Although canons pervade music of the Middle Ages and the Renaissance, they have not received proportionate attention in the musicological literature. The contributions in this book shed light on canons and canonic techniques from a wide range of perspectives, such as music theory and analysis, compositional and performance practice, palaeography and notation, as well as listening expectations and strategies. Especially in the case of riddle canons, insights from other disciplines such as literature, theology, iconography, emblematics, and philosophy have proved crucial for a better understanding and interpretation of how such pieces were created. The essays extend from the early period of canonic writing to the seventeenth century, ending with three contributions concerned with the reception history of medieval and Renaissance canons in music and writings on music from the Age of Enlightenment to the present. This book was awarded the Special Citation by the Society for Music Theory in November 2008.Canons in works by his younger contemporaries: Thomas Morley, Short Service, Magnificat (canon at the octave between ... evincing still further the presumed attributes of Tallisa#39;s lost voice parts.16 It will be recalled that Tomkins was closely anbsp;...
|Title||:||Canons and Canonic Techniques, 14th-16th Centuries|
|Author||:||Katelijne Schiltz, Bonnie J. Blackburn|
|Publisher||:||Peeters Publishers - 2007|