TY - JOUR
AU1 - Bujic, Bojan
AB - coherent project forming ‘a sustained trajectory nothing for the Ordinary (which he provided through what Henry Garnet called ‘‘the prin- for elsewhere), and his motets are not only poly- cipall pointes of the life of our Saviour, and of phonic, but almost entirely independent of his holy Mother’’’ (p. 167). There is little doubt proper plainsong. of this. Nevertheless, Byrd does not always set Figures 4.2 and 4.3 (p. 117) could have been out his contents in calendar order; sometimes, much clearer. In showing ‘Density of text set- for example, his grouping of works according to ting in the Gradualiapropers’ (melismatic writing numbers of vocal parts conflicts with this. having a low syllable-to-breve ratio, syllabic McCarthy sees ‘three broad narratives’ music a higher one), they plot very narrow lines, (p. 182) within the larger project, which focus somewhite, againstgreybackgrounds. Andwhile on the life of Christ on earth (Christmas, Epi- each line obviously represents a particular Mass phany, and Easter), of the Church after Christ’s proper, it is not immediatelyclear which is which. departure from earth (Ascension, Pentecost, The numerals1,2,3,4 onthe horizontal axis must Corpus Christi, Sts Peter and Paul, All Saints), refer respectively to introits, interlectionary and of the 
TI - Music in Renaissance Florence: Studies and Documents. By Frank A. D’Accone.
JF - Music and Letters
DO - 10.1093/ml/gcn057
DA - 2008-11-22
UR - https://www.deepdyve.com/lp/oxford-university-press/music-in-renaissance-florence-studies-and-documents-by-frank-a-d-rSLAjOtVEH
SP - 608
EP - 610
VL - 89
IS - 4
DP - DeepDyve
ER -