THE MAN AT ARMS
The noblest and most copious dynasty of all was the long line of Masses based on a cantus firmus derived not from a church chant but from a secular (folk? popular?) song called L’Homme Armé (“The Man at Arms”). More than forty such Masses survive in whole or part, by authors of practically every Western European nationality (Flemish, French, Italian, Spanish, Scottish, German). The earliest was composed some time after 1454, and the latest, a colossal affair for three choirs plus organ, is somewhat doubtfully attributed to the Roman composer Giacomo Carissimi (1605-74). Practically every composer mentioned by Tinctoris, including Tinctoris himself, wrote at least one Missa L’Homme Armé, as did their pupils and their pupils’ pupils. The principle of emulation, thus applied on such a massive scale, produced the very summit of fifteenth-century musical art and artifice.
- Citation (MLA):
- Richard Taruskin. "Chapter 12 Emblems and Dynasties." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 6 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-012010.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 12 Emblems and Dynasties. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 6 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-012010.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 12 Emblems and Dynasties." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 6 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-012010.xml