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see motetmotet
, name for the outstanding type of musical composition of the 13th cent. and for a different type that originated in the Renaissance. The 13th-century motet, a creation (c.
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54) For example, see Acta, 1600: "Excellentissimus Aquapendens absoluta prius absolutissima in public auditorio tam humanorum quam ceterorum animalium, ut et volucrium seu pennatorium ossium ostensione, posteaquam tria extarent corpora seu subiecta, duo virilia, muliebre unum, ad sectionem solemni pompa cum fidicinibus ab Anatomisticis conductis accessit, eamque aliquot dierum spacio, frequenti semper auditorum corona admodum evidenter administravit.
The 5-10 mg DSC samples cut from the coarse cell foams were practically solid samples and did not contain any microscopic cells that could burst or affect thermal conducti vity during measurements.
This book addresses the problem of the conducti found in cum littera notation, normally unmeasured, as against the sine littera equivalent.
Even less likely is the idea that the sine littera sections of such conducti as Dic Christi were sung rhythmically, but because of the archaizing notation of the cum littera sections, the rhythm was held in suspended animation until the text disappeared again.
There seems, then, to be good reason for the deduction that it was Perotinus (presumably in the 1990s, some years before Leoninus's death) who first recognized that the nature of discant, as experienced in the composition of caudae of conducti a 2, made possible the composition of organa for more than two voices and, in fact, required its application to the upper parts of organal sections in organa cum alio [cantu], as Garlandia put it.
Tantum illis permitte frenum, non desinent currere donec te quo conducti sunt vel sarcinae in morem peruexerint.
Gollner hypothesizes that the original core of MuC comprised the opening pair of treatises, a group of polyphonic tropes and conducti, monophonic settings from the Song of Solomon, a collection of motets, and several gatherings of monophonic conducti.
Chapter 4 features the first published edition of thirteen two-voice "organal settings," although the designation "organal" must be understood in the general sense of polyphonic since the pieces discussed under this heading include polyphonic tropes and lessons as well as conducti.
civilis" inquit "sapientia sanctissima quidem res est sed quae precio numario comparari non potest nec aestimanda est" [8] ecce ergo quod mercede retribui non potest et tamen videmus quod milities mercede conducti pugnant et eorum gesta precio numario estimantur.