2024-03-28T18:33:00Zhttp://uvadoc.uva.es/oai/requestoai:uvadoc.uva.es:10324/403542021-06-23T10:02:00Zcom_10324_1142com_10324_931com_10324_894col_10324_1259
00925njm 22002777a 4500
dc
Griffiths, John
author
2019
The motet was a central if not pivotal element in solo instrumental practice during
the entire sixteenth century. Throughout this period, vocal polyphony was
habitually re-notated in specifically instrumental notations for a variety of reasons.
Whereas our modern historiographical tradition concerning Renaissance
music continually divides instrumental and vocal music into separate streams,
this produces a false picture of the role of instruments and instrumental music.
We need to remind ourselves that, while there were many virtuoso instrumentalists
who achieved legendary status during their lifetime, it can be supposed that
nearly every composer or singer of polyphonic music would have been proficient
on some kind of polyphonic instrument.
Esperanza Rodríguez-García and Daniele V. Filippi (eds.), Mapping the Motet in the Post-Tridentine Era, New York, 2019
978-1-138-20710-3
http://uvadoc.uva.es/handle/10324/40354
Mapping the Motet in the Post-Tridentine Era
Songs without words. The motet as solo instrumental music after Trent