<html><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">Thank you, Dmitri, for this gorgeous Josquin. What a master. <div><br></div><div><div>Before seeing the Josquin, I was going to say: "Since Anonymous, performers/ composers have given </div><div>themselves license to set the meanings of texts, e. g., florid melismas on "Allelujia" in 11th c organum.</div><div><br></div><div>Josquin, however, sets this text without breaking rules. Re m. 51: Observe that the F is dissonant--an accented </div><div>passing tone, established in mm 48, -9 and -50. What's going on here is voice crossing to set the text </div><div>that produces parallel 3rds and 6ths. Acoustically, m. 51's C above F is a fifth, but the ear will interpret</div><div>it as a dissonance resolving to the E below the C. Context! </div><div><br></div><div><span class="Apple-style-span" style="font-size: 12px; ">Donna Doyle</span></div><div><div><div apple-content-edited="true"><div> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica; min-height: 14.0px"><br></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px"><font face="Helvetica" size="3" style="font: 12.0px Helvetica">Aaron Copland School of Music</font></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px"><font face="Helvetica" size="3" style="font: 12.0px Helvetica">Queens College</font></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px"><font face="Helvetica" size="3" style="font: 12.0px Helvetica">65-30 Kissena Blvd.</font></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px"><font face="Helvetica" size="3" style="font: 12.0px Helvetica">Flushing, NY 11367</font></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px"><font face="Helvetica" size="3" style="font: 12.0px Helvetica"><span class="Apple-converted-space"> </span></font></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px"><font face="Helvetica" size="3" style="font: 12.0px Helvetica">tele: 718-997-3819</font></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px"><font face="Helvetica" size="3" style="font: 12.0px Helvetica">fax:<span class="Apple-converted-space"> </span>718-997-3849</font></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px"><font face="Helvetica" size="3" style="font: 12.0px Helvetica">email: <a href="mailto:donna.doyle@qc.cuny.edu">donna.doyle@qc.cuny.edu</a></font></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px"><font face="Helvetica" size="3" style="font: 12.0px Helvetica">email: <a href="mailto:donnadoyle@att.net">donnadoyle@att.net</a></font></p><p style="margin: 0.0px 0.0px 0.0px 0.0px"><br></p><p style="margin: 0.0px 0.0px 0.0px 0.0px">_____________________</p> </div> </div><br><div><div>On Jul 11, 2010, at 10:24 PM, Dmitri Tymoczko wrote:</div><br class="Apple-interchange-newline"><blockquote type="cite"><div>I did a little computer search, and found a nice Renaissance instance of consecutive fifths in two voices: Josquin's "Gaude Virgo, Mater Christi" at "Fulget resurrectio," where the soprano and alto sing (C4, G4)->(C5, F4).<br><br>You can find an online version here (m. 51):<br><br><a href="http://www1.cpdl.org/wiki/images/sheet/jos-gaud.pdf">http://www1.cpdl.org/wiki/images/sheet/jos-gaud.pdf</a><br><br>It occurs to me that there are two distinct phenomena here: "antiparallel fifths" such as (C4, G4)->(F3, C5), and "crossed fifths" such as (C4, G4)->(C5, F4). In the latter case, we create genuine parallels by removing a voice crossing; in the first case, we create the parallels by shifting octave.<br><br>DT<br><br>Dmitri Tymoczko<br>Associate Professor of Music<br>310 Woolworth Center<br>Princeton, NJ 08544-1007<br>(609) 258-4255 (ph), (609) 258-6793 (fax)<br>http://music.princeton.edu/~dmitri<br><br><br><br><br><br>_______________________________________________<br>Smt-talk mailing list<br>Smt-talk@societymusictheory.org<br>http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org<br></div></blockquote></div><br></div></div></div></body></html>