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Dieser Band verzeichnet und erschließt erstmals das von Mitgliedern der Hofkapelle des Erzherzogs und späteren Kaisers Maximilian II. - unter ihnen Jacobus Vaet, Philippe de Monte und Jacob Regnart - komponierte geisteliche Motettenrepertoire. Die Musikpflege einer Hofkapelle dieser Zeit diente nicht nur der höfischen Repräsentation, sondern musste auch den künstlerischen und religiösen Vorlieben eines Herrschers genügen. Da Maximilian II. trotz seines öffentlichen Bekenntnisses zum Vatikan Sympathien für die Reformation hegte, gehen die umfangreichen Analysen der Texte und Kompositionen auch der Frage nach, wie sich diese Diskrepanz zwischen romtreuem Hofzeremoniell und dem persönlichen Glauben des Herrschers im Motettenschaffen seiner Hofmusiker widerspiegelt. In the present volume sacred motets composed by members of the chapel of the Archduke and later Emperor Maximilian II - among them Jacobus Vaet, Philippe de Monte and Jacob Regnart - are documented and analysed for the first time. The chapel and its repertoire cultivated at the court not only served as a means for the representation of the court but also needed to comply with the emperor's personal artistic and religious wishes. Maximilian II officially confessed to the Roman-Catholic church but personally sympathised with the Reformation. Therefore, the analysis of the texts and music addresses also the question of how the gap between the Roman-Catholic ceremony at court and the emperor's personal faith is reflected in motets.

Motets --- Motet --- History and criticism.

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Motets --- Motet --- History and criticism --- Buus, Giacques, --- motetten --- Buus, Jacob

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Examining the roots of the classical fugue and the early history of non-canonic fugal writing, Paul Walker's Fugue in the Sixteenth Century explores the three principal fugal genres of the period: motet, ricercar, and canonza. The volume treats each genre in turn, tracing the fugue's development throughout the century and highlighting important moments and trends along the way. Taking a two-tiered approach, Walker, on one level, examines fugue from the perspective of contemporary musicians, and on another level, takes into account fugue's later history and the elements that came to play a significant role in its formation. Walker is the first scholar to successfully tie together the various strands of the'pre-Bach fugue'thanks to the growing availability of editions of the repertories involved. He also takes account of recent work elucidating the change in compositional approach around 1500 from a basis in cantus firmus and canon to one favoring non-canonical, fugal imitation. Featuring well-chosen musical examples to illustrate the compositional developments of the sixteenth century, Fugue in the Sixteenth Century is a definitive study for both specialist musicologists and organists and harpsichordists alike.

Fugue --- Motets --- Music --- Motet --- Canons, fugues, etc. --- Fugues --- Counterpoint --- Musical form --- History and criticism --- E-books

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Le profil humain et artistique de Orfeo Vecchi est encadré dans la réalité liturgique et musicale de son temps et on mit à disposition des chercheurs et des musiciens l’édition critique du troisième livre des motets a six voix précédées d’une analyse des témoins, des motets et de la présentation des caractéristiques musicales de chaque composition.

Motets --- History and criticism. --- Motet --- 1598 --- analitica --- Cicco --- critica --- edizione --- Introduzione --- libro --- Milano --- Mottetti --- Orfeo --- storico --- terzo --- Vecchi --- voci

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Motets --- -Choruses --- Part songs --- Part songs, Sacred --- History and criticism --- -History and criticism --- Choruses --- Motet - England - 500-1400. --- Motetten --- Engeland --- 14e eeuw