Imitative tools and processes in the Iberian motet circa 1500

Research output: Contribution to conferenceAbstract

Abstract

This paper is part of an ongoing research, which aims at describing how imitation
works in Iberian motets from ca. 1500, and how it relates to the imitative
processes occurring in motets from other European traditions. In a previous paper
I compared Iberian motets to motets collected and printed by Petrucci in his five
books issued between 1502 and 1508. The selection is generally considered as
representative of the ‘European’ motet (although they do not contain a single
piece by Iberian composers). I used the results provided by Julie Cumming and
Peter Schubert in their systematic examination of pervasive imitation and stretto
fuga in Petrucci’s books (2015). Despite some insightful results, the approach
proved unsuitable for analysing Iberian motets, as pervasive imitation appears to
have reached them at a slower pace. Moreover, Cumming and Schubert’s focus
on how pervasive imitation developed to become a defining feature of European
polyphony necessarily disregards Petrucci’s motets that do not share the style.
In this paper I will propose a different approach to analysing imitation, by
examining additional imitative tools beyond pervasive imitation in the Iberian
repertory (including those raised by Wagstaff, 1993) and by selecting a sample of
Petrucci’s motets through the consideration of text and function (Brown, 1990).
Original languageEnglish
Pages40-41
Number of pages1
Publication statusPublished - 2018
EventThe Anatomy of Polyphonic Music around 1500 - Centro Cultural de Cascais, Cascais, Portugal
Duration: 27 Jun 201830 Jun 2018

Conference

ConferenceThe Anatomy of Polyphonic Music around 1500
CountryPortugal
CityCascais
Period27/06/1830/06/18

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Keywords

  • 16th Century
  • Motets
  • European polyphony
  • Iberian motets

Cite this

Rodríguez-Garcia, E. (2018). Imitative tools and processes in the Iberian motet circa 1500. 40-41. Abstract from The Anatomy of Polyphonic Music around 1500, Cascais, Portugal.
Rodríguez-Garcia, Esperanza. / Imitative tools and processes in the Iberian motet circa 1500. Abstract from The Anatomy of Polyphonic Music around 1500, Cascais, Portugal.1 p.
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abstract = "This paper is part of an ongoing research, which aims at describing how imitationworks in Iberian motets from ca. 1500, and how it relates to the imitativeprocesses occurring in motets from other European traditions. In a previous paperI compared Iberian motets to motets collected and printed by Petrucci in his fivebooks issued between 1502 and 1508. The selection is generally considered asrepresentative of the ‘European’ motet (although they do not contain a singlepiece by Iberian composers). I used the results provided by Julie Cumming andPeter Schubert in their systematic examination of pervasive imitation and strettofuga in Petrucci’s books (2015). Despite some insightful results, the approachproved unsuitable for analysing Iberian motets, as pervasive imitation appears tohave reached them at a slower pace. Moreover, Cumming and Schubert’s focuson how pervasive imitation developed to become a defining feature of Europeanpolyphony necessarily disregards Petrucci’s motets that do not share the style.In this paper I will propose a different approach to analysing imitation, byexamining additional imitative tools beyond pervasive imitation in the Iberianrepertory (including those raised by Wagstaff, 1993) and by selecting a sample ofPetrucci’s motets through the consideration of text and function (Brown, 1990).",
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Rodríguez-Garcia, E 2018, 'Imitative tools and processes in the Iberian motet circa 1500' The Anatomy of Polyphonic Music around 1500, Cascais, Portugal, 27/06/18 - 30/06/18, pp. 40-41.

Imitative tools and processes in the Iberian motet circa 1500. / Rodríguez-Garcia, Esperanza.

2018. 40-41 Abstract from The Anatomy of Polyphonic Music around 1500, Cascais, Portugal.

Research output: Contribution to conferenceAbstract

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N2 - This paper is part of an ongoing research, which aims at describing how imitationworks in Iberian motets from ca. 1500, and how it relates to the imitativeprocesses occurring in motets from other European traditions. In a previous paperI compared Iberian motets to motets collected and printed by Petrucci in his fivebooks issued between 1502 and 1508. The selection is generally considered asrepresentative of the ‘European’ motet (although they do not contain a singlepiece by Iberian composers). I used the results provided by Julie Cumming andPeter Schubert in their systematic examination of pervasive imitation and strettofuga in Petrucci’s books (2015). Despite some insightful results, the approachproved unsuitable for analysing Iberian motets, as pervasive imitation appears tohave reached them at a slower pace. Moreover, Cumming and Schubert’s focuson how pervasive imitation developed to become a defining feature of Europeanpolyphony necessarily disregards Petrucci’s motets that do not share the style.In this paper I will propose a different approach to analysing imitation, byexamining additional imitative tools beyond pervasive imitation in the Iberianrepertory (including those raised by Wagstaff, 1993) and by selecting a sample ofPetrucci’s motets through the consideration of text and function (Brown, 1990).

AB - This paper is part of an ongoing research, which aims at describing how imitationworks in Iberian motets from ca. 1500, and how it relates to the imitativeprocesses occurring in motets from other European traditions. In a previous paperI compared Iberian motets to motets collected and printed by Petrucci in his fivebooks issued between 1502 and 1508. The selection is generally considered asrepresentative of the ‘European’ motet (although they do not contain a singlepiece by Iberian composers). I used the results provided by Julie Cumming andPeter Schubert in their systematic examination of pervasive imitation and strettofuga in Petrucci’s books (2015). Despite some insightful results, the approachproved unsuitable for analysing Iberian motets, as pervasive imitation appears tohave reached them at a slower pace. Moreover, Cumming and Schubert’s focuson how pervasive imitation developed to become a defining feature of Europeanpolyphony necessarily disregards Petrucci’s motets that do not share the style.In this paper I will propose a different approach to analysing imitation, byexamining additional imitative tools beyond pervasive imitation in the Iberianrepertory (including those raised by Wagstaff, 1993) and by selecting a sample ofPetrucci’s motets through the consideration of text and function (Brown, 1990).

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Rodríguez-Garcia E. Imitative tools and processes in the Iberian motet circa 1500. 2018. Abstract from The Anatomy of Polyphonic Music around 1500, Cascais, Portugal.