WILLAERT AND THE ART OF TRANSITION

Chapter:

CHAPTER 15 A Perfected Art

Source:

MUSIC FROM THE EARLIEST NOTATIONS TO THE SIXTEENTH CENTURY

Author(s):

Richard Taruskin

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. 21 Sep. 2023. <https://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 21 Sep. 2023, from https://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 21 Sep. 2023, from https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-015007.xml