gloria Quotation Expand

Quotation

Exact: True

Monnayage: False

Remarks: légères variations sur la voix d'alto.

<R1823> Scott Troyer <3645> Je n’en puis plus durer <3646> Missa Je n’en puis plus durer: Gloria 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: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: The opening of the borrowed phrase has been extended and transformed from simple to staggered homorhythm.

<R1824> Scott Troyer <3647> Je n’en puis plus durer <3648> Missa Je n’en puis plus durer: Gloria 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

<R1825> Scott Troyer <3649> Je n’en puis plus durer <3650> Missa Je n’en puis plus durer: Gloria New material Expand

New material

<R1826> Scott Troyer <3651> Je n’en puis plus durer <3652> Missa Je n’en puis plus durer: Gloria 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

<R1827> Scott Troyer <3653> Je n’en puis plus durer <3654> Missa Je n’en puis plus durer: Gloria New material Expand

New material

<R1828> Scott Troyer <3655> Je n’en puis plus durer <3656> Missa Je n’en puis plus durer: Gloria New material Expand

New material

<R1829> Scott Troyer <3657> Je n’en puis plus durer <3658> Missa Je n’en puis plus durer: Gloria New material Expand

New material

<R1830> Scott Troyer <3659> Je n’en puis plus durer <3660> Missa Je n’en puis plus durer: Gloria New material Expand

New material

Remarks: The soggetto is nearly identical to the contratenor line at the beginning of the movement. While in the context of the opening the contratenor line is clearly a mix of the bassus and contratenor lines from the model, the soggetto's presentation here bears no resemblance to the model.

<R1831> Scott Troyer <3661> Je n’en puis plus durer <3662> Missa Je n’en puis plus durer: Gloria 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

<R1832> Scott Troyer <3663> Je n’en puis plus durer <3664> Missa Je n’en puis plus durer: Gloria New material Expand

New material

<R1833> Scott Troyer <3665> Je n’en puis plus durer <3666> Missa Je n’en puis plus durer: Gloria New material Expand

New material

<R1834> Scott Troyer <3667> Je n’en puis plus durer <3668> Missa Je n’en puis plus durer: Gloria New material Expand

New material

<R1835> Scott Troyer <3669> Je n’en puis plus durer <3670> Missa Je n’en puis plus durer: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: False

New combination: False

Remarks: The initial presentation of the borrowed soggetto is truncated.

<R1836> Raphaëlle Rouzic <3671> Veni sponsa Christi <3672> Missa Veni sponsa Christi: Kyrie New material Expand

New material

Remarks: Cet ID est construit à partir du Contre sujet du NiM mesures 20 à 27. Le Contre sujet du second duo correspond à la première voix du premier duo de l'ID. Cette voix de Bassus peut être considérée comme un pivot entre le NiM et les imitations qui suivent entre le Sujet et le Contre sujet.

<R1837> Scott Troyer <3673> Je n’en puis plus durer <3674> Missa Je n’en puis plus durer: Gloria New material Expand

New material

<R1838> Scott Troyer <3675> Je n’en puis plus durer <3676> Missa Je n’en puis plus durer: Gloria 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

<R1839> Scott Troyer <3677> Je n’en puis plus durer <3678> Missa Je n’en puis plus durer: Gloria New material Expand

New material

<R1840> Scott Troyer <3679> Je n’en puis plus durer <3680> Missa Je n’en puis plus durer: Gloria New material Expand

New material

<R1841> Scott Troyer <3681> Je n’en puis plus durer <3682> Missa Je n’en puis plus durer: Gloria New material Expand

New material

<R1842> Raphaëlle Rouzic <3683> Veni sponsa Christi <3684> Missa Veni sponsa Christi: Kyrie New material Expand

New material

Remarks: New material : Ce NiM se réfère au NiM précédent mesures 20 à 27. C'est une répétition inversée du premier NiM.

<R1843> Scott Troyer <3685> Je n’en puis plus durer <3686> Missa Je n’en puis plus durer: Gloria 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

Remarks: The initial statement of the soggetto in the bassus of each ID is truncated.

<R1844> Raphaëlle Rouzic <3687> Veni sponsa Christi <3688> Missa Veni sponsa Christi: Kyrie New material Expand

New material

Remarks: Cet ID à trois duo est construit à partir du Contre sujet du NiM mesures 20 à 27. La relation se fait donc à partir d'un nouveau matériel du Christe lui-même.

<R1845> Ian Lorenz <3689> Quo abiit dilectus tuus <3690> Missa Quo abiit dilectus tuus: Gloria Quotation Expand

Quotation

Exact: True

Monnayage: False

<R1846> Ian Lorenz <3691> Quo abiit dilectus tuus <3692> Missa Quo abiit dilectus tuus: Gloria Quotation Expand

Quotation

Exact: True

Monnayage: False

<R1847> Ian Lorenz <3693> Quo abiit dilectus tuus <3694> Missa Quo abiit dilectus tuus: Gloria Quotation Expand

Quotation

Exact: True

Monnayage: False

<R1848> Ian Lorenz <3695> Quo abiit dilectus tuus <3696> Missa Quo abiit dilectus tuus: Gloria 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

<R1849> Ian Lorenz <3697> Quo abiit dilectus tuus <3698> Missa Quo abiit dilectus tuus: Gloria 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

<R1850> Ian Lorenz <3699> Quo abiit dilectus tuus <3700> Missa Quo abiit dilectus tuus: Gloria 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

<R1851> Ian Lorenz <3701> Quo abiit dilectus tuus <3702> Missa Quo abiit dilectus tuus: Gloria Omission Expand

Omission

<R1852> Ian Lorenz <3703> Quo abiit dilectus tuus <3704> Missa Quo abiit dilectus tuus: Gloria Omission Expand

Omission

<R1853> Ian Lorenz <3705> Quo abiit dilectus tuus <3706> Missa Quo abiit dilectus tuus: Gloria Omission Expand

Omission

<R1854> Ian Lorenz <3707> Quo abiit dilectus tuus <3708> Missa Quo abiit dilectus tuus: Gloria Omission Expand

Omission

<R1855> Ian Lorenz <3709> Quo abiit dilectus tuus <3710> Missa Quo abiit dilectus tuus: Gloria Omission Expand

Omission

<R1856> Ian Lorenz <3711> Quo abiit dilectus tuus <3712> Missa Quo abiit dilectus tuus: Gloria 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: True

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1857> Ian Lorenz <3713> Quo abiit dilectus tuus <3714> Missa Quo abiit dilectus tuus: Gloria 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

<R1858> Ian Lorenz <3715> Quo abiit dilectus tuus <3716> Missa Quo abiit dilectus tuus: Gloria 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

<R1859> Ian Lorenz <3717> Quo abiit dilectus tuus <3718> Missa Quo abiit dilectus tuus: Gloria 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

<R1860> Ian Lorenz <3719> Quo abiit dilectus tuus <3720> Missa Quo abiit dilectus tuus: Gloria 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: True

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1861> Ian Lorenz <3721> Quo abiit dilectus tuus <3722> Missa Quo abiit dilectus tuus: Gloria 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

<R1862> Ian Lorenz <3723> Quo abiit dilectus tuus <3724> Missa Quo abiit dilectus tuus: Gloria 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

<R1863> Raphaëlle Rouzic <3725> Veni sponsa Christi <3726> 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: False

Double or invertible counterpoint: False

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

Remarks: Reduced : La citation est limitée aux notes structurelles du motif. Lorsque la voix de Tenor a atteint son climax sur A (mesure 34 du modèle) seule une descente régulière est retenue dans la messe (voix de Bassus)

<R1864> Ian Lorenz <3727> Quo abiit dilectus tuus <3728> Missa Quo abiit dilectus tuus: Gloria 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: True

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1865> Ian Lorenz <3729> Quo abiit dilectus tuus <3730> Missa Quo abiit dilectus tuus: Gloria 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

<R1866> Ian Lorenz <3731> Quo abiit dilectus tuus <3732> Missa Quo abiit dilectus tuus: Gloria 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

<R1867> Ian Lorenz <3733> Quo abiit dilectus tuus <3734> Missa Quo abiit dilectus tuus: Gloria New material Expand

New material

<R1868> Ian Lorenz <3735> Quo abiit dilectus tuus <3736> Missa Quo abiit dilectus tuus: Gloria 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: True

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1869> Ian Lorenz <3737> Quo abiit dilectus tuus <3738> Missa Quo abiit dilectus tuus: Gloria 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: False

<R1870> Raphaëlle Rouzic <3739> Veni sponsa Christi <3740> Missa Veni sponsa Christi: Credo Quotation, Mechanical transformation, Non-mechanical transformation Expand

Quotation, Mechanical transformation, Non-mechanical transformation

Exact: False

Monnayage: True

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: True

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

Remarks: Monnayage : des valeurs rythmiques Transposed : Model: D/A/A -> Mass: A/E Metrically shifted : Model: S3/3 -> Mass: S1

<R1871> Jon Oddie <3741> Benedicta es <3742> Missa Benedicta es: Gloria Quotation, Non-mechanical transformation Expand

Quotation, Non-mechanical transformation

Exact: False

Monnayage: True

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

<R1872> Ian Lorenz <3743> Quo abiit dilectus tuus <3744> Missa Quo abiit dilectus tuus: Gloria Quotation Expand

Quotation

Exact: True

Monnayage: False

<R1873> Ian Lorenz <3745> Quo abiit dilectus tuus <3746> Missa Quo abiit dilectus tuus: Gloria Quotation Expand

Quotation

Exact: True

Monnayage: False

<R1874> Raphaëlle Rouzic <3747> Veni sponsa Christi <3748> Missa Veni sponsa Christi: Credo New material Expand

New material

Remarks: New material : Sans pouvoir désigner un endroit précis, c'est une allusion au style d'écriture du modèle.

<R1875> Raphaëlle Rouzic <3749> Veni sponsa Christi <3750> Missa Veni sponsa Christi: Credo New material Expand

New material

<R1876> Jon Oddie <3751> Benedicta es <3752> Missa Benedicta es: Gloria 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: I suggest that Morales may have borrowed this contrapuntal idea/structure from Pieton, although the amount of borrowed *material* is small (Morales's chant soggetto is more similar to Mouton than Pieton). Both composers combine a chant CF in the highest voice with two successive entrances of a countersubject in the lower voices. NIms arise in both cases because of internal repetition of G-A within the CF, which lines up with the same segment of the CS in both cases. Both Pieton's and Morales's CS begin G-G-C, but they differ afterwards (and hence so do the NIms produced).

<R1877> Raphaëlle Rouzic <3753> Veni sponsa Christi <3754> Missa Veni sponsa Christi: Credo New material Expand

New material

<R1878> Jon Oddie <3755> Benedicta es <3756> Missa Benedicta es: Gloria Quotation Expand

Quotation

Exact: True

Monnayage: False

Remarks: Morales quotes the subject as a singleton, without treating it in fuga. Mouton's subject here is identical to Pieton's, so definite attribution of borrowing to one or the other source is difficult.

<R1879> Jon Oddie <3757> Benedicta es <3758> Missa Benedicta es: Gloria Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: This subject is identical in Pieton and Mouton (at least in its first entrance: subsequent entrances in Pieton have a different contour). Morales's version differs only in the conventional shortening of the first note from S to M. Morales quotes only the subject, not its contrapuntal context in either motet.

<R1880> Raphaëlle Rouzic <3759> Veni sponsa Christi <3760> Missa Veni sponsa Christi: Credo New material Expand

New material

<R1881> Anne Nautré <3761> Voulant honneur <3762> Missa Voulant honneur: Sanctus 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: Soggetto du modèle traité en fuga dans le sanctus

<R1882> Jon Oddie <3763> Benedicta es <3764> Missa Benedicta es: Gloria Quotation Expand

Quotation

Exact: True

Monnayage: False

Remarks: Morales's version of this chant most closely matches Pieton's, although the treatment is generic enough that this could be coincidence. Interestingly, Pieton does *not* treat this melodic line as a self-contained unit: in his setting, the first three notes (A-B-G-) belong to one imitative motive and the last three (-E-F-G) to a different one.

<R1883> Jon Oddie <3765> Benedicta es <3766> Missa Benedicta es: Gloria None Expand

Relationship

Remarks: This three-note "cumulative fourth" motive is fairly generic, and the relationship to a completely different segment of the chant than the surrounding ones may seem far-fetched. However, there *is* a later section of this mass movement apparently based on a more extensive extract from the same section of the chant (bb. 91-115), and the brief introduction of the motive here could be understood as "foreshadowing". Alternatively, this motive could also be understood as the melodic inversion of the chant motive that follows in bb. 22-8.

<R1884> Ian Lorenz <3767> Quo abiit dilectus tuus <3768> Missa Quo abiit dilectus tuus: Gloria 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

<R1885> Manon Manfredi <3769> Je suis déshéritée <3770> Missa Je suis déshéritée: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R1886> Jon Oddie <3771> Benedicta es <3772> Missa Benedicta es: Gloria Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: Morales's chant soggetto is closest to Pieton's in rhythm, though it could equally be considered a citation of the chant directly.

<R1887> Ian Lorenz <3773> Quo abiit dilectus tuus <3774> Missa Quo abiit dilectus tuus: Gloria 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

<R1888> Ian Lorenz <3775> Quo abiit dilectus tuus <3776> Missa Quo abiit dilectus tuus: Gloria New material Expand

New material

<R1889> Ian Lorenz <3777> Quo abiit dilectus tuus <3778> Missa Quo abiit dilectus tuus: Gloria New material Expand

New material

<R1890> Manon Manfredi <3779> Je suis déshéritée <3780> Missa Je suis déshéritée: Kyrie Quotation, Non-mechanical transformation Expand

Quotation, Non-mechanical transformation

Exact: False

Monnayage: True

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: Une fugue à partir soggetto du NIM du modèle mesure 7-9, et de la fugue mesure 9-11 du modèle.

<R1891> Ian Lorenz <3781> Quo abiit dilectus tuus <3782> Missa Quo abiit dilectus tuus: Gloria Omission Expand

Omission

<R1892> Jon Oddie <3783> Benedicta es <3784> Missa Benedicta es: Gloria 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: As with the corresponding place in the Kyrie, it is difficult to know whether this passage of fuga represents borrowing from Josquin, Pieton, both or neither. It seems slightly more similar to Pieton due to the initial group of three periodic entrances, and the repeated use of an interlock at the upper seventh after two minims.

<R1893> Ian Lorenz <3785> Quo abiit dilectus tuus <3786> Missa Quo abiit dilectus tuus: Gloria 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

<R1894> Raphaëlle Rouzic <3787> Veni sponsa Christi <3788> 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: C'est une allusion complexe au modèle en fusionnant deux têtes de motifs.

<R1895> Anne Nautré <3789> Voulant honneur <3790> Missa Voulant honneur: Sanctus 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: Le motif en imitation dans le Sanctus peut provenir du début des voix S et T dans la chanson, caractérisé par la montée conjointe de trois notes.

<R1896> Manon Manfredi <3791> Je suis déshéritée <3792> Missa Je suis déshéritée: Kyrie Quotation, Non-mechanical transformation Expand

Quotation, Non-mechanical transformation

Exact: False

Monnayage: True

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: association de deux soggetti différents du modèle dans une HR, la quotation vaut pour le superius et le ténor, mais le schéma est une HR si l'on prend en compte l'alto.

<R1897> Ian Lorenz <3793> Quo abiit dilectus tuus <3794> Missa Quo abiit dilectus tuus: Gloria 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

<R1898> Raphaëlle Rouzic <3795> Veni sponsa Christi <3796> Missa Veni sponsa Christi: Credo New material Expand

New material

<R1899> Jon Oddie <3797> Benedicta es <3798> Missa Benedicta es: Gloria 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: Morales's fuga seems more distantly related to Josquin's than it is to Pieton's (see other relationship for details). However, one interlock at the lower fifth after four minims is used by Morales and Josquin but not by Pieton.

<R1900> Anne Nautré <3799> Voulant honneur <3800> Missa Voulant honneur: Sanctus 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