Kyrie (Tr. 87, f. 126r) (John Dunstable): Difference between revisions

From ChoralWiki
Jump to navigation Jump to search
m (Text replacement - " " to " ")
(Add sequence number to Pub)
 
(5 intermediate revisions by 2 users not shown)
Line 2: Line 2:
==Music files==
==Music files==
{{#Legend:}}
{{#Legend:}}
*{{PostedDate|2016-02-29}} {{CPDLno|38733}} [[Media:Kyrie_(Dunstaple)_Tr._87,_f._126r.pdf|{{pdf}}]] [[Media:Kyrie_(Dunstaple)_Tr._87,_f._126.mid|{{mid}}]]
*{{PostedDate|2016-02-29}} {{CPDLno|38733}} [[Media:Kyrie_(Dunstaple)_Tr._87,_f._126r.pdf|{{pdf}}]] [[Media:Kyrie_(Dunstaple)_Tr._87,_f._126.mid|{{mid}}]] [[Media:Kyrie_(Dunstaple)_Tr._87,_f._126r.mxl|{{XML}}]]
{{Editor|Simon Biazeck|2016-02-29}}{{ScoreInfo|A4|3|93}}{{Copy|CPDL}}
{{Editor|Simon Biazeck|2016-02-29}}{{ScoreInfo|A4|3|93}}{{Copy|CPDL}}
:'''Edition notes:'''This edition has been transcribed from the Trent codex, transposed down a minor third and the note values have been quartered. Cue-sized and cautionary accidentals are editorial. The original prolation sign, tempus perfectum, suggests a moderate three in a bar. The editorial treatment of musica ficta, the approach to harmonic tritones and false relations seeks to address some aural prejudices we may have about this music, and indeed much music of the late Medieval early Renaissance periods. No attempt has been made to correct so-called forbidden intervals.
:{{EdNotes|This edition has been transcribed from the Trent codex, transposed down a minor third and the note values have been quartered. Cue-sized and cautionary accidentals are editorial. The original prolation sign, tempus perfectum, suggests a moderate three in a bar. The editorial treatment of musica ficta, the approach to harmonic tritones and false relations seeks to address some aural prejudices we may have about this music, and indeed much music of the late Medieval early Renaissance periods. No attempt has been made to correct so-called forbidden intervals.}}


==General Information==
==General Information==
Line 11: Line 11:
{{Lyricist|Traditional}}
{{Lyricist|Traditional}}


{{Voicing|3|ATB|ATBar.}}<br>
{{Voicing|3|ATB|ATBar.}}
{{Genre|Sacred|Liturgical music|Mass fragments}}
{{Genre|Sacred|Liturgical music|Mass fragments}}
{{Language|Latin}}
{{Language|Latin}}
{{Instruments|A cappella}}
{{Instruments|A cappella}}
{{Pub|0|post 1445|in the ''[[Trent codices|Trent codices codex 87]]''|ms=ms}}
{{Pub|0|post 1445|in the ''[[Trent codices|Trent codices codex 87]]''|ms=ms|no=87-118}}
 
{{Descr| }}
'''Description:'''
{{#ExtWeb:}}
 
'''External websites:'''
 
==Original text and translations==
==Original text and translations==
{{LinkText|Kyrie}}
{{LinkText|Kyrie}}

Latest revision as of 04:36, 9 January 2022

Music files

L E G E N D Disclaimer How to download
ICON SOURCE
Icon_pdf.gif Pdf
Icon_snd.gif Midi
MusicXML.png MusicXML
File details.gif File details
Question.gif Help
  • (Posted 2016-02-29)  CPDL #38733:       
Editor: Simon Biazeck (submitted 2016-02-29).   Score information: A4, 3 pages, 93 kB   Copyright: CPDL
Edition notes: This edition has been transcribed from the Trent codex, transposed down a minor third and the note values have been quartered. Cue-sized and cautionary accidentals are editorial. The original prolation sign, tempus perfectum, suggests a moderate three in a bar. The editorial treatment of musica ficta, the approach to harmonic tritones and false relations seeks to address some aural prejudices we may have about this music, and indeed much music of the late Medieval early Renaissance periods. No attempt has been made to correct so-called forbidden intervals.

General Information

Title: Kyrie (Tr. 87, f. 126r)
Composer: John Dunstable
Lyricist: Traditional

Number of voices: 3vv   Voicing: ATBar.
Genre: SacredLiturgical musicMass fragment

Language: Latin
Instruments: A cappella

    Manuscript post 1445 in the Trent codices codex 87, no. 87-118
Description: 

External websites:

Original text and translations

Original text and translations may be found at Kyrie.