CRIM

Citations: The Renaissance Imitation Mass Project

Relationships

ID Observer Model Derivative Relationship type Show details
<R811> Max Le Mée <1621> Baisez moy <1622> Missa Baisez moy: Credo Quotation, Non-mechanical transformation Expand

Quotation, Non-mechanical transformation

Exact: True

Monnayage: False

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

Remarks: The soggetto is put at T1, accompanied by its retrograde at T2, then vice versa. It is presented as 'ma fin est mon commencement'. Surprisingly enough, it is an exact quotation of the soggetto.

<R812> Damien Bonnec <1623> Quare fremuerunt gentes <1624> Missa Quare fremuerunt gentes: 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

<R813> Max Le Mée <1625> Baisez moy <1626> Missa Baisez moy: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: We find back the 'two-voices'cantus firmus. This time, the metre has changed, leading to a monnayage.

<R814> Damien Bonnec <1627> Quare fremuerunt gentes <1628> Missa Quare fremuerunt gentes: 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

<R815> Damien Bonnec <1629> Quare fremuerunt gentes <1630> Missa Quare fremuerunt gentes: Credo 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

<R816> Damien Bonnec <1631> Quare fremuerunt gentes <1632> Missa Quare fremuerunt gentes: 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

Remarks: "amplified" means "stretched in time"

<R817> Damien Bonnec <1633> Quare fremuerunt gentes <1634> Missa Quare fremuerunt gentes: 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

<R818> Damien Bonnec <1635> Quare fremuerunt gentes <1636> Missa Quare fremuerunt gentes: 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

<R819> Damien Bonnec <1637> Quare fremuerunt gentes <1638> Missa Quare fremuerunt gentes: 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

<R820> Raphaëlle Rouzic <1639> Mente Tota (from Vultuum tuum) <1640> Missa Mente tota: Credo 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: True

Remarks: Monnayage : change of rhythmic durations Truncated : la messe ne fait pas entendre la dernière note du soggetto (C)

<R821> Damien Bonnec <1641> Quare fremuerunt gentes <1642> Missa Quare fremuerunt gentes: Sanctus 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

<R822> Raphaëlle Rouzic <1643> Mente Tota (from Vultuum tuum) <1644> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: True

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: Embellished : some notes are added Truncated : la messe ne fait pas entendre la dernière note du soggetto (C) Monnayage : change of rhythmic durations

<R823> Raphaëlle Rouzic <1645> Mente Tota (from Vultuum tuum) <1646> Missa Mente tota: 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: Embellished : some notes are added Truncated: only the tail of the soggetto is used Monnayage : change of rhythmic durations

<R824> Damien Bonnec <1647> Quare fremuerunt gentes <1648> Missa Quare fremuerunt gentes: Sanctus 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

<R825> Manon Manfredi <1649> O gente brunette <1650> Missa O gente brunette: Sanctus 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

<R826> Manon Manfredi <1651> O gente brunette <1652> Missa O gente brunette: Sanctus 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

<R827> Manon Manfredi <1653> O gente brunette <1654> Missa O gente brunette: Sanctus 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

<R828> Manon Manfredi <1655> O gente brunette <1656> Missa O gente brunette: Sanctus 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

<R829> Damien Bonnec <1657> Quare fremuerunt gentes <1658> Missa Quare fremuerunt gentes: Sanctus 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

<R830> Manon Manfredi <1659> O gente brunette <1660> Missa O gente brunette: Sanctus Omission Expand

Omission

<R831> Damien Bonnec <1661> Quare fremuerunt gentes <1662> Missa Quare fremuerunt gentes: Sanctus 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

Remarks: "amplified" means "stretched in time"

<R832> Manon Manfredi <1663> O gente brunette <1664> Missa O gente brunette: 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

<R833> Raphaëlle Rouzic <1665> Mente Tota (from Vultuum tuum) <1666> Missa Mente tota: Credo Quotation, Mechanical transformation, Non-mechanical transformation Expand

Quotation, Mechanical transformation, Non-mechanical transformation

Exact: False

Monnayage: True

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: False

Double or invertible counterpoint: False

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: Sounding in different voices : Model: A>T -> Mass: S>A

<R834> Raphaëlle Rouzic <1667> Mente Tota (from Vultuum tuum) <1668> Missa Mente tota: Credo Mechanical transformation, Non-mechanical transformation Expand

Mechanical transformation, Non-mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

Embellished: True

Reduced: True

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: Embellished: Altus voice Reduced: Superius voice

<R835> Manon Manfredi <1669> O gente brunette <1670> Missa O gente brunette: 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

<R836> Damien Bonnec <1671> Quare fremuerunt gentes <1672> Missa Quare fremuerunt gentes: Sanctus 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

Remarks: The relationship is questionable, but the cadence in G may be an additional element in common

<R837> Raphaëlle Rouzic <1673> Mente Tota (from Vultuum tuum) <1674> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: Reduced: Superius voice (just the structural tones) Transposed: Altus voice

<R838> Damien Bonnec <1675> Quare fremuerunt gentes <1676> Missa Quare fremuerunt gentes: Sanctus 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

<R839> Manon Manfredi <1677> O gente brunette <1678> Missa O gente brunette: Agnus Dei Mechanical transformation, Non-mechanical transformation Expand

Mechanical transformation, Non-mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

Embellished: False

Reduced: True

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: Faible allusion au motif de la mesure 1-5 du superius du modèle. peut être un New material.

<R840> Raphaëlle Rouzic <1679> Mente Tota (from Vultuum tuum) <1680> Missa Mente tota: Credo 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: Monnayage : change of rhythmic durations It's not a real quotation, it's more an "allusion" of the model

<R841> Manon Manfredi <1681> O gente brunette <1682> Missa O gente brunette: 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

<R842> Manon Manfredi <1683> O gente brunette <1684> Missa O gente brunette: Agnus Dei Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: True

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R843> Manon Manfredi <1685> O gente brunette <1686> Missa O gente brunette: 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

<R844> Raphaëlle Rouzic <1687> Mente Tota (from Vultuum tuum) <1688> Missa Mente tota: 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: False

New combination: False

Remarks: Metrically shifted : Model: S2 -> Mass: M3 Monnayage : duration of the first note at the Bassus of the mass

<R845> Raphaëlle Rouzic <1689> Mente Tota (from Vultuum tuum) <1690> Missa Mente tota: 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

Remarks: Reduced: to the "structural" tones Transposed : Model: D-F -> Bassus of the Mass: G-Bb Monnayage : change of rhythmic durations

<R846> Raphaëlle Rouzic <1691> Mente Tota (from Vultuum tuum) <1692> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: Monnayage : change of rhythmic durations Metrically shifted : Model: S6 -> Mass: M3 Embellished : added of few notes at the Tenor voice

<R847> Raphaëlle Rouzic <1693> Mente Tota (from Vultuum tuum) <1694> Missa Mente tota: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: Embellished : Some few notes added Monnayage : change of rhythmic durations Despite these few transformations it's a real quotation of the model

<R848> Raphaëlle Rouzic <1695> Mente Tota (from Vultuum tuum) <1696> Missa Mente tota: 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

Remarks: Metrically shifted : Model: S7/8 -> Mass: S2/6 Reduced: because of the third entrie of the mass Monnayage : change of rhythmic durations

<R849> Raphaëlle Rouzic <1697> Mente Tota (from Vultuum tuum) <1698> Missa Mente tota: 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: Metrically shifted : Model: S2/2 -> Mass: S2/1

<R850> Raphaëlle Rouzic <1699> Mente Tota (from Vultuum tuum) <1700> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

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

Remarks: Reduced : Superius voice: Mass: only the "structural" tones Embellished : second part of the Altus voice Quotation of the Bassus voice (cadence in G -inverted-dovetail-evaded-)

<R851> Raphaëlle Rouzic <1701> Mente Tota (from Vultuum tuum) <1702> Missa Mente tota: Credo Mechanical transformation, Non-mechanical transformation Expand

Mechanical transformation, Non-mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: False

Double or invertible counterpoint: False

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: Metrically shifted : Model: S3 -> Mass: S5 Embellished : at the Bassus voice measure 228 This embellishment makes the different time interval ineffective

<R852> Raphaëlle Rouzic <1703> Mente Tota (from Vultuum tuum) <1704> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: False

New combination: False

Remarks: Embellished : at the Superius voice

<R853> Raphaëlle Rouzic <1705> Mente Tota (from Vultuum tuum) <1706> Missa Mente tota: Credo Quotation Expand

Quotation

Exact: True

Monnayage: False

<R854> Raphaëlle Rouzic <1707> Mente Tota (from Vultuum tuum) <1708> Missa Mente tota: Credo Quotation Expand

Quotation

Exact: True

Monnayage: False

<R855> Raphaëlle Rouzic <1709> Mente Tota (from Vultuum tuum) <1710> Missa Mente tota: Credo Quotation Expand

Quotation

Exact: True

Monnayage: False

<R856> Raphaëlle Rouzic <1711> Mente Tota (from Vultuum tuum) <1712> Missa Mente tota: 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: It's the same presentation but not the same motifs Motifs interval amplitude : Model : S: 3ce down A: 5te down T: 3ce down B: 3ce down Mass : S: 4te down A: 3ce down T: 4te down B: 4te down

<R857> Raphaëlle Rouzic <1713> Mente Tota (from Vultuum tuum) <1714> Missa Mente tota: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: Metrically shifted : Model: M5/8 -> Mass: S4/4 Monnayage : change of rhythmic durations (first entrie at the Bassus)

<R858> Raphaëlle Rouzic <1715> Mente Tota (from Vultuum tuum) <1716> Missa Mente tota: Credo 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

Remarks: Monnayage : change of rhythmic durations The third entrie is hidden in the last three notes at the Altus voice

<R859> Raphaëlle Rouzic <1717> Mente Tota (from Vultuum tuum) <1718> Missa Mente tota: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: Monnayage : change of rhythmic durations and the top note of the motif (Bb -> A)

<R860> Raphaëlle Rouzic <1719> Mente Tota (from Vultuum tuum) <1720> Missa Mente tota: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: Embellished : at the Superius voice Monnayage : change of rhythmic durations It's a quotation

<R861> Raphaëlle Rouzic <1721> Mente Tota (from Vultuum tuum) <1722> Missa Mente tota: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: Monnayage (measure 64) at the Bassus voice

<R862> Raphaëlle Rouzic <1723> Mente Tota (from Vultuum tuum) <1724> Missa Mente tota: Credo Quotation Expand

Quotation

Exact: True

Monnayage: False

Remarks: Despite the cantizan and tenorizan cadential motion in A, the cadence is in D, the lowest tone.

<R863> Raphaëlle Rouzic <1725> Mente Tota (from Vultuum tuum) <1726> Missa Mente tota: Credo Quotation Expand

Quotation

Exact: True

Monnayage: False

<R864> Raphaëlle Rouzic <1727> Mente Tota (from Vultuum tuum) <1728> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: True

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: Monnayage : change of rhythmic durations Amplified : Model: Soggetto -> Mass: NiM Truncated : the motif isn't quote in is entirety

<R865> Raphaëlle Rouzic <1729> Mente Tota (from Vultuum tuum) <1730> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: Reduced : Just the "structural" tones Monnayage : change of rhythmic durations Metrically shifted : Model: S6/6 -> Mass: M1/10/0

<R866> Raphaëlle Rouzic <1731> Mente Tota (from Vultuum tuum) <1732> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: Monnayage : change of rhythmic durations The counter soggetto could be linked to the Soggetto at the Altus voice measures 33 to 38 (model) Reduced : In the number of repetitions

<R867> Raphaëlle Rouzic <1733> Mente Tota (from Vultuum tuum) <1734> Missa Mente tota: 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

Remarks: Amplified : Model: S>A -> Mass: S>A T>B S>A

<R868> Raphaëlle Rouzic <1735> Mente Tota (from Vultuum tuum) <1736> Missa Mente tota: Credo Quotation Expand

Quotation

Exact: True

Monnayage: False

Remarks: End of the model = end of the Credo

<R869> Raphaëlle Rouzic <1737> Mente Tota (from Vultuum tuum) <1738> Missa Mente tota: Sanctus 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: False

New combination: False

Remarks: Metrically shifted : Model: S8/4/8 -> Mass: S4/30/4 Monnayage : change of rhythmic durations

<R870> Alexis Risler <1739> Benedicta es <1740> 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: Quotation = sogetto in Morales cantus

<R871> Alexis Risler <1741> Benedicta es <1742> Missa Benedicta es: 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

<R872> Alexis Risler <1743> Benedicta es <1744> Missa Benedicta es: 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

<R873> Alexis Risler <1745> Benedicta es <1746> Missa Benedicta es: Kyrie 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: Duo in Morales is metrically shifted at the beginning, but since the tenor is truncated, it ends like the model.

<R874> Alexis Risler <1747> Benedicta es <1748> 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

<R875> Raphaëlle Rouzic <1749> Mente Tota (from Vultuum tuum) <1750> Missa Mente tota: Sanctus 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

Remarks: Monnayage : change of rhythmic durations Metrically shifted : Model: S7/8 -> Mass: S4 Embellished : Some notes had been added Truncated : The melody isn't entirely quoted

<R876> Alexis Risler <1751> Benedicta es <1752> Missa Benedicta es: 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

Remarks: Each fuga contains related PENs

<R877> Raphaëlle Rouzic <1753> Mente Tota (from Vultuum tuum) <1754> Missa Mente tota: Sanctus Non-mechanical transformation Expand

Non-mechanical transformation

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: Monnayage : change of rhythmic durations Truncated : The melody isn't entirely quoted Metrically shifted : Model: S7/8 -> Mass: S2/8/2/6/2 Amplified : It's an ID composed by three duos It's not a real quotation, it's more an "allusion" of the model (transformations during the duos)

<R878> Raphaëlle Rouzic <1755> Mente Tota (from Vultuum tuum) <1756> Missa Mente tota: 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

Remarks: Sounding in different voices : Model: Tenor voice -> Mass: All voices (Altus in reduction) Monnayage : change of rhythmic durations

<R879> Alexis Risler <1758> Missa Benedicta es: Kyrie <1757> Missa Benedicta es: Gloria Quotation Expand

Quotation

Exact: False

Monnayage: True

<R880> Alexis Risler <1759> Benedicta es <1760> Missa Benedicta es: 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

<R881> Alexis Risler <1761> Benedicta es <1762> 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: True

Remarks: Lower part of the NIM in the model is used as sogetto to create a Fuga in the mass

<R882> Stephanie Schlagel <1763> Ave Maria <1764> Missa Ave Maria: Agnus Dei 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

<R883> Stephanie Schlagel <1765> Ave Maria <1766> Missa Ave Maria: Agnus Dei 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: Last entry of four-voice PEn shifted and transposed

<R884> Alexis Risler <1767> Benedicta es <1768> Missa Benedicta es: Gloria Mechanical transformation, Non-mechanical transformation Expand

Mechanical transformation, Non-mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: False

Double or invertible counterpoint: False

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

Remarks: Still a fuga, but at a longer time interval, and at the unisson instead the fifth. There is also borrowing from a voice unrelated to the original fuga, and some added counterpoint as CD in the Mass.

<R885> Alexis Risler <1769> Benedicta es <1770> Missa Benedicta es: 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: True

New combination: False

<R886> Alexis Risler <1771> Benedicta es <1772> Missa Benedicta es: Gloria 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

<R887> Alexis Risler <1773> Benedicta es <1774> Missa Benedicta es: Gloria 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

<R888> Raphaëlle Rouzic <1775> Mente Tota (from Vultuum tuum) <1776> Missa Mente tota: Sanctus 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 Mass quote only the head of the motif Monnayage : change of rhythmic durations Metrically shifted : Model: S6/6 -> Mass: S1 + General comment : Le second sanctus est composé de quatre FUGA : - mes. 48 à 54: FUGA Stricte, B>A S1 @5+ - mes. 55 à 62: FUGA Stricte, B>A S1 @5+ - mes. 62 à 67: FUGA Flexed, B>A S3 @8+ - mes. 68 à 77: FUGA Flexed, A>B S7 @1+ Le quatrième sanctus est composé de trois FUGA et d'un CD : - mes. 108 à 120: CD, S>T S0 @8- - mes. 121 à 128: FUGA Flexed, T>S S2 @8+ - mes. 128 à 135: FUGA Flexed, T>S S8 @5+ - mes. 136 à 142: FUGA Flexed, T>S S1 @5+ Ces FUGA et CD font tous allusion aux intervalles constitutifs des motifs du modèle. Du fait de l'absence de citation exacte ou monnayée, il n'y aura pas de relationships assez précises pour entrer ces Musical Types sur Omeka.

<R889> Raphaëlle Rouzic <1777> Mente Tota (from Vultuum tuum) <1778> Missa Mente tota: Sanctus 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

Remarks: Monnayage : change of rhythmic durations Metrically shifted : Model: M5/8/12 -> Mass: S4/4/4 Embellished : In the three first entries, the melody continues (embellishment for the Superius ans Tenor voices) + Truncated : for the Altus voice

<R890> Raphaëlle Rouzic <1779> Mente Tota (from Vultuum tuum) <1780> Missa Mente tota: Sanctus Quotation, Non-mechanical transformation Expand

Quotation, Non-mechanical transformation

Exact: True

Monnayage: False

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: Old counter subject : Model : the two last entries at the Altus and Superius voices are combined with a new soggetto Mass : the two last entries at the Altus and Superius voices are combined with the previous soggetto (Bassus and Tenor voices)

<R891> Raphaëlle Rouzic <1781> Mente Tota (from Vultuum tuum) <1782> Missa Mente tota: Sanctus 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

Remarks: Amplified : Model: IP P3 -> Mass: NiM (4 voices) Monnayage : change of rhythmic durations: on the A note of the Bassus and the Altus change of note: head of the motif at the Tenor and Superius

<R892> Alexis Risler <1784> Missa Benedicta es: Kyrie <1783> Missa Benedicta 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

<R893> Alexis Risler <1786> Missa Benedicta es: Kyrie <1785> Missa Benedicta es: Credo Quotation Expand

Quotation

Exact: True

Monnayage: False

<R894> Alexis Risler <1787> Benedicta es <1788> Missa Benedicta es: Credo 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

<R895> Alexis Risler <1789> Benedicta es <1790> Missa Benedicta es: 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: True

New combination: False

<R896> Ian Lorenz <1791> Je suis déshéritée <1792> Missa Je suis déshéritée: Sanctus Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R897> Ian Lorenz <1793> Je suis déshéritée <1794> Missa Je suis déshéritée: Sanctus New material Expand

New material

<R898> Ian Lorenz <1795> Je suis déshéritée <1796> Missa Je suis déshéritée: Sanctus New material Expand

New material

<R899> Alexis Risler <1797> Benedicta es <1798> Missa Benedicta 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: False

Old counter-subject transposed: False

New combination: True

Remarks: Only the ID of the model is used in the mass, not the NIM

<R900> Ian Lorenz <1799> Je suis déshéritée <1800> Missa Je suis déshéritée: 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

<R901> Ian Lorenz <1801> Je suis déshéritée <1802> Missa Je suis déshéritée: Sanctus Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R902> Ian Lorenz <1803> Je suis déshéritée <1804> Missa Je suis déshéritée: 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

<R903> Ian Lorenz <1805> Je suis déshéritée <1806> Missa Je suis déshéritée: 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

<R904> Ian Lorenz <1807> Je suis déshéritée <1808> Missa Je suis déshéritée: Sanctus Quotation Expand

Quotation

Exact: False

Monnayage: True

<R905> Alexis Risler <1809> Benedicta es <1810> Missa Benedicta es: 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: True

New combination: True

Remarks: Model in triple meter, Mass in duple. Duos in the model always at 8-. In the mass, duos are either 8-, 5+ or 1+

<R906> Ian Lorenz <1811> Je suis déshéritée <1812> Missa Je suis déshéritée: Sanctus 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: False

New combination: False

<R907> Ian Lorenz <1813> Je suis déshéritée <1814> Missa Je suis déshéritée: 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

<R908> Ian Lorenz <1815> Je suis déshéritée <1816> Missa Je suis déshéritée: Sanctus 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

<R909> Ian Lorenz <1817> Je suis déshéritée <1818> Missa Je suis déshéritée: Sanctus 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

<R910> Ian Lorenz <1819> Je suis déshéritée <1820> Missa Je suis déshéritée: Sanctus 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