FUNCTIONALLY DIFFERENTIATED COUNTERPOINT
As an example of the standard cantilena texture “just as it is, without adding or taking away,” we can look at yet another Machaut virelai, Tres bonne et belle (Ex. 9-6), the only one to come down in all its sources, exceptionally, as a three-voice composition. The final is C, putting the song in what we would call the major mode (and what Machaut, if he thought about it at all, would probably have called a transposition of the Lydian mode, normally pitched on F). The texted part or cantus has a plagal ambitus that puts the final smack in the middle of its range. The lower tenor and contratenor share a single authentic ambitus, from c to d’.
- Citation (MLA):
- Richard Taruskin. "Chapter 9 Machaut and His Progeny." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 21 Jan. 2017. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009005.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 9 Machaut and His Progeny. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 21 Jan. 2017, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009005.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 9 Machaut and His Progeny." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 21 Jan. 2017, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009005.xml