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Voci pari motets and convent polyphony in the 1540s : The materna lingua complex

Voci pari motets and convent polyphony in the 1540s : The materna lingua complex
Voci pari motets and convent polyphony in the 1540s : The materna lingua complex

In the 1540s the great Venetian publishing houses of Scotto and Gardano issued a cluster of publications whose title pages advertised a particular vocal disposition—“voci pari,” or equal voices. Analysis of the motets, their texts, and their musical treatment reveals an intimate connection with convents and conventual worship. In this article I describe the relationships between the books, speculate as to how convents might have used the motets, and consider what the works can tell us about performance practice in female- voice ensembles. Drawing on aspects of the books’ publication history, the liturgical function of certain texts, and musical relationships with works composed at the Ferrarese court, I propose a candidate for the composer of at least some of the anonymous pieces in Musica quinque vocum: motteta materna lingua vocata (RISM 15432): Suor Leonora d’Este (1515–75), daughter of Duke Alfonso I d’Este and Lucrezia Borgia and the abbess of the convent of Corpus Domini in Ferrara. 

0003-0139
617-696
Stras, Laurie
b1021221-b68d-4a48-bf3c-890e5a63438a
Stras, Laurie
b1021221-b68d-4a48-bf3c-890e5a63438a

Stras, Laurie (2017) Voci pari motets and convent polyphony in the 1540s : The materna lingua complex. Journal of the American Musicological Society, 70 (3), 617-696. (doi:10.1525/jams.2017.70.3.617).

Record type: Article

Abstract

In the 1540s the great Venetian publishing houses of Scotto and Gardano issued a cluster of publications whose title pages advertised a particular vocal disposition—“voci pari,” or equal voices. Analysis of the motets, their texts, and their musical treatment reveals an intimate connection with convents and conventual worship. In this article I describe the relationships between the books, speculate as to how convents might have used the motets, and consider what the works can tell us about performance practice in female- voice ensembles. Drawing on aspects of the books’ publication history, the liturgical function of certain texts, and musical relationships with works composed at the Ferrarese court, I propose a candidate for the composer of at least some of the anonymous pieces in Musica quinque vocum: motteta materna lingua vocata (RISM 15432): Suor Leonora d’Este (1515–75), daughter of Duke Alfonso I d’Este and Lucrezia Borgia and the abbess of the convent of Corpus Domini in Ferrara. 

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Accepted/In Press date: 6 February 2017
e-pub ahead of print date: 22 December 2017
Organisations: Music

Identifiers

Local EPrints ID: 410154
URI: https://eprints.soton.ac.uk/id/eprint/410154
ISSN: 0003-0139
PURE UUID: 3e5f075e-9992-41ba-bbea-b8f22df9b4f8
ORCID for Laurie Stras: ORCID iD orcid.org/0000-0002-0129-2047

Catalogue record

Date deposited: 03 Jun 2017 04:04
Last modified: 06 Jun 2018 13:06

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