The Kyrie is built around the same cantus firmus as the Kyrie from the Faenza Codex sampled in Ex. 9-9: the famous Cunctipotens genitor melody, which we have encountered by now in several guises. In the Kyriale, the official book of Ordinary chants, it is assigned to Mass IV, a lavish tenth-century formulary reserved for feasts of “double” rank. The fact that a setting of it is found in Faenza raises the possibility of alternatim performance with Machaut’s Kyrie—a kind of responsorial performance in which sections sung in polyphony alternate with sections played on the organ or sung in plainchant. The Faenza setting is in fact the earliest presumed documentation of the practice, which became very widespread in the fifteenth century, especially in Italy and Germany.
- 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. 23 Nov. 2014. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009012.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 23 Nov. 2014, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009012.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 23 Nov. 2014, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009012.xml