Musical Borrowing
An Annotated Bibliography

Individual record

[+] Everist, Mark. "Reception and Recomposition in the Polyphonic Conductus cum caudis: The Metz Fragment." Journal of the Royal Musical Association 125 (2000): 135-63.

Defining the term "conductus" in a manner that works for the entire genre has been elusive. However, this task becomes more manageable by breaking down the conducti into smaller sections and carefully examining the application of their borrowed sections. Two major types of text setting appearing in conducti are musica cum littera and musica sine littera. In the former, most of the text is declaimed, and the music is explainable in terms of the rhythmic modes. Construction of parts in the latter is determined by strictly musical concerns, and only sometimes is the music modal rhythmically. Conducti draw their sources primarily from organum and motets. Notation of musica sine littera sections, as exhibited by Ego reus confiteor, is measured and presented modally and includes a large number of ligatures. This particular conductus consists of three parts, and draws its lowest two parts from three sources from earlier in the thirteenth century. Polyphony flows seamlessly until the musica cum littera section. At this point, notation becomes fully rhythmic and utilizes the first rhythmic mode. This rhythmic change is the main difference between the new work and its borrowed source. Other differences include a high number of elisions and extensions into longa perfectas.

Works: Conductus: Sursum corda (141), Premii dilatio (141), Ego reus confiteor (141, 144, 147-54).

Index Classifications: Polyphony to 1300

Contributed by: Rebecca Dowsley

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Musical Borrowing and Reworking - - 2024
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