MACHAUT KYRIE PDF

Here, this mass is candidly assessed without the knowledge-enriched air of a regular music essay, but spiced up with a thrilling element of ignorant music student pretention. TIMBRE the pure tones of two tenor parts and two male alto falsetto voices are one of the more conventional elements of the mass, the timbres produced by male voices in such a range is nearly neutral, and serve to emphasise harmonic elements of the piece, instead of interfering with it. Vocal timbre also exploits the acoustics of a cathedral, the common venue for performances of this mass, particularly the enveloping reverberation, that neutralises the timbre further. Of particular interest is the use of lengthy melismas in the throughout the mass, particularly in the Kyrie. In the Kyrie, most melismas near a minute in length, drawing the duration of the movement out to 8 minutes, the longest in the mass, where the volume of words is actually less than any other movement. This, again, neutralises the timbre, where articulation as required by singing words may interfere somewhat with the harmonic palette.

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Basic Machaut resources Kyrie The Kyrie consists of three distinct textual and melodic sections, each stated three times in succession for a total of nine: Kyrie eleison Lord have mercy Christe eleison Christ have mercy Kyrie eleison Lord have mercy The chant melody for the two Kyrie sections are often related, but not here, so the overall melodic form is A B C.

Performers would likely alternate these polyphonic settings with monophonic chant, though it would also be possible simply to repeat the polyphony. In the first Kyrie statement, the pitches of the chant are distributed in rhythmic units four measures long in transcription.

The melody is presented in full, once. The two upper voices move at approximately the same rhythmic level as the tenor and contratenor. That means the tenor does not have the kind of foundational role it does in most contemporary motets, where it has notes much longer than the parts written above it. The generally similar rhythmic movement of both upper and lower voices, however, may be another factor encouraging more continuous motion, and the effect is rather one of four equal voices in through-composed music.

The upper-voice and lower-voice pairs are more rhythmically differentiated in the Christe and in Kyrie II and III than in the opening section, because the upper voices use shorter note values. The tenor phrases are also longer twelve and eight measures, respectively. Moreover, the Christe introduces rising and falling scalar passages of a sort we will find prominently stated in the Gloria.

Kyrie II and III not only use short notes in the upper voices, but also add passages of syncopation and hocket that provide increased rhythmic drive toward the end of the movement.

This too is a technique borrowed from the motet. The entire Kyrie, then, uses compositional techniques borrowed from the motet, but the result is appreciably different.

The Kyrie, unlike contemporary chant-based motets, sounds like a through-composed piece with a fundamentally equal-voiced texture—in other words, a texture similar to that used in the Gloria and Credo. Proudly powered by Weebly.

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Guillaume de Machaut's Messe de Nostre Dame

Basic Machaut resources Kyrie The Kyrie consists of three distinct textual and melodic sections, each stated three times in succession for a total of nine: Kyrie eleison Lord have mercy Christe eleison Christ have mercy Kyrie eleison Lord have mercy The chant melody for the two Kyrie sections are often related, but not here, so the overall melodic form is A B C. Performers would likely alternate these polyphonic settings with monophonic chant, though it would also be possible simply to repeat the polyphony. In the first Kyrie statement, the pitches of the chant are distributed in rhythmic units four measures long in transcription. The melody is presented in full, once. The two upper voices move at approximately the same rhythmic level as the tenor and contratenor. That means the tenor does not have the kind of foundational role it does in most contemporary motets, where it has notes much longer than the parts written above it.

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Guillaume de Machaut

By Guillaume de Machaut, midi instrumental version Problems playing this file? See media help. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. Machaut added a contratenor voice that moved in the same low range as the tenor , sometimes replacing it as the lowest voice. Unification[ edit ] In the liturgy of the Mass, the items of the Ordinary are not performed consecutively, but are separated from one another by prayers and chants. Purpose and style[ edit ] Machaut composed his Messe de Nostre Dame for the Cathedral at Reims where he served as a canon, a permanent member of the clergy.

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Guillaume de Machaut: Kyrie de la Misa de Notre-Dame

As a point of unification, the composer selected relevant chants for each section as the borrowed tenor of each movement that is, a Kyrie chant for his Kyrie, and so on. Each of these came from chants that were assigned for feasts in honor of the Blessed Virgin. In doing this he created the earliest unified set of Mass Ordinary movements. What is unusual about this concept, in addition to the fact that there is no similar model on the level of the chant practices, is that in the celebration of the Mass, with the exception of the Kyrie and Gloria, the items of the Ordinary are separated from one another by a number of different prayers and chants, that is, they are not performed one after the other as in a modern-day concert performance, and therefore to think of these Mass items on the level of an artistic whole is to impose an abstract artistic idea on something that had never been considered from that point of view. The original intention for creating this rather unusual assembly of polyphonic movements was for use at the special mass in honor of the Virgin Mary the Messe de Nostre Dame or "Mass of Our Lady" , which since had been celebrated on Saturdays in one of the chapels in Reims Cathedral, where Machaut was a canon a member of the clergy on the permanent staff.

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Category:Machaut, Guillaume de

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