CRIM

Citations: The Renaissance Imitation Mass Project

Relationships

ID Observer Model Derivative Relationship type Show details
<R312> Scott Troyer <635> O gente brunette <636> Missa O gente brunette: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: The tenor line in the mass eliminates an accented passing tone in the preparation that is present in the model.

<R399> Scott Troyer <812> O gente brunette <813> Missa O gente brunette: Gloria Quotation Expand

Quotation

Exact: False

Monnayage: True

<R391> Scott Troyer <796> O gente brunette <797> Missa O gente brunette: 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

<R397> Scott Troyer <808> O gente brunette <809> Missa O gente brunette: 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

<R321> Scott Troyer <653> O gente brunette <654> Missa O gente brunette: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R315> Scott Troyer <641> O gente brunette <642> Missa O gente brunette: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: The initial note in the bassus in the mass has been transposed up an octave, altering the melodic interval from the expected 4+ to 5-. This alteration moves the bassus into a more "comfortable" range than it would have been had it strictly adhered to the global transposition of 5-. Additionally, the final two notes of the superius line in the model were condensed in the mass from two minims to two semiminims. Because the length of the quoted material in the superius and tenor parts matches, as does the length of the material quoted in the contratenor and bassus parts, this could alternatively be understood as Marle quoting two simultaneous contrapuntal duos, an assertion that would not be made about the material in the model without seeing it through the lens of Marle's quotation. (Since the form does not allow me to select multiple contrapuntal duos, these will be cited separately)

<R504> Richard Freedman <1069> Ave Maria <1070> Missa Ave Maria: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R505> Richard Freedman <1071> Ave Maria <1072> Missa Ave Maria: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R503> Richard Freedman <1067> Ave Maria <1068> Missa Ave Maria: Kyrie 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

<R507> Richard Freedman <1075> Ave Maria <1076> Missa Ave Maria: Kyrie New material Expand

New material

<R501> Richard Freedman <1063> Ave Maria <1064> 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

<R502> Richard Freedman <1065> Ave Maria <1066> Missa Ave Maria: Kyrie 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

<R513> Richard Freedman <1087> Ave Maria <1088> Missa Ave Maria: Kyrie Quotation Expand

Quotation

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

<R500> Richard Freedman <1061> Ave Maria <1062> Missa Ave Maria: Kyrie 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

<R506> Richard Freedman <1073> Ave Maria <1074> Missa Ave Maria: 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

<R514> Richard Freedman <1089> Ave Maria <1090> 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

<R499> Richard Freedman <1059> Ave Maria <1060> 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

<R498> Richard Freedman <1057> Ave Maria <1058> Missa Ave Maria: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R493> Admin <1045> Ave Maria <1046> 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

<R491> Admin <1027> Ave Maria <1028> 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