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The Miserere is one of Josquin's two "motto" motets, motets in which repetitions of a phrase are the predominant structural feature (the other is the five-voice Salve Regina of several years before). In the Miserere , the opening words of the first verse "Miserere mei, Deus", sung to a simple repeated-note motif containing only two pitches (E ...
Settings of individual penitential psalms have been written by many composers. Well-known settings of the Miserere (Psalm 50/51) include those by Gregorio Allegri and Josquin des Prez; yet another is by Bach. Settings of the De profundis (Psalm 129/130) include two in the Renaissance by Josquin. [citation needed]
Psalm 51, one of the penitential psalms, [1] is the 51st psalm of the Book of Psalms, beginning in English in the King James Version: "Have mercy upon me, O God".In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 50.
Magnificat quarti toni (attributed to Josquin on stylistic grounds) Magnificat tertii toni (attributed to Josquin on stylistic grounds) Memor esto verbi tui; Miserere mei Deus (Ferrara, 1503) Misericordias Domini in aeternum cantabo (France, 1480/83) Missus est Gabriel angelus ad Mariam Virginem; Mittit ad virginem; Monstra te esse matrem
Miserere (Latin imperative of misereor 'have mercy' or 'have pity') may refer to: Psalm 51 , referred to as "Miserere" because of its opening words, "Miserere mei, Deus" Music
Dating of the mass has been controversial, with some scholars proposing a mid-career date, for example during Josquin's Roman period (roughly 1489 to 1495), and other scholars, such as Gustave Reese, arguing for an earlier date, claiming that the contrapuntal complexity the mass shows is more typical of Josquin's early style, and that he simplified his method as he aged. [3]
Empty-calorie foods and beverages are also calorie-dense, meaning they provide a significant amount of calories per serving (but lack essential nutrients). For example, an orange offers fiber ...
Tenor of "Adieu mes amours" from Petrucci's Odhecaton. Adieu mes amours was a popular secular polyphonic chanson of the late 15th century. Many settings of this tune are in fact based on the c. 1480 setting by Josquin des Prez, in which the lower two voices are in quasi-canon, and the upper two voices are freer.