Abstract
| Original language | English |
|---|---|
| Pages (from-to) | 617-696 |
| Number of pages | 80 |
| Journal | Journal of the American Musicological Society |
| Volume | 70 |
| Issue number | 3 |
| DOIs | |
| Publication status | Published - 1 Dec 2017 |
| Externally published | Yes |
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Voci pari motets and convent polyphony in the 1540s : the materna lingua complex. / Stras, Laurie.
In: Journal of the American Musicological Society, Vol. 70, No. 3, 01.12.2017, p. 617-696.Research output: Contribution to journal › Article
TY - JOUR
T1 - Voci pari motets and convent polyphony in the 1540s
T2 - the materna lingua complex
AU - Stras, Laurie
PY - 2017/12/1
Y1 - 2017/12/1
N2 - In the 1540s the great Venetian publishing houses of Scotto and Gardano issued a cluster of publications whose title pages advertised a particular vocal disposition—“voci pari,” or equal voices. Analysis of the motets, their texts, and their musical treatment reveals an intimate connection with convents and conventual worship. In this article I describe the relationships between the books, speculate as to how convents might have used the motets, and consider what the works can tell us about performance practice in female-voice ensembles. Drawing on aspects of the books’ publication history, the liturgical function of certain texts, and musical relationships with works composed at the Ferrarese court, I propose a candidate for the composer of at least some of the anonymous pieces in Musica quinque vocum: motteta materna lingua vocata (RISM 15432): Suor Leonora d'Este (1515–75), daughter of Duke Alfonso I d'Este and Lucrezia Borgia and the abbess of the convent of Corpus Domini in Ferrara.
AB - In the 1540s the great Venetian publishing houses of Scotto and Gardano issued a cluster of publications whose title pages advertised a particular vocal disposition—“voci pari,” or equal voices. Analysis of the motets, their texts, and their musical treatment reveals an intimate connection with convents and conventual worship. In this article I describe the relationships between the books, speculate as to how convents might have used the motets, and consider what the works can tell us about performance practice in female-voice ensembles. Drawing on aspects of the books’ publication history, the liturgical function of certain texts, and musical relationships with works composed at the Ferrarese court, I propose a candidate for the composer of at least some of the anonymous pieces in Musica quinque vocum: motteta materna lingua vocata (RISM 15432): Suor Leonora d'Este (1515–75), daughter of Duke Alfonso I d'Este and Lucrezia Borgia and the abbess of the convent of Corpus Domini in Ferrara.
KW - Renaissance music
KW - convents
KW - musicology
KW - Ferrara
KW - Renaissance printing
U2 - 10.1525/jams.2017.70.3.617
DO - 10.1525/jams.2017.70.3.617
M3 - Article
VL - 70
SP - 617
EP - 696
JO - Journal of the American Musicological Society
JF - Journal of the American Musicological Society
SN - 0003-0139
IS - 3
ER -