WILLAERT AND THE ART OF TRANSITION
And yet the perfection of the ars perfecta shows up all the more clearly against its rough-hewn rival. Of course the rough-hewn metrical psalm was just as deliberately rough-hewn as the perfected style was deliberately perfected. We have just seen examples of both from a single composer, who chose his styles according to his purposes. The difference shows up particularly well at the “joints”—the line ends and cadences: pronounced and emphatic in the metrical psalm, artfully smoothed over in the Latin motet. Indeed, there is no place where Ex. 15-3a, the opening of Qui consolabatur me, could have broken off without interrupting something in progress.
- Citation (MLA):
- Richard Taruskin. "Chapter 15 A Perfected Art." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 1 Feb. 2015. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-015007.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 15 A Perfected Art. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 1 Feb. 2015, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-015007.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 15 A Perfected Art." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 1 Feb. 2015, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-015007.xml