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Contents

Music from the Earliest Notations to the Sixteenth Century

GLORIA

Chapter:
CHAPTER 9 Machaut and His Progeny
Source:
MUSIC FROM THE EARLIEST NOTATIONS TO THE SIXTEENTH CENTURY
Author(s):
Richard Taruskin

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. 24 Apr. 2014. <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 24 Apr. 2014, 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 24 Apr. 2014, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009013.xml
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