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italic font for fauxbourdon in Haar and Planchart and two possessive forms for Glareanus in the same paragraph.
Entre lesquelles Lardenie luy dit que le lieu estoit propre a sonner a cause du faux bourdon de l'eau bruyante et des fleurtis des oysillons." Fauxbourdon is a method of harmonizing a pre-existent melodic line, usually by adding thirds and sixths above or below the tune; in this period it was a prominent technique in vocal improvisation.
There seems no reason to doubt that the fauxbourdon canon should be strictly applied in the hymns: the postcommunion |Vos qui secuti estis me' from Dufay's Missa Sancti Jacobi, composed apparently in the late 1420s, perhaps only five or so years before the hymns and by common consent the earliest fauxbourdon piece, is far more astringent in its use of dissonance; yet this is the only fauxbourdon to carry an instruction for the addition of the third voice in the form of an explicit canon.
Most dissonances arising from a literal interpretation of the fauxbourdon canon are no more offensive than those in the fully composed hymns, or indeed between the notated voices of the fauxbourdon pieces themselves.
That fauxbourdon is realized in full-sized notation also contributes to an accessible, performance-ready edition.
32) on this subject in the article on Dufay and fauxbourdon, where it does not belong at all.
Fauxbourdon, I believe, grows directly from the English model' (Ann Besser Scott, 'The Beginnings of Fauxbourdon: a New Interpretation', Journal of the American Musicological Society, xxiv (1971), 345-63, at p.
Tiresome, decades-old quarrels about the origins of fauxbourdon no longer engage centrally with our evolving grasp of fifteenth-century music.
Given that German must now, alas, be translated if it is to be read, we still lack translations of certain seminal books, too long for this anthology - notably Besseler's Bourdon und Fauxbourdon: Studien zum Ursprung der niederlandischen.
For example, his opening essay on "Guillaume Dufay's Concept of Fauxbourdon" starts with familiar references to humanist rhetoric following Quintilian and moves on to an interesting interpretation of fauxbourdon as a symbolic image of unity (of the church, of faith, of the soul with God) expressed through harmonic parallelism.
Further, it is difficult to determine quickly which pieces are actual fauxbourdon works, where the middle voice is derived from the highest one but not written out in the sources (pieces 34, 47, 48, 51), as opposed to works with a middle voice that is fully notated in a style similar to fauxbourdon.