CRIM

Citations: The Renaissance Imitation Mass Project

Relationships

ID Observer Model Derivative Relationship type Show details
<R2611> Richard Freedman <5085> Ave Maria <5086> Missa Ave Maria: 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: True

New combination: False

<R2612> Richard Freedman <5087> Ave Maria <5088> Missa Ave Maria: Kyrie Quotation, Mechanical transformation Expand

Quotation, Mechanical transformation

Exact: False

Monnayage: True

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

<R2613> Richard Freedman <5089> Ave Maria <5090> Missa Ave Maria: 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

<R2614> Richard Freedman <5091> Ave Maria <5092> Missa Ave Maria: 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

<R2615> Richard Freedman <5093> Ave Maria <5094> Missa Ave Maria: 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

<R2616> Richard Freedman <5095> Ave Maria <5096> Missa Ave Maria: Agnus Dei 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

<R2617> Richard Freedman <5097> Ave Maria <5098> Missa Ave Maria: 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: False

<R2618> Richard Freedman <5099> Ave Maria <5100> Missa Ave Maria: Agnus Dei None Expand

Relationship

<R2619> Richard Freedman <5101> Ave Maria <5102> Missa Ave Maria: Agnus Dei None Expand

Relationship

<R2620> Richard Freedman <5103> Missa Ave Maria: Kyrie <5104> Missa Ave Maria: Agnus Dei Quotation Expand

Quotation

Exact: True

Monnayage: False

<R2621> Richard Freedman <5105> Missa Ave Maria: Kyrie <5106> Missa Ave Maria: Agnus Dei New material Expand

New material

<R2622> Richard Freedman <5107> Ave Maria <5108> Missa Ave Maria: Sanctus 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

<R2623> Richard Freedman <5109> Ave Maria <5110> Missa Ave Maria: Sanctus 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

<R2624> Richard Freedman <5111> Ave Maria <5112> Missa Ave Maria: Sanctus Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: Févin's tenor mainly follows the tenor of the motet, as we also heard in Credo @ 258 and following. The Hosannah section of the Sanctus is often set in triple mensuration, which might help explain why Févin here looks to this passage of the motet, which is also in triple mensuration.

<R2625> Richard Freedman <5113> Ave Maria <5114> Missa Ave Maria: Agnus Dei New material Expand

New material

<R2626> Richard Freedman <5115> Ave Maria <5116> Missa Ave Maria: Agnus Dei 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

<R2627> Richard Freedman <5117> Ave Maria <5119> Missa Ave Maria: Agnus Dei Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: There is also a new CS in the altus.

<R2628> Richard Freedman <5118> Ave Maria <5120> Missa Ave Maria: Agnus Dei Quotation Expand

Quotation

Exact: False

Monnayage: True

<R2629> Richard Freedman <5121> Ave Maria <5122> Missa Ave Maria: Agnus Dei New material Expand

New material

<R2630> Richard Freedman <5123> Ave Maria <5124> Missa Ave Maria: Agnus Dei New material Expand

New material

<R2631> Richard Freedman <5125> Ave Maria <5126> Missa Ave Maria: Agnus Dei New material Expand

New material

<R2632> Richard Freedman <5127> Ave Maria <5128> Missa Ave Maria: Agnus Dei New material Expand

New material

<R2633> Richard Freedman <5129> Ave Maria <5130> Missa Ave Maria: Agnus Dei New material Expand

New material

<R2634> Richard Freedman <5131> Ave Maria <5132> Missa Ave Maria: 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

<R2635> Richard Freedman <5133> Ave Maria <5134> Missa Ave Maria: Gloria New material Expand

New material

<R2636> Richard Freedman <5135> Ave Maria <5136> Missa Ave Maria: Gloria None Expand

Relationship

Remarks: Févin here amplifies the original by adding a contrapuntal duo as a kind of interlude in 35-39. It follows on the Phyrgian Cadence to E in m. 35, overlapping with the end of NIM in 38-40 of the Gloria and forming its own cadence to G in m. 40

<R2637> Richard Freedman <5137> Ave Maria <5138> Missa Ave Maria: Gloria New material Expand

New material

<R2638> Richard Freedman <5139> Ave Maria <5140> Missa Ave Maria: Gloria Quotation Expand

Quotation

Exact: False

Monnayage: True

<R2639> Richard Freedman <5141> Ave Maria <5142> Missa Ave Maria: 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: In the motet, text representation as 'heaven and earth are filled', via sequential repetition up to cadence on C. In the Gloria of the Mass: the NIM's amplify "Iesu Christe" through repetition, but they don't 'represent' it, followed by a plagal cadence to G. Also note: this same music is heard in Credo at 219.

<R2640> Richard Freedman <5143> Ave Maria <5144> Missa Ave Maria: 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: In the motet, text representation as 'heaven and earth are filled', via sequential repetition up to cadence on C. In the Gloria of the Mass: the NIM's amplify "Iesu Christe" through repetition, but they don't 'represent' it, followed by a plagal cadence to G. Also note: this same music is heard in Credo at 219.

<R2641> Richard Freedman <5145> Ave Maria <5146> Missa Ave Maria: 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

<R2642> Richard Freedman <5147> Ave Maria <5148> Missa Ave Maria: Gloria 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: False

New combination: False

Remarks: New Mass section nevertheless repeats soggetto and musical type from just before the plagal cadence in bar 63, then arrives at a new cadence S/T>G in bar 72. What was a full texture in those earlier bars is now just a2.

<R2643> Richard Freedman <5149> Ave Maria <5150> Missa Ave Maria: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R2644> Richard Freedman <5151> Ave Maria <5152> Missa Ave Maria: Gloria Omission Expand

Omission

<R2645> Richard Freedman <5153> Ave Maria <5154> Missa Ave Maria: Gloria Quotation Expand

Quotation

Exact: False

Monnayage: True

<R2646> Richard Freedman <5155> Ave Maria <5156> Missa Ave Maria: 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

<R2647> Richard Freedman <5157> Ave Maria <5158> Missa Ave Maria: Gloria 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 second module of the NIM in the Gloria is really only the top voice only. But the closing cadence matches that of the NIM in the motet.

<R2648> Richard Freedman <5159> Ave Maria <5160> Missa Ave Maria: 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

Remarks: The 'Cum sancto' section of the Gloria is often set in triple mensuration. Here Févin (reasonably) joins that to the triple mensuration section of the motet, jumping back in order to do so.

<R2649> Richard Freedman <5161> Ave Maria <5162> Missa Ave Maria: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R2650> Richard Freedman <5163> Ave Maria <5164> Missa Ave Maria: 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

<R2651> Richard Freedman <5165> Ave Maria <5166> Missa Ave Maria: Credo 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

<R2652> Richard Freedman <5167> Ave Maria <5168> Missa Ave Maria: 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

<R2653> Richard Freedman <5169> Ave Maria <5170> Missa Ave Maria: 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

<R2654> Richard Freedman <5171> Ave Maria <5172> Missa Ave Maria: 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: False

New combination: False

<R2655> Richard Freedman <5173> Ave Maria <5174> Missa Ave Maria: Credo Quotation Expand

Quotation

Exact: True

Monnayage: False

<R2656> Richard Freedman <5175> Ave Maria <5176> Missa Ave Maria: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R2657> Richard Freedman <5177> Ave Maria <5178> Missa Ave Maria: 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: True

New combination: False

Remarks: The Altus of Josquin is transposed as S of Févin, resulting in high texture for Passus et sepultus est, which thus 'descends'. Fevin jumped ahead for this after much New Material

<R2658> Richard Freedman <5179> Ave Maria <5180> Missa Ave Maria: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: The Mass also has a singleton added entry in the Tenor at m. 176ff.

<R2659> Richard Freedman <5181> Ave Maria <5182> Missa Ave Maria: 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

<R2660> Richard Freedman <5183> Ave Maria <5184> Missa Ave Maria: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R2661> Richard Freedman <5185> Ave Maria <5186> Missa Ave Maria: 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: The lower voice of the NIM in the Credo resembles that of the NIM in the motet at 78. But the cadences are those of the earlier NIM in the motet. And: the material that follows this in the Credo comes from the phrases just after the earlier NIM. So here Févin returns to some early portion of the motet.

<R2662> Richard Freedman <5187> Ave Maria <5188> Missa Ave Maria: 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: The cadence is different: it is plagal in the motet, but authentic in the Mass.

<R2663> Richard Freedman <5191> Ave Maria <5192> Missa Ave Maria: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: This same transformation is heard in the Gloria at measures 52ff.

<R2664> Richard Freedman <5189> Ave Maria <5190> Missa Ave Maria: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: There is also some internal motivic repetition as part of the re-use of Josquin's tenor.

<R2665> Richard Freedman <5193> Ave Maria <5194> Missa Ave Maria: 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

<R2666> Ian Lorenz <5195> Quo abiit dilectus tuus <5196> Missa Quo abiit dilectus tuus: 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

Remarks: Imitative Duo from the Gloria is truncated into a Contrapuntal Duo after the second part of the original ID is omitted from the Gloria.

<R2667> Ian Lorenz <5197> Quo abiit dilectus tuus <5198> Missa Quo abiit dilectus tuus: 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

Remarks: Imitative Duo from the Gloria is truncated into a Contrapuntal Duo after the second part of the original ID is omitted from the Gloria.

<R2668> Admin <5199> Je suis déshéritée <5200> Missa Je suis déshéritée: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R2669> User_1 <5201> Je suis déshéritée <5202> Missa Je suis déshéritée: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R2670> Admin <71> Benedicta es <122> Missa Benedicta es: Credo None Expand

Relationship

Remarks: Testing the creation of a relationship using existing observations