COLOR AND TALEA
An extraordinary witness to the popularity of the “In seculum” melisma is a little appendix of textless pieces, all based on it, found at the end of the Bamberg manuscript after the hundred motets that make up its main corpus or “body” of works. Although they are without text and written in score, these pieces are not really “clausulae,” because they are written in mensural notation and have nothing to do with the actual Notre Dame repertory. (As far as the composers themselves were in all likelihood concerned, they were borrowing the “In seculum” tenor not from a Gradual but from other motets.) They were “abstract” pattern-pieces, intended for vocalizing or for instrumental performance, and as such count as the earliest written “chamber music.” Fig. 7-6, an “opening” of two facing pages from the Bamberg manuscript, shows three of these pieces and the beginning of a fourth; Ex. 7-6 contains transcriptions of two of the complete pieces.
- Citation (MLA):
- Richard Taruskin. "Chapter 7 Music for an Intellectual and Political Elite." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 8 Dec. 2024. <https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-007007.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 7 Music for an Intellectual and Political Elite. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 8 Dec. 2024, from https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-007007.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 7 Music for an Intellectual and Political Elite." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 8 Dec. 2024, from https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-007007.xml
