Computer-aided Analysis of Sonority in the French Motet Repertory, ca. 1300–1350

Author:

Desmond Karen1,Hopkins Emily2,Howes Samuel2,Cumming Julie E.2

Affiliation:

1. Brandeis University

2. McGill University

Abstract

This article analyzes the distribution of three- and four-voice vertical sonorities in a repertoire of French ars antiqua and ars nova motets. Rather than selecting the subjectively important sonorities within a piece—an effort that would rely on the analyst’s judgment of the overarching contrapuntal goals—this study uses computational musicological methods to analyze and categorize the distribution of sonorities across individual motets and groups of motets that occur at regular time intervals across the course of the compositions. This study offers some preliminary observations and conclusions about sonority usage in the late medieval French motet repertoire.

Publisher

Society for Music Theory

Subject

Music

Reference50 articles.

1. Albrecht, Joshua and David Huron. 2014. “A Statistical Approach to Tracing the Historical Development of Major and Minor Pitch Distributions, 1400–1750.” Music Perception 31 (3): 223–43.

2. Apfel, Ernst. 1982. Diskant und Kontrapunkt in der Musiktheorie des 12. bis 15. Jahrhunderts. Heninrichshofen’s Verlag.

3. Arlt 1982. “Aspekte der Chronologie und des Stilwandels im franzosischen Lied des 14. Jahrhunderts.” In Aktuelle Fragen der musikbezogenen Mittelalterforschung: Texte zu einem Basler Kolloquium des Jahres 1975, ed. Wulf Arlt and Max Haas, 193–280. Amadeus.

4. Bain, Jennifer. 2003. “Theorizing the Cadence in the Music of Machaut.” Journal of Music Theory 47 (2): 325–62.

5. Bain, Jennifer. 2005. “Tonal Structure and the Melodic Role of Chromatic Inflections in the Music of Machaut.” Plainsong and Medieval Music 14 (1): 59–88.

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