Lintott, The Constitution of the Roman Republic (Oxford 1999) 158-60, seems to accept that a quaestio de ambitu
was in existence with equites as iudices at this time.
Nobody is unaware that it is mainly in the assemblies of royal palaces that there is to be found a rich and abundant pharmacopia of these things" ("Haec ego nunc veneficia referenda esse censeo ad cupiditatis immodicae quaestum, stipen-diaque ambitus
, tum ad fortunae ingentiores caecasque largitiones.
Melodic Thust provides here a descriptive analysis of salient melodic features, including overall character, key/mode, ambitus
, points of climax, and relationship to other melodies, if any.
Fifty sea urchins from each tank were measured for test diameter at the ambitus
(measuring stick caliper to the nearest 1 mm) and fresh weight (weighing scale to the nearest 0.
14 "Cum tot ubique habeas spirantia saxa, colores, / Aeraque, vita quibus ni Sit, inesse putes, / Cur tantum tria ducta uno de marmore signa / Anna Avia, et Mater virgo, Puerque Deus / Ingenia incendunt hominum, stimulantque poetas / Quot Roma, atque ingens ambitus
And unlike the recent Cambridge Companion to Schumann edited by Reale Julia Perrey (Cambridge, UK: Cambridge University Press, 2007), which negotiates such tensions by assuming a more philological stance and remaining within a narrower contextual ambitus
, this kaleidoscopic collection delegates a heavy amount of dialectical synthesis to the reader.
This last author, the compiler of the final version of the Alia musica, resolves the problem of the eighth mode (with the same ambitus
as the first, and the same final as the seventh) by defining a meta (mediam chordam) specific to every mode: G is the "mean pitch" of the eighth mode, as opposed to a in the first.
The choice of chapter headings draws heavily upon the "tonal types" proposed by Powers: signature, ambitus
, and cleffing.
The tables record the system (flat or natural signature), cleffing (high or low ambitus
for the ensemble), and final (the lowest note at the final cadence) for each motet in Susato's collection, whether or not it is published in this edition.
For example, Kurtzman sees works like Nigra sum and Pulchra es--both are C-final, natural-system pieces with prominent cadences on C and D--as mixing modes 7 and 8, a reading that forces him to deal with ranges that sometimes exceed the normal ambitus
of the modes and melodic gestures that frequently stress the "wrong" reciting tone.
4549, based largely on the work of Bernhard Meier) is hardly sufficient, given the subsequent reliance throughout the analyses on ideas sketched here about cadence and modal ambitus
Modern clefs and time signatures are used exclusively, conventional barlines are employed, and the ambitus
of each voice is indicated at its beginning by note heads without stems.