With its vivaciously lilting, hemiola-infested rhythms and its fanciful little patches of voice-exchange on the “horn call” motif, Busnoys’s “Tu solus” (Ex. 12-13) really crowns the Gloria. Not only its inherent qualities but also its placement testify to Busnoys’s “art of shapeliness” and justify the high regard in which his work was held, as well as the dynastic influence it exerted on his contemporaries and juniors. And yet if we are to take a properly “historical” view of this Mass, it is on the relatively inconspicuous tenor tacet sections that we must train our lens. They represent a new principle of composing—exceptional in Busnoys’s time, but standard practice a hundred years later and for centuries thereafter.
- Citation (MLA):
- Richard Taruskin. "Chapter 12 Emblems and Dynasties." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 22 Feb. 2017. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-012011.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 22 Feb. 2017, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-012011.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 22 Feb. 2017, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-012011.xml