CRIM

Citations: The Renaissance Imitation Mass Project

Relationships

ID Observer Model Derivative Relationship type Show details
<R101> Alexis Risler <201> Benedicta es <202> Missa Benedicta es: Agnus Dei Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R102> Alexis Risler <203> Benedicta es <204> Missa Benedicta es: Agnus Dei Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R103> Alexis Risler <205> Benedicta es <206> Missa Benedicta es: Agnus Dei 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

<R104> Peter Schubert <207> Veni sponsa Christi <208> Missa Veni sponsa Christi: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R105> Alexis Risler <209> Benedicta es <210> Missa Benedicta es: Agnus Dei Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R106> Alexis Risler <211> Benedicta es <212> Missa Benedicta es: Agnus Dei 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: Only the bass part of Josquin is used by Palestrina (exact quotation, amplified).

<R107> Alexis Risler <213> Benedicta es <214> Missa Benedicta es: Agnus Dei 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

<R108> Ian Lorenz <215> Je suis déshéritée <216> Missa Je suis déshéritée: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R109> Ian Lorenz <217> Je suis déshéritée <218> Missa Je suis déshéritée: 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: New CS

<R110> Ian Lorenz <219> Je suis déshéritée <220> Missa Je suis déshéritée: 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: Opening soggetto is now used as new CS and transposed down a fifth

<R111> Ian Lorenz <221> Je suis déshéritée <222> Missa Je suis déshéritée: 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

<R112> Ian Lorenz <223> Je suis déshéritée <224> Missa Je suis déshéritée: Kyrie Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: True

Double or invertible counterpoint: False

Remarks: Cadence displaced metrically and sounds in new voices

<R113> Ian Lorenz <225> Je suis déshéritée <226> Missa Je suis déshéritée: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: No Fuga with the repeat of the opening soggetto

<R114> Ian Lorenz <227> Je suis déshéritée <228> Missa Je suis déshéritée: 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

Remarks: Three-voice Fuga instead of two-voice Fuga found in the model

<R115> Ian Lorenz <229> Je suis déshéritée <230> Missa Je suis déshéritée: Kyrie Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): True

Melodically inverted: True

Retrograde: False

Metrically shifted: False

Transposed: False

Double or invertible counterpoint: False

<R116> Ian Lorenz <231> Je suis déshéritée <232> Missa Je suis déshéritée: 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

<R117> Ian Lorenz <233> Je suis déshéritée <234> Missa Je suis déshéritée: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R118> Ian Lorenz <235> Je suis déshéritée <236> Missa Je suis déshéritée: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R119> Ian Lorenz <237> Je suis déshéritée <238> Missa Je suis déshéritée: 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: True

Remarks: Three-voiced Fuga instead of two-voiced Fuga in model

<R120> Ian Lorenz <239> Je suis déshéritée <240> Missa Je suis déshéritée: 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: True

Remarks: Two NIms within the three-voice Fuga

<R121> Max Le Mée <241> Vidi speciosam <242> Missa Vidi speciosam: 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

<R122> Max Le Mée <243> Vidi speciosam <244> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: Such an importand reduction/truncation that it could be considered an omision... if the text was not 'et invisibilium'. This section of the mass goes unnoticed in regard to 'visibilium ominum'that is built on the 'main theme'of the model. Sohier uses a quasi-omision to make a figuralism.

<R123> Max Le Mée <245> Vidi speciosam <246> Missa Vidi speciosam: Credo New material Expand

New material

Remarks: I deem the HR on 'Iesum Christum'important enough to be noticed as New Material.

<R124> Max Le Mée <247> Vidi speciosam <248> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R125> Max Le Mée <249> Vidi speciosam <250> Missa Vidi speciosam: Credo 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: True

New combination: False

Remarks: The huge Fg of the model is severely truncated in the mass.

<R126> Max Le Mée <251> Vidi speciosam <252> Missa Vidi speciosam: 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: The ID is truncated to only one duo. The cadence on D is New Material.

<R127> Max Le Mée <253> Vidi speciosam <254> Missa Vidi speciosam: Credo 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: True

New combination: False

Remarks: The fuga becomes an ID.

<R128> Max Le Mée <255> Vidi speciosam <256> Missa Vidi speciosam: 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: False

Remarks: A soggetto that we find back several pages before. It is reused on 'et resurexit'. It is probably far-fetched, but we can consider that Sohier makes a figuralism by 'resuscitating'an old soggetto... I assess a reduction, for I do not know what else I could assess...

<R129> Max Le Mée <257> Vidi speciosam <258> Missa Vidi speciosam: 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

Remarks: It looks like Sohier has reduced a former soggetto to turn it into a new soggetto, and built a fuga from it.

<R130> Max Le Mée <259> Vidi speciosam <260> Missa Vidi speciosam: Credo New material Expand

New material

Remarks: Apparently a New Material, I cannot find where it could come from...

<R131> Max Le Mée <261> Vidi speciosam <262> Missa Vidi speciosam: 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: The 'main soggetto'is turned into an HR, and developed into a fuga.

<R132> Max Le Mée <263> Vidi speciosam <264> Missa Vidi speciosam: 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

<R133> Max Le Mée <265> Vidi speciosam <266> Missa Vidi speciosam: Credo New material Expand

New material

Remarks: It looks like this New Material replaces 'de super rivos aquarum', which is omited.

<R134> Max Le Mée <267> Vidi speciosam <268> Missa Vidi speciosam: Credo 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: I also indicate a truncation for all the fuga accompanying the Duo in the model is not present in the mass.

<R135> Agostino Magro <269> Je suis déshéritée <270> Missa Je suis déshéritée: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R136> Agostino Magro <271> Je suis déshéritée <272> Missa Je suis déshéritée: 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: Le sujet en imitation aux quatre voix du modèle est repété une deuxième fois au t et ct

<R137> Agostino Magro <273> Je suis déshéritée <274> Missa Je suis déshéritée: 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: Le Soggetto du modèle est repété une deuxième fois au t de la messe en imitation avec le ct

<R138> Agostino Magro <275> Je suis déshéritée <276> Missa Je suis déshéritée: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R139> Agostino Magro <277> Je suis déshéritée <278> Missa Je suis déshéritée: 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

<R140> Agostino Magro <279> Je suis déshéritée <280> Missa Je suis déshéritée: 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

<R141> Ian Lorenz <281> Je suis déshéritée <282> Missa Je suis déshéritée: 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

<R142> Ian Lorenz <283> Je suis déshéritée <284> Missa Je suis déshéritée: 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

<R143> Ian Lorenz <285> Je suis déshéritée <286> Missa Je suis déshéritée: 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

<R144> Ian Lorenz <287> Je suis déshéritée <288> Missa Je suis déshéritée: 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

<R145> Ian Lorenz <289> Je suis déshéritée <290> Missa Je suis déshéritée: 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

<R146> Ian Lorenz <291> Je suis déshéritée <292> Missa Je suis déshéritée: 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

<R147> Ian Lorenz <293> Je suis déshéritée <294> Missa Je suis déshéritée: Kyrie Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: True

Double or invertible counterpoint: False

<R148> Ian Lorenz <295> Je suis déshéritée <296> Missa Je suis déshéritée: 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

<R149> Ian Lorenz <297> Je suis déshéritée <298> Missa Je suis déshéritée: 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: Cadence in the Gombert would require alterations to the musica ficta and would be very crunchy.

<R150> Ian Lorenz <299> Je suis déshéritée <300> Missa Je suis déshéritée: 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

<R151> Ian Lorenz <301> Je suis déshéritée <302> Missa Je suis déshéritée: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R152> Ian Lorenz <303> Je suis déshéritée <304> Missa Je suis déshéritée: 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

<R153> Ian Lorenz <305> Je suis déshéritée <306> Missa Je suis déshéritée: 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

<R154> Ian Lorenz <307> Je suis déshéritée <308> Missa Je suis déshéritée: 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

<R155> Ian Lorenz <309> Je suis déshéritée <310> Missa Je suis déshéritée: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: While the cadence has been changed to be evaded, Gombert nearly quotes all of the bassus, tenor, and contratenor at this moment

<R156> Ian Lorenz <311> Je suis déshéritée <312> Missa Je suis déshéritée: 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: Transposed soggetto against itself

<R157> Ian Lorenz <313> Je suis déshéritée <314> Missa Je suis déshéritée: 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

<R158> Ian Lorenz <315> Je suis déshéritée <316> Missa Je suis déshéritée: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R159> Ian Lorenz <317> Je suis déshéritée <318> Missa Je suis déshéritée: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R160> Ian Lorenz <319> Je suis déshéritée <320> Missa Je suis déshéritée: 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

<R161> Ian Lorenz <321> Je suis déshéritée <322> Missa Je suis déshéritée: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R162> Ian Lorenz <323> Je suis déshéritée <324> Missa Je suis déshéritée: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R163> Ian Lorenz <325> Je suis déshéritée <326> Missa Je suis déshéritée: 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: True

Remarks: New CS to soggetto with a new combination

<R164> Max Le Mée <327> Vidi speciosam <328> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

Remarks: The Soggetto is reused as the basis of a HR.

<R165> Agostino Magro <329> Je suis déshéritée <330> Missa Je suis déshéritée: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R166> Max Le Mée <331> Vidi speciosam <332> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R167> Agostino Magro <333> Je suis déshéritée <334> Missa Je suis déshéritée: 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: True

<R168> Max Le Mée <335> Vidi speciosam <336> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R169> Agostino Magro <337> Je suis déshéritée <338> Missa Je suis déshéritée: Kyrie Quotation Expand

Quotation

Exact: True

Monnayage: False

<R170> Max Le Mée <339> Vidi speciosam <340> Missa Vidi speciosam: Credo Non-mechanical transformation, Omission Expand

Non-mechanical transformation, Omission

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: There is a Cadence in the mass, but weaker by far than the CAD in the model. On a point a view of form, as the 'pause'and separation in two parts is not present, I consider it as an omission.

<R171> Max Le Mée <341> Vidi speciosam <342> Missa Vidi speciosam: Credo Non-mechanical transformation, Omission Expand

Non-mechanical transformation, Omission

Embellished: False

Reduced: False

Amplified: True

Truncated: True

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: ID becoming one Duo is a truncation. The echo of the 'second'part of the soggetto is an amplification. This echo is infact the soggetto of the model on 'electa ut sol', meaning that all the soggettos in between have been omitted.

<R172> Max Le Mée <343> Vidi speciosam <344> Missa Vidi speciosam: Credo New material Expand

New material

<R173> Max Le Mée <345> Vidi speciosam <346> Missa Vidi speciosam: 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

<R174> Max Le Mée <347> Vidi speciosam <348> Missa Vidi speciosam: Credo Omission Expand

Omission

<R175> Max Le Mée <349> Vidi speciosam <350> Missa Vidi speciosam: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: True

New counter-subject: True

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R176> Max Le Mée <351> Vidi speciosam <352> Missa Vidi speciosam: Gloria 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

<R177> Max Le Mée <353> Vidi speciosam <354> Missa Vidi speciosam: 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: True

New combination: False

<R178> Max Le Mée <355> Vidi speciosam <356> Missa Vidi speciosam: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R179> Max Le Mée <357> Vidi speciosam <358> Missa Vidi speciosam: Gloria New material Expand

New material

<R180> Max Le Mée <359> Vidi speciosam <360> Missa Vidi speciosam: Gloria 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: False

New combination: False

Remarks: Some added entries to both the modules that I do not take into account.

<R181> Max Le Mée <361> Vidi speciosam <362> Missa Vidi speciosam: 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: False

<R182> Max Le Mée <363> Vidi speciosam <364> Missa Vidi speciosam: 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: Same new material than on 'Deus Pater'.

<R183> Max Le Mée <365> Vidi speciosam <366> Missa Vidi speciosam: 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: True

New combination: False

<R184> Manon Manfredi <367> Tota pulchra es <368> Missa Tota pulchra es: 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: True

Double or invertible counterpoint: False

<R185> Manon Manfredi <369> Tota pulchra es <370> Missa Tota pulchra es: 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: True

Double or invertible counterpoint: False

<R186> Agostino Magro <371> Je suis déshéritée <372> Missa Je suis déshéritée: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: Citation à la basse du motif principal du modèle

<R187> Agostino Magro <373> Je suis déshéritée <374> Missa Je suis déshéritée: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: Citation à la basse du motif principal du modèle

<R188> Manon Manfredi <375> Tota pulchra es <376> Missa Tota pulchra es: 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

<R189> Manon Manfredi <377> Tota pulchra es <378> Missa Tota pulchra es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: manque la clausule de ténor du modèle

<R190> Manon Manfredi <379> Tota pulchra es <380> Missa Tota pulchra es: 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

<R191> Manon Manfredi <381> Tota pulchra es <382> Missa Tota pulchra es: 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

Remarks: est une allusion à la fugue du modèle avec le ton descendant suivit du demi-ton descendant. la Basse inverse la 4te et la 5te

<R192> Manon Manfredi <383> Tota pulchra es <384> Missa Tota pulchra es: Credo Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: True

Double or invertible counterpoint: False

<R193> Raphaëlle Rouzic <385> Veni sponsa Christi <386> Missa Veni sponsa Christi: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: True

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R194> Raphaëlle Rouzic <387> Veni sponsa Christi <388> Missa Veni sponsa Christi: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R195> Raphaëlle Rouzic <389> Veni sponsa Christi <390> Missa Veni sponsa Christi: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R196> Raphaëlle Rouzic <391> Veni sponsa Christi <392> Missa Veni sponsa Christi: Gloria Quotation Expand

Quotation

Exact: True

Monnayage: False

Remarks: measure 10 of the mass (mesaure 6-7 of the model) : the quotation is exact too with the two other voices: Tenor and Bassus

<R197> Raphaëlle Rouzic <393> Veni sponsa Christi <394> Missa Veni sponsa Christi: Gloria Quotation Expand

Quotation

Exact: True

Monnayage: False

Remarks: Almost at the same place. Palestrina follows closely the framework of the model for the skeleton of the mass.

<R198> Damien Bonnec <395> Quare fremuerunt gentes <396> Missa Quare fremuerunt gentes: 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: At the beginning, B1 more in the mass

<R199> Damien Bonnec <397> Quare fremuerunt gentes <398> Missa Quare fremuerunt gentes: 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

Remarks: Around B7 in the model and around B6 in the mass

<R200> Raphaëlle Rouzic <399> Veni sponsa Christi <400> Missa Veni sponsa Christi: Gloria Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: Same anticipation of an imitation part, based on the same soggetto, at the same place (Model-Mass).