{"product_id":"uppervoice-structures-and-compositional-process-in-the-ars-nova-motet-9781138302440","title":"UpperVoice Structures and Compositional Process","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eIn the motets of Philippe de Vitry, Guillaume de Machaut, and their contemporaries, tenors have often been characterized as the primary shaping forces, prior in conception as well as in construction to the upper voices. Tenors are shaped by the interaction of talea and color, medieval terms now used to refer to the independent repetition of rhythms and pitches, respectively. The presence in the upper voices of the periodically repeating rhythmic patterns, often referred to as isorhythm, has been characterized as an amplification of tenor structure. But a fresh look at the medieval treatises suggests a revised analytical vocabulary: for many fourteenth- and fifteenth-century writers, both color and talea involved rhythmic repetition, the latter in the upper voices specifically. And attention to upper-voice taleae independently of tenor structures brings renewed emphasis to the significant portion of the repertory in which upper voices evince formal schemes that differ from those in t\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eContents\u003c\/p\u003e\u003cp\u003eList of Music Examples\u003c\/p\u003e\u003cp\u003eList of Figures\u003c\/p\u003e\u003cp\u003eList of Tables\u003c\/p\u003e\u003cp\u003e[Acknowledgements]\u003c\/p\u003e\u003cp\u003eNote on Music Examples and Naming Conventions\u003c\/p\u003e\u003cp\u003e1 Introduction\u003c\/p\u003e\u003cp\u003e2 Foundational Tenors and the Power Dynamics of Compositional Process\u003c\/p\u003e\u003cp\u003e3 \u003ci\u003eTalea \u003c\/i\u003eand\/as \u003ci\u003eColor\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e4 A Catalogue of Upper-Voice Structures\u003c\/p\u003e\u003cp\u003e5 The Hermeneutic Stakes: Reading Form in \u003ci\u003eS’il estoit\u003c\/i\u003e\/\u003ci\u003eS’Amours\u003c\/i\u003e \u003c\/p\u003e\u003cp\u003e6 A New Paradigm for Motet Composition: \u003ci\u003eColla\u003c\/i\u003e\/\u003ci\u003eBona\u003c\/i\u003e Reconstructed \u003c\/p\u003e\u003cp\u003eConclusion\u003c\/p\u003e\u003cp\u003eAppendix: Music-Theoretical Discussions of \u003ci\u003etalea \u003c\/i\u003eand \u003ci\u003ecolor\u003c\/i\u003e, c. 1340–1430\u003c\/p\u003e\u003cp\u003eBibliography\u003c\/p\u003e\u003cp\u003e[Index]\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":49407217664343,"sku":"9781138302440","price":114.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781138302440.jpg?v=1730498605","url":"https:\/\/bookcurl.com\/products\/uppervoice-structures-and-compositional-process-in-the-ars-nova-motet-9781138302440","provider":"Book Curl","version":"1.0","type":"link"}