As a result of several recent discoveries, the Gloria of Machaut’s Mass has emerged as perhaps the most fascinating “movement” of all. It was long thought to be a conductus-style setting like the Credo (perhaps modeled, like it, on the Credo of the Mass of Tournai). Recently, however, it has been demonstrated—by the American scholar Anne Walters Robertson, a historian of medieval musical liturgies—that it is a polyphonic setting of the Gloria that follows the Kyrie Cunctipotens in Mass IV, the same tenth-century “doubles” formulary.2 The reason Machaut’s use of this melody went undetected so long is that the version he used was the version he knew: that of the Reims service books of his time, not the reconstructed “original” version found in the printed chant books of the twentieth century.
- 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. 3 Mar. 2015. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009013.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 3 Mar. 2015, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009013.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 3 Mar. 2015, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009013.xml