WHAT INSTRUMENTALISTS DID
Proof of this ballade’s distinction (or at least its popularity) is its inclusion, a generation or more after the composer’s death, in a north Italian manuscript from about 1415 that is the earliest extant source of music composed or arranged for keyboard instruments. It is called the “Faenza Codex” after the Italian town to whose public library it now belongs. It may originally have been prepared by or for a church organist, because it contains a certain amount of service music, including an arrangement of the Kyrie Cunctipotens genitor, with which we are already familiar in both its original form (Ex. 2-14b) and as adapted for polyphonic performance (Ex. 5-8). The organ arrangement in the Faenza Codex is somewhat like the latter in concept. It is arranged in score, with the lower staff (left hand part) confined to the plainsong melody, held out as a tenor, while the right hand part carols away in a very florid counterpoint. Ex. 9-9 contains the first section.
- 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. 25 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009007.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 25 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009007.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 25 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009007.xml