Book contents
- The Art of Counterpoint from Du Fay to Josquin
- The Art of Counterpoint from Du Fay to Josquin
- Copyright page
- Dedication
- Contents
- Figures
- Tables
- Musical Examples
- Acknowledgments
- Note on Musical Examples
- Abbreviations
- Introduction
- Part I Starting Points
- Part II Tinctoris’s Varietas
- Part III Fundaments of the Art
- 7 The Parameters
- 8 Affordances of Four- and Five-Voice Texture
- 9 Sacred Genres
- 10 The Formes Fixes
- Part IV The Art in Action
- Book part
- Bibliography
- Index of Compositions
- General Index
8 - Affordances of Four- and Five-Voice Texture
from Part III - Fundaments of the Art
Published online by Cambridge University Press: 05 December 2024
- The Art of Counterpoint from Du Fay to Josquin
- The Art of Counterpoint from Du Fay to Josquin
- Copyright page
- Dedication
- Contents
- Figures
- Tables
- Musical Examples
- Acknowledgments
- Note on Musical Examples
- Abbreviations
- Introduction
- Part I Starting Points
- Part II Tinctoris’s Varietas
- Part III Fundaments of the Art
- 7 The Parameters
- 8 Affordances of Four- and Five-Voice Texture
- 9 Sacred Genres
- 10 The Formes Fixes
- Part IV The Art in Action
- Book part
- Bibliography
- Index of Compositions
- General Index
Summary
Textural contrast might well drive an esthetics of opposition more than any other compositional technique. Chapter 8 asks what is new in the fifteenth century about vocal ranges and scoring, and how composers manipulate changes in texture to pull back the throttle or produce calculated bursts of intensity.
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- The Art of Counterpoint from Du Fay to Josquin , pp. 157 - 166Publisher: Cambridge University PressPrint publication year: 2024