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Most of the movements feature pairs of mensuration canons. The interval separating the two voices in each canon grows successively in each consecutive movement, beginning at the unison, proceeding to the second, then the third, and so forth, reaching the octave at the "Osanna" section in the Sanctus. The four voices each sing in a different ...
Facsimile of Dodekachordon, Glareanus, p 442. In music, a prolation canon (also called a mensuration canon or proportional canon) is a type of canon, a musical composition wherein the main melody is accompanied by one or more imitations of that melody in other voices.
[clarification needed] The cancrizans, and often the mensuration canon, take exception to the rule that the follower must start later than the leader; that is, in a typical canon, a follower cannot come before the leader (for then the labels 'leader' and 'follower' should be reversed) or at the same time as the leader (for then two lines ...
In a mensuration canon, each voice sings the same notes, but the length of time each note is sung differs. The opening Kyrie of Josquin's mass contains consecutive mensuration canons based on each phrase of the L'homme armé tune, with the tenor leading each and the other voices entering in turn. [7] The second of the three of Agnus Dei ...
The canon is also restricted to the highest voice, and the pitch interval between the voices is fixed while the temporal interval varies between one and three breves depending on the mensuration. The two free voices generally do not participate in the imitation. [2]
Musical Time: Mensuration & Prolation from Belle Voce Chicago (YouTube video) Mensuration - an introduction by Alain Naigeon; GB-Ob MS. Canon. Misc. 213 from DIAMM; the top of p.135 illustrates the symbol used to denote the prolation and tempus of O dolce conpagno se tu voy cantare by the Italian dancing master Domenico da Ferrara
The system of note types used in mensural notation closely corresponds to the modern system. The mensural brevis is nominally the ancestor of the modern double whole note (breve); likewise, the semibrevis corresponds to the whole note (semibreve), the minima to the half note (minim), the semiminima to the quarter note (crotchet), and the fusa to the eighth note (quaver).
The second of his two masses based on the L'homme armé tune begins and ends with mensuration canons, canons in which all the voices sing the same material, but at different tempi; this is yet another feat of contrapuntal virtuosity worthy of Josquin or Ockeghem; indeed La Rue sometimes seemed to be in conscious competition with the more ...