Unifying Elements in the Masses of Josquin des Prez
by
Jason Paulk
Editor's note: This article is based on analysis of three representative masses until Josquin's death in 1521 at Conde, a presentation made at the Research will illuminate the performance possibili Poster Session in Los Angeles at the ties of this vast body of choral repertoire, 2005 ACDA National Convention. while also making the process of analyz The topic is based on research ing Renaissance music more palatable that the author undertook during and less intimidating by relaying some doctoral studies at the University of formal compositional processes that are Oklahoma. representative in choral music of the era. Deeper understanding will ensure that the conductors experience more in-depth and he primary purpose of the informed analysis, more efficient listen present research is to survey ing experiences, and ultimately, stron the unifying elements in the ger and more effective performances. masses of Josquin des Prez, Specifics about Josquin des Prez's and to determine how these techniques life and compositions are often debated Honolulu Symphony are employed to unify movements within among musicologists. It is generally Chorus and Orchestra the masses and unify each mass as an agreed upon, however, that Josquin's entire process. While it is impossible compositional output can .be divided Karen Kennedy to survey the entire output of Josquin's into three periods. Macey describes the Festival Artistic Director masses in the scope of this column, early period as spanning from 1450 until unifying elements employed throughout around 1485, just before Josquin's entry 2006 March 26 - April 2 CLOSED his musical output will be highlighted into the Papal Chapel in Rome. 1 Charac ;!Rcquicm, W. A. Mozart through the analysis of a representative terized by abstract, melismatic counter 2007 April 15 -April 22 mass from each period: Early-L'ami point, this period was likely influenced QEIijllij, Felix Mendelssohn Baudichon; Middle-Missa La, Sol, Fa, by Ockeghem and Dufay. Relationships A week ofchoral clinics, workshops, Re, Mi; and Late-Missa Pange Lingua. between textual and musical phraseology rehearsals, and pelformances. It is my wish that a survey of Josquin's are inconsistent. The middle period lasted Apply now: 2007 Festival unifying compositional techniques and until 1505, when Josquin accepted the CHORAL ENSEMBLES post of Provost at Conde-sur-I'Escaut, INDIVIDUAL SINGERS Borgogne (now France). It is during this Jason Paulk is director of choral Joseph McAlister, Executive Director period that he developed and perfected Email: [email protected] activities at Eastern New Mexico in the technique of imitation based on word Phone: 808-524-0815 ext 257 Portales, New Mexico. generated motifs. The late period lasted Web: www.OahuChoral.col1l
February 2006 • CHORAL JOURNAL 53 where he continued to strengthen the connective relationships between text T and music. Ky - rie e - Ie - - son, __ Ky - rie e - Ie - - son,
Missa L'ami Baudichon T The primary unifying elements found in the Missa L'ami Baudichon are cantus Ky - rie e - Ie - son, Ky - rie e - Ie - firmus technique, Ionian modality, head motif technique, imitation, sequencing, Figure 1. Josquin de Prez, Missa L'ami Baudichol1, "Kyrie," mm. 50-60. melodic reiteration, harmonic unity, and Cantus Firmus (Tenor) metric unification. Some of these elements can be seen within individual movements of the mass, including cantus firmus tech nique, imitation, sequencing, and melodic rhyme tune Three Blind Mice. 2 As is structure as a whole serves as an impor reiteration, while the use ofIonian modal the practice in cantus firmus masses of tant unifying characteristic. While the use ity, head motif technique, harmonic unity, the early Renaissance period, Josquin of the Ionian mode in early Renaissance and metric unification can be seen at confines the long notes of the L'ami masses is not common, it is even less work throughout the entire composition. Balldichon melody to the tenor voice common in the mass output of Josquin, The Missa L'ami Balldichon is classified in every section of the mass except the as evidenced by this single example of as a cantus firmus mass: a mass based duets and trio. This is the primary uni an Ionian mode mass setting in his entire on a pre-existing melody, usually sung fying characteristic of the composition. output. The cantus firmus is found in its in long notes in the tenor voice. In this (Figure 1) Ionian modality throughout, except in the case, the melody is based on a French In every large-scale composition, the Gloria in mm. 34-38, where it is modi secular ballad that reminds the contem element of harmonic unity of individual fied into a minor statement, with the use porary listener of the children's nursery movements and the harmonic unity of the of the paraphrase Bb, A, G, in a G-minor
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54 CHORAL JOURNAL • February 2006 ." r=-l ,---::::::::J ~ s Ilia I Ky ri e __ e - Ie - son, Ky - r------.... ---..., ------.. A ---- I I "" Ky ri e __ e - Ie - son, Ky -
Figure 2. Josquin de Prez, Missa L'ami Baudichon, "Kyrie," ITllTI. 1-5. Head motive statement (Soprano and Alto)
intemal cadence. Josquin's use of sequences in all of his meter, with subsections altemating in Another unifying technique that Jos masses is astounding. His ability to use tempus hnpelfectum-alla breve meter. quin employs is the use of a recUlTing sequencing without becoming monoto As the intrinsic nature of these two meters musical phrase in the soprano and alto nous displays his ingenuity. In the Credo suggests, the triple meter sections in the voices at the beginning of every major at m. 129 ("Et ResulTexit"), he begins the mass tend to move with quicker harmonic movement. This technique is a forerun use of the descending three note motive motion and greater rhythmic variety than ner to the "head motive" technique that of the cantus firmus in the tenor voice the alla breve sections. The alla breve belongs to the generation of composers, with a long stretch of sequences that sections hint at homophonic textures at including Byrd and Palestrina. Josquin continue until m. 269. In this section, he times, which become a standard technique includes not just a musical motive, but shows that the old cantus firmus tech of Josquin in later periods, especially in an entire musical phrase in both voices. nique that has been in existence for some particularly reverent sections of textual The Soprano melody simply outlines the time can be developed by beginning each declamation. This can be seen in the Glo scale from c2 descending to c1, while the statement on a different note of the Ionian ria at m. 102 ("Qui sedes ad dexteram"). alto outlines the Ionian triad beginning scale. Another example of cantus firmus With regard to rhythmic unifying ele on c1, descends to low g and cadences on development is found in mm. 28-68 with ments in the Missa L'ami Baudichon, the c1. (Figure 2) a retrograde statement in the tenor voice. listener would have the perception that Josquin's procedures of polyphonic Although the technique of motivic the entire composition is very similar. The imitation aid greatly in the unification sequencing and reiteration evolves into a harmonic changes are slow, in every sec of each mass movement. The imita much greater unifying device in J osquin' s tion, changing at the pulse of a half note. tive texture is generally constructed of later masses, early examples can be seen paired voices in imitation. In most in the Gloria of the Missa L'ami Baudi instances, the imitative voice answers chon (mm. 20-23 in the bass and soprano Missa La, Sol, Fa, Re, Mi in an exact manner then moves to a voices.) The descending pattem in the One of the most famous anec free development nearer the ends of soprano voice from gl to c1 is reiterated dotes associated with Josquin is re the musical phrase. A good example three times, while the ascending pattem lated to the composition of the Missa of paired voice imitation can be found in the bass is reiterated twice. (Figure 3) La, Sol, Fa, Re, Mi. Henricus Glareanus, in the Credo mm. 6-25, where the so The metric unification between the sixteenth-century Swiss theorist, prano and alto begin in exact imitation movements of the L'ami Baudichon is relays a humorous story about the for two measures after which each voice clear: each of the major movements is conception of Josquin's mass in his diverges into its own polyphonic path. composed in tempus pelfectum-triple
,.,. S I I (;; -----~ illt] ----
-& n ~ ,.., 19- B ------~ teo Glo - ri - fi - en
Figure 3. Josquin de Prez, Missa L'ami Baudichon, "Gloria," mm. 21-23. Melodic reiteration (Soprano and Bass)
February 2006 • CHORAL JOURNAL 55 ...... ---:= T tl tCiJ J I .. s I .. JD J err r F r r F IF rTtr Ii Pie ni sunt cae Ii, Cae Ii
Figure 4. Josquin de Prez, Missa L'ami Baudichon, "Sanctus," mm. 28-32. Ostinato pattern beginning on different notes of the hexachord (Tenor)
Dodecachordon. "Josquin, when he asked leta of the time which began "Lassa far La, Sol, Fa, Re, Mi. Each solmization a favor of some influential person whose a mi,"4 is really of no consequence to is taken from the vowels of the name name I don't know, and this procrastina the modern performer. Of consequence, or phrase upon which the title is based. tor repeatedly answered, in that broken is understanding the compositional tech In each of these solmization masses, the tongue of the French, 'Laise faire moy', nique of employing solmization syllables overriding unifying concept is the repeat that is, 'leave it to me', then without delay as an ostinato cantus firmus in numerous ed ostinato of the solmization syllables. [he] wrote a whole Mass, an exceedingly Renaissance era masses. The ostinato can be heard throughout the elegant work, based on these same words, Josquin composed three sogetto fabric of every voice part in the Missa La, thus: La, Sol, Fa, Re, Mi."3 cavato dalle parole [subject carved from Sol, Fa, Re, Mi. This tenor cantus firmus Whether Josquin's mass was truly are the words] masses: Missa Hercules Dux mass is worlds apart from the L' ami Bau sponse to this "influential person's" pro Ferrarie, with the solmization theme dicllOn in scope and in the use of cantus crastination to pay him more money, as re, ut(do), re, ut(do), re, fa, mi, re; firmus compositional practice. The sol some musicologists suggest, or whether Missa Faisant regretz, represented by mization ostinato is heard in every voice it was based on the contemporary barzal- the theme fa, re, mi, re; and the Missa part, in nearly every permutation imagin able, including retrograde, palindrome and alternating hexachord motives. Josquin's creativity is not diminished simply because the melodic material is limited to five single pitches; the contrary PARTICIPANTS: St. John's College, Cambridge University and Texas Tech University are pleased to continue their seems to be the case. The following list Summer Choral Institute partnership. This intensive one-week serves as a guide to the varied techniques choral symposium is intended for the advanced training of that Josquin employs to unify movements professional and graduate level choral conductors. of the Missa La, Sol, Fa, Re, Mi, while SESSIONS: Workshop activities include podium time with also displaying great compositional facil choir and orchestra; conducting and vocal master-classes, ity in his ability to vary the listener's aural choral repertoire and service music classes and participation experience from moment to moment: (1) in the Institute Chorus. The institute will culminate with a pervasive saturation of the melodic mate performance of WA. Mozart's Requiem. This performance will the 250th of Mozart's birth. rial in every voice pali of a movement;
UNIQUE FEATURES: Participants are afforded the opportunity all other voices singing freely composed to conduct the TTU Choir and Chamber Orchestra and to material; (3) an ostinato pattern begin study with David Hill, internationally acclaimed Musical ning on different notes of the hexachord Director of the London Bach Choir. Plans are ongoing for the 2007 Institute to take place at Cambridge. (e, f, g, a, b, c) (Figure 4); (4) beginning with free material and merging into exact statements of the ostinato; (5) exact state mentSoffhe o-stiliato i:Iissolving into free CliNICIANS: material; (6) retrograde statements ofthe • David Hill: Director of St. John's College, ostinato; (7) palindrome statements of Cambridge and Musical Director of the Bach Choir of London the ostinato; (8) mutation of the ostinato • John Dickson: Director ofC/total Studies and Chair of Conducting Division, Texas Tech Universihj so that the melodic pattern is similar but • Gary Lewis: Director of Orclwsh'al Studies,Texas Tech Universihj the intervals differ; and (9) the creation • Karl Dent: Chair of Vocal Studies, Texas Tech University of new motivic material through the de FOR MORE INFORMATION: velopment of the original cantus firmus. Anna Whitlock Henry, Coordinator, Special Music Activities While the procedures described above are [email protected] • 806. 742.2225 www.depts.ttu.edu/music • www.ttu.edu/gradschool the glue that holds the Missa La, Sol, Fa, Re, Mi together, there al'e still elements
56 CHORAL JOURNAL • February 2006 of other unifying principles at work. The Credo, however, Josquin uses frequent main treatment of imitation is still paired changes in meter to highlight impor voices in imitation, as is found in the tant sections of text and musical affect. Sanctus mm. 27-32 between the soprano For example, in measure 136 at "cujus and tenor. The only example of four-part regni non erit finis" [of his kingdom imitation is found in mm. 54-57 of the there will not be an end] he begins al Sanctus at the "hosanna," which com ternating triple and duple meters, with a mences with the ostinato figure in strict recurrence of the triple meter three times imitation for only four measures. in this overall aUa breve movement. Although the overall texture of every The rhythmic organization of La, movement is polyphonic, homophonic Sol, Fa, Re, Mi is more varied than in treatment of the text can be seen more the early masses. Josquin employs more in the Missa La, Sol, Fa, Re, Mi than dotted rhythms, shorter notes, and even in earlier mass settings. In the Credo, recurring triplet motifs to add variety the "Et incarnatus est," mm. 55-82, as to the more intricate rhythmic texture. well as the "Et in spiritum sanctum," Examples of the recurring triplet rhyth mm. 149-178, are set in a homopho mic motif can be seen in mm. 82-84 nic style, foreshadowing Josquin's and m. 109 of the Gloria; m. 46 of the later masses, in which he tends to set Credo; m. 50 of the Sanctus; and m. the same portions of text in homophony. 49 of the Agnus Dei Duo. (Figure 5) Much of the harmonic malee-up of the Missa La, Sol, Fa, Re, Mi seems to be Missa Pange Lingua centered in the Aeolian (minor) mode, due Considering its synthesis of com to the natural fifth created with the pitches positional devices that span Josquin's La-Re (a-d) when employing the solmiza musical output, the Missa Pange Lingua tion ostinato. However, it is obvious by is considered a late work. Musicologists Josquin's melodic treatment at each final agree that it is Josquin's latest mass set cadence point, and by the frequency of ting. Some of the compositional devices final cadences on the pitch E, that the that date this work and demonstrate the overriding modality is Phrygian. The final distinct differences in compositional cadences of each major movement of the language of the late period include: para mass are as follows: Kyrie-E; Gloria phrase technique of musical fragments E; Credo-E; Sanctus-E; Agnus Dei-A. from the original Pange Lingua chant The metric unity of the La, Sol, Fa, Re, material in every voice; close melodic Mi is similar to L'ami Baudichon. imitation, not only between paired voices, Each major movement of the mass but also in four voice imitative sections; is composed in tempus perfectum, with the setting of particularly penitential the exception of the Credo, which is sections of the text in a homophonic composed in aUa breve meter. In the
r--3 -.., r-3 -----., r----3----, s lr.J I rc no - bis. Quo - ni - am lu so - Ius sane
Quo - ni - am lU so - Ius sane lUS,
Figure 5. Josquin de Prez, Missa L'ami Baudicholl, "Gloria," mm. 82-84. Recurring triplet motivic figure (SATB)
February 2006 • CHORAL JOURNAL 57 T J J 10 J IS; JJ p Ie I" J7] fDJ ~ J ~ r er r Ky - ri - e e - Ie i - son, e -
Figure 6. Josquin de Prez, Missa L'ami Baudichon, "Kyrie," mm. 1-5. Paraphrase of Pange Lingua fragment 1 (Tenor)
texture (ex. Gloria, m. 55-"miserere composition. Every major movement of end,5 J osquin never states the entire chant nobis," and m. 68-"suscipe deprecatio the mass begins with a quotation of the note by note. He chooses, alternatively, to nem"); the use of a quasi-cantus firmus opening four pitches of the chant. This use the six fragments of the Pange Lingua technique in the Agnus Dei ill (mm. technique unifies each section of the hymn as the raw material for the structure 88-107 in soprano); and the use of a large-scale structure by drawing the lis of the mass by paraphrasing each one, quasi head motif technique throughout tener's attention immediately to the first (Figure 6) the composition. These differences dem musical material of each new section. Be Interestingly, Josquin calls upon the lis onstrate Josquin's evolution throughout cause each of the movements would not tener to make another musical connection his compositional output and highlight have been heard contiguously, this served by paraphrasing the familiar Ascendit Deus his individualized style of composition. the function of keeping the listener's at chant-with its ascending scalar passage-in Josquin's Missa Pange Lingua bases tention throughout the service. The Kyrie the second section of the Credo (m, 131), its primary musical material on the hymn would have been followed immediately Examples of imitation, including free of the same name for Vespers of C01pUS by the Gloria, but the Credo was not sung imitation, strict imitation, free material Christi. The paraphrased hymn mate until the middle of the service and the that transitions into the paraphrased or rial permeates the texture of the entire Sanctus and the Agnus Dei came near the cantus firmus material, and strict imita tion that diverges into freely composed material, can be found throughout all three of Josquin's compositional periods, However, the unifying element of poly phonic imitation also continued to evolve. The main difference in the treatment of paired voices in imitation throughout the Missa Pange Lingua is the technique of placing imitative voices closer in time to the preceding statements, creating a sense of urgency and rhythmic vitality. Anne Tomlinson • July 3 -11, 2006 "The TlIsculIY [lIlematiollal Childrell's Chams Festivall'lVvides wOllderflt1 (Figure 7) musical c:rperic/1cC!s wltile fostering cultural cllric/t1111!lIf tile highest While scant usage of homophonic "'""".~,u" can masses, Josquin alternates homophonic Henry Leek • July 1 - 10, 2007 and polyphonic sections with much "Mllsica MlIlldi's festivals are pllellolllCllal ill all aspecls." Henry Leck, more freedom in the Missa Pange Lin Founder and Director, Indianapolis 01ildren's Chorus gua. As can be seen in the Gloria, mm, 55-60 and mm, 67-72, the transition ---errp-enhagen-International €hildren!s' Lr1fn"Us,··t'(~SF·lva from _poly.phonyJ.o homopllOny seems
Copenhagen 0 Odensee HeIsinger to transition simply and elegantly, r--:::::--,.., (Figure 8), Jean Ashworth Bartle • June 26 - July 3, 2006 The unifying element of cantus firmus "011 a scaleofllo 10, I/Ie TilscallY [lIlemaliollal Childrell's Chorus Festival is all 11! I b,ow I will be able 10 say lite some abolll Ihe Copellitagell technique is examined in detail in the first Iutemntiollnl Childre/l's Choms Festival." Jean Ashworth Bartle, Founder, Toronto Children's Chorus two sections of this column, As previ ously discussed, Josquin's paraphrased Judith Willoughby. July 9 - 16, 2007 1 800 947 1991 melodic material is based on the Pange "Choral pelformallres ill Delllllark~ IllOgicnl seltitlgs pml'ide IIllparal/eled [email protected]
opportunities for ml/sical SilOI'illg1 growtlI nlld ilzicrcuitural exchange. I Muska Mundi Concert Tours Lingua hymn, although it is employed in 10okjo17ual'd to cOlldllClillg Mllsica Mlllldl's lIewest, 1I0iable festival fol' 101 First Street, Suite 454 c1lildl'ell'S cl",,.,,ses." Judith Willoughby, Founding (former) Music Los Altos, CA 94022 a distinctly different manner than cantus Director, Temple University Children's Choir, Associate Professor Ph 650 9491991 • Fax 650 9491626 firmus technique of earlier periods. This of Conducting and Music Education, Northwestern University www.musieamundi.eom composition is estimated to have been
58 CHORAL JOURNAL • February 2006 S
Qui se des ad dex - Ie - ram Pa tris,
A
stram. mi-se-re-re_ ::::::;;----... T
Qui se des ad dex - Ie - ram Pa lris,
B
Figure 7. Josquin de Prez, Missa L'ami Baudicholl, "Gloria," mm. 74-78. Close melodic imitation )SATB)
s
mi - se - re - re __ no bis. _____
mi - se - re - re no bis. __
T
di, ______mi - se re - re no bis. B~~~~~~g~~~~
Figure 8. Josquin de Prez, Missa L'ami Baudicholl, "Gloria," mm. 54-60. Polyphony transitioning to Homophony (SATB)
composed in 1513,6 at which time the cantus firmus technique would have been considered out of fashion. The old practice of cantus firmus mass settings gives way to a synthesis of compositional techniques that display more creativity and variety in form and scope. The only example of the traditional cantus finnus technique can be found in the Agnus Dei ill, mm. 88-107, in the soprano voice, as the entire first stanza of the Pange Lingua hymn is paraphrased in long note values. The Missa L'ami Baudichon demon strated the unifying principle of head motif technique clearly. In the Missa Pange Lingua, Josquin begins everyone of the five major movements with a para \>. ./fqrirl.(qr.mo,t:idn;.~ .__ .... _~,._. _. _'_._ D~yel()ping' . CO!!tf!c:"tSii:tjarii'MiIt1iYiiJr'-"~'"C-:--"CA:P phrased statement of the first four notes of I TAL excellent . '''-:-' (6.14) 236-6267 . . '...... " ." . . . . . the Pange Lingua hymn. The notes e - e '. -smo,thias@capitiLedii.. >UNrV;:ER$~TY - f - e serve as the head motif throughout 'i"V'(JrJy.capitill.eau/kodaly·. TheEduclition You Want. The Attention You Deserve. February 2006 • CHORAL JOURNAL 59 the composition in every instance except will follow in all movements of the mass. meter in order to engender the solemnity in the Credo, where it is paraphrased e Of the three strong cadences in the first and reverence of the text "blessed is he - e - e - f - e. movement, two resolve to C major chords who comes in the name of the Lord." Harmonic treatment of the Pange Lin and the final cadence moves to G major: The most unique unifying element in gua chant is varied and colorful. While the dominant of C. J osquin continues this the Missa Pange Lingua is Josquin's the Pange Lingua chant modality itself is pattern throughout each movement of treatment of rhythmic drive and motivic E Phrygian, Josquin skirts the issue of a the mass to allow for a tonic-dominant persistence at cadential points. A prime consistent Phrygian modality in his mass relationship to be developed between example of this technique can be seen in setting. The overall structure of the chant C and G, which could not otherwise be the opening Kyrie. The harmonic rhythm is kept intact with quotations throughout explored had he used an E tonicization of this movement begins in slow half the entirety of the mass, creating struc because of the F natural that would have note motion, but quickly turns frenetic tural unity between each head motif, and been employed in the dominant chord of at mm. 12-16 with the persistent use of the polyphonic lines work together to that key. 7 a major and minor third motive and the create a harmonic structure that is most The metric and rhythmic unification of ascending five note motive in every voice easily perceived as C Ionian. Josquin the Missa Pange Lingua is similar to that part except the tenor. Another example may have chosen this avenue of harmonic found in the earlier masses. However, one of the rhythmic drive to the cadence can treatment due to the intrinsic harmonic recognizes more freely shifting meters be seen at the end of the Kyrie in mm. implication in the chant itself. For ex from alla breve to tempus perfectum; for 65-70, aided by the persistent repetition ample, with one minor adjustment in the example, the triple meterin m. 183 of the of motivic sequencing in every voice part. sixth and final fragment of the chant, the Credo, which alternates two times with (Figure 9) final descent could continue from the dto the alIa breve marking. In the Sanctus, the The overall structural expansion of c and the listener would feel perfectly "at "hosanna" text at m. 104 is modified from the Missa Pange Lingua should be noted. home," perhaps even more so to modem alIa breve to triple meter in order to allow While it is similar to the other masses ears, with this tonic resolution. Josquin's the joyous nature of the text an opportu that have been analyzed in respect to the first cadence of the Kyrie an·ives on a C nity to dance. Similarly, the "Benedictus" setting of five movements of the ordinary major chord, setting precedent for what section that follows returns to duple of the mass, it is markedly different in scope. The Kyrie, Gloria, and Credo are constructed in the same manner as the earlier masses. The Sanctus is given more credence with its division into four IFriendship Ambassadors Foundation distinct musical sections, including: four i Customized Concert Tours with REAL Cultural Exchange voice "sanctus"; duo "pleni sunt coeli"; : four-voice "hosanna"; and duo "bene l30+ Years Experience • "Experts in Service to the Field" '8' dictus". The Agnus Dei is also expanded 1501(c)(3) nonprofit organization. Member: ACDA • NBA • IATA • ATA 'f- ~ to include three distinct sections: Agnus I Affiliated with the United Nations Department of Public Information ?':': 9') i Dei I, opening in four-voice polyphony; IAsle about our ftmd raisers and familiarization tours! ~ £)~ I. SSN separated by a soprano and alto duo in the Agnus Dei IT; and closing in four-voice .... --:·Eustomized-concert-tours---Glebal-exehanges,-concer-ts.at-the-United-Nations,_r:elieL~ .. polyphony-inthe.Agnus-Dei-ID.---___... _ I concert programmes for Katrina and 9!1 I families. Visit faf.org for current : Iopportunities! subsidies throughout Europe, in China and Latin America. Conclusion (World Culture Open Festival in Ghana, West Africa, August2006 The unifying elements that Jos quin employs in each of his masses Choral Peace Camp • Romania 7/06: East/West Youth Choirs meet, learn, perform can be seen in continual development throughout-each-. analysis.-It _should Tours with a mission § a tax deduction for all travelers oriheirfamilies! prove helpful at this point to review the unifying elements that have been ex amined in a somewhat different format. "What a wonderful, wonderful trip we had! I cannot thank you enough for all the hard work - In order to make clear which unifying everything was arranged very, velY well ... wefelt so taken care of! With much gratitude and appre-: elements are most important in Renais ciation, Sondra Hames?', World Childrens Choir, WCC/FAF Peace Camp Director, August 2005 . sance choral music, the following outline should be of assistance. While it is cer tainly not exhaustive, the outline serves to 1-800-526-2908 • [email protected] • www.faf.org orient conductors, with the aid of a basic FAF Groups seen on/in: CBS Sunday Morning, CNN, NY Times, PBS, Smithsonian analytical tool, to the choral music ofthe Fr.~en~shipl\l11ba~s.adors Foundati0tl' .Inc. Renaissance. By providing a primary ref-
60 CHORAL JOURNAL • February 2006 s 1;------son.-- ______------_
A
- son. Ky ri - e e - Ie - son.
T son.--- ______------_
Figure 9. Josquin de Prez, Missa L'ami Baudichon, "Kyrie," mm. 65-70. Persistent motivic repetition and driving cadential pattern (SATB)
erence guide that is neither too brief nor r"1 ',' I r \1 ,',J I',', I li"l \~~ .1'1/" ,i' ,1":1- "'~r -~~~",'" too detailed, it allows for adjustments . "Analytical Outline ofailnijfying Ele'm~nts " . and additions to its structure in order for : ' .. ,found in Rfmai'5sance,Ch()ljill Music " ' ',., each conductor to create a personalized { ,~~ ~ I !l~ i 1 r \ ,_ ), j ,_ .< / ,r , ~ ,;1 .;! ' / 1 , \, J ')!: (, { " analytical reference tool. I. Melodic Unification NOTES a. Paraphrase Technique; Cantus Firmus Technique; Solmization Ostinato technique; Head Motif technique; Parody, etc. 1 Patrick Macey, "Josquin des Prez." the b. Procedures of Imitation New Grove Dictionmy ofMusic Online; 1. free imitation ed. L. Macy; available from
February 2006- CHORAL JOURNAL 61