cantus firmus

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  • noun

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a melody used as the basis for a polyphonic composition

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20) In his editions of some of the music in the Trent Codices for the Denkmaler der Tonkunst in Osterreich edition,(21) Ficker proposed double cantus firmi in a number of English Mass movements, though he was unable to confirm his propositions with actual chants.
use of canon, shared cantus firmi, shared texts, etc.
The richly textured plein jeu movements with plainsong cantus firmi are especially fine - the varied treatment of the plainsong themes Ave maris stella and Pange lingua is remarkable - but the volume also takes in numerous free works (there are several fine Fantaisies), and an extraordinary Fantaisie des Duretez, which owes an obvious debt to Frescobaldi's Elevation Toccatas but far exceeds them - and probably everything else in the period for that matter - in harmonic audacity.
From the same partbook, he has made a judicious choice of five plates, including the title-page and music folios illustrating various treatments of cantus firmi.
Nine sixteenth-century motets by composers ranging from Philippe Verdelot to Claude Le Jeune follow, all settings of Savonarolan cantus firmi or the meditations on Psalms 30 and 50 that Savonarola wrote in prison while awaiting execution.
Their contrapuntal technique was clear and austere in the Palestrinian sense, and there was never much adherence to the Franco-Flemish practice of building Masses very obviously on secular cantus firmi.
48) But most of his compositions use the well-known cantus-firmus technique that he must have experienced as a tenor in Brussels as well as in Cambrai, and one work combines two cantus firmi, the antiphon `Beati pacifici' and Hayne van Ghizeghem's well-known `De tous biens plaine'.
The appendixes include all of the cantus firmi that Carver used in his Masses, plus a critical commentary and the texts and English translations of the two motets.
There was indeed a tradition of using cantus firmi in the final strains of dances, but Byrd is the wrong composer to pick as representative of it.
As Angles and Stevenson have both observed, and Imrie summarizes in efficient and informative liner notes, the Gloria is based on the Gregorian Gloria XV (Dominator Deus, for commemorations and ferias of the Christmas season), the Credo is based on Credo IV, the Sanctus and Agnus use bits of the Salve regina for their cantus firmi, and the five-voice Agnus II, in a display that everyone cites as evidence of contrapuntal skill below the Pyrenees, combines the Salve regina melody as a cantus firmus in the soprano with the tenor to De tous biens plaine, in the tenor, in retrograde.
Haar also investigates Lasso's musical treatment of cantus firmi, distinguishing between a traditional approach, in which the cantus firmus determines the overall structure of the motet, and a newer approach, in which the cantus firmus is adjusted to fit the surrounding counterpoint.
Local chant traditions, peculiar to one parish or diocese, can be identified in the cantus firmi of many polyphonic settings, as Anne Walters Robertson and Jennifer Bloxam demonstrate in their contributions on Machaut and Obrecht.