Cantus in a sentence

Cantus-firmus masses Prior to Josquin's mature period, the most common technique for writing masses was the cantus firmus, a technique which had been in use already for most of the 15th century.

Seattle U’s annual Spring Sing featuring Cantus Men’s Vocal Ensemble and the Seattle University Choirs.

Blackburn, p. 63 While based on a cantus firmus, it is also a paraphrase mass, for fragments of the tune appear in all voices.

Blackburn, p. 72. Josquin's most famous cantus-firmus masses are the two based on the L'homme armé tune, which was the favorite tune for mass composition of the entire Renaissance.

First species In first species counterpoint, each note in every added part (parts being also referred to as lines or voices) sounds against one note in the cantus firmus.

He rarely used the cantus firmus technique, preferring the then-new Venetian polychoral manner, yet he was equally conversant with earlier imitative techniques.

Increasingly in the 14th and 15th centuries, motets tended to be isorhythmic ; that is, they employed repeated rhythmic patterns in all voices not only the cantus firmus which did not necessarily coincide with repeating melodic patterns.

In his treatise Ars cantus mensurabilis ("The Art of Mensurable Music"), written around 1280, he describes a system of notation in which differently shaped notes have entirely different rhythmic values.

Inside of his chansons, he often used a cantus firmus, sometimes a popular song whose origin can no longer be traced, as in Si j'avoye Marion.

Milsom, p. 284 Some of them use a cantus firmus as a unifying device; some are canonic; some use a motto which repeats throughout; some use several of these methods.

Of the sixteen motets in the collection, all are titled "concerto" apart from the "sonata" Expectans Expectavi Dominum for 6 trombones, cantus voice and tenor voice.

Poetic style Statue of the poet in Reggio Emilia Throughout Ariosto's writing are narratorial comments dubbed by Dr. Daniel Javitch as "Cantus Interruptus".

Species counterpoint was developed as a pedagogical tool in which students progress through several "species" of increasing complexity, with a very simple part that remains constant known as the cantus firmus (Latin for "fixed melody").

The Missa Mater Patris is probably the first true parody mass to be composed, for it no longer contains any hint of a cantus firmus.

The notes of the cantus firmus are drawn from the musical syllables of the Duke's name in the following way: Ercole, Duke of Ferrara in Latin is Hercules Dux Ferrarie.

The practice of discant over a cantus firmus marked the beginnings of counterpoint in Western music.

These compositions were texturally very similar to 15th century chansons in the formes fixes mold, except that unlike those completely secular works, they contained a chant -derived Latin cantus-firmus in the lowest of the three voices.

This tended to obscure the rhythm supplied by the cantus firmus that had been apparent in the medieval isorhythmic motet.