DEUS, “A BEM, SOE”! A VIDA REVELADA NO <i>CANTUS FIRMUS</i> by Marcelo Ramos Saldanha, Louis Marcelo Illenseer

Subjects: “…Cantus Firmus.…”
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ANALYTICAL ASPECTS IN MISSA DE BEATA VIRGINE BY JOSQUIN DES PREZ by Apolka FÁBIÁN

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Teodoro Riccio’s Conundrum of 'Missa Ludovicus Dux Wirtenbergensis' Resolved? by Wojciech Odoj

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THE GENEVAN PSALMS (1562) IN THE HUNGARIAN CHORAL LITERATURE by Éva PÉTER

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C. Le Jeune’s Dodecahorde: The Composer’s Approach to the Original Source by Grigory I. Lyzhov

“…For his polyphonic psalm collection Dodecachorde, Claude Le Jeune chose cantus firmus from the melodies of the Genevan Psalter. …”
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Imitative polyphonic density and cadential plan for two motets of the mid sixteen-century by Marcos Pupo Nogueira, Fernado Luiz Cardoso Pereira

“… Abstract: “Magnum haereditatis mysterium” a quattro is one of Willaert’s few motets featuring a migrating cantus firmus. By means of a converging strategy involving motivic and cadencial analysis, we found that some words or expressions are intensified by imitative treatment of motives. …”
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COLORISTIC TONAL AND HARMONIC COMPOSITIONAL TECHNIQUES IN ZOLTÁN GÁRDONYI’S CHORAL WORKS FOR ORGAN by János Zsolt IMRE

“…Alongside, how he crafts his works based on cantus firmus melodies and creates the organ chorals.…”
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‘Aptlie framed for the dittie’: a study of setting sacred Latin texts to music in sixteenth-century England by Ku, CJS

“…By the close of the century, cantus firmus lines were copied literally with no additional interpretation required on the part of the performer; melismata were reduced to a purely decorative function; and textual integrity and correct prosody had become defining factors in how a piece of music was composed and formally organised. …”

Vom mehrstimmigen Choral-Satz und Liedmotette zum Generalbaßlied : das Repertoire der handschriftlichen lutherischen Chorbücher des 17. Jahrhunderts aus Oberungarn by Peter Ruščin

“…There are ca. 50 compositions from (mostly anonymous) local composers in this sources, from small polyphonic works in the traditional style of choral motet or metrical hymn with cantus firmus in discant to spiritual song with figured bass. …”
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Le roman-fugue – modèles et réalisations by Roumiana L. Stantchéva

“…The fugue-novel takes up this idea by introducing, in the construction of the text, the cantus firmus and imitation principles of a musical/textual voice by another. …”
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The theory of polystylism as a tool for analysis of contemporary music in the postsoviet cultural space: some terminological aspects by Baiba Jaunslaviete

“…The theory of borrowing, for its part, covers a chronologically wide range of music (cantus firmus technique, quodlibet, paraphrase, etc.) but does not reflect the specifics of the 20th/21st-century music. …”
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Satzmodelle des ›Contrapunto alla mente‹ und ihre Bedeutung für den Stilwandel um 1600 by Folker Froebe

“…Jahrhundert wurde die mehrstimmige Vokalimprovisation (der ›Contrapunto alla mente‹) anhand sequenzieller Cantus-firmus-Modelle und imitatorischer Sequenzen gelehrt. …”
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Der Schwanendreher: Paul Hindemith’s Viola Concerto and Its Early Music Influences by Leona VARVARICHI

“… It is well known that much of Hindemith’s work is significantly influenced by early music, and Hindemith’s compositional style is marked by his use of fugue, ostinato, choral, canon, variations, and cantus firmus techniques. Thus, Sonata No. 5 for viola from cycle op. 11 or the Sonata for viola op. 31 No. 4, but also the Concerto for viola and small orchestra "Der Schwanendreher" are eloquent examples. …”
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Da Pacem Domine by Arvo Pärt. The Stylistic and Interpretative Analysis – Conductor’s Guide by Dragoș-Mihai COHAL

“…Written in the original tintinnabuli style, the piece uses numerous compositional techniques belonging to the early Renaissance period called Cantus firmus, parallel organum, faux bourdon, Landini cadence or anticipations, but also and even a modern way of vocal scoring: the “pointillistic polyphony”. …”
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Counterpoint and Non-harmonic tone Arrangements on “Bungong Jeumpa” Song Arrangements Works of Paul Widyawan by Jagar Lumbantoruan

“…The arrangement of the song is a polyphony-homophony texture, based on the Cantus Firmus. SATB's melodic contour relationships are tonal conterpoint in the key of A minor harmonics. …”
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J.S. Bach’s Canons BWV 1087: More on Musical Emblematics by Alla I. Yankus

“…As a canon-forming voice on the whole, in part or as a cantus firmus, an eight-sound theme is the audible and visible basis of all the canons in question. …”
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The model of counterpoint improvisation and the methods of improvisation in popular music by Adam Fulara

“…The system is based on methods used in both the Renaissance and Baroque polyphony (among others in the leading Cantus Firmus melody or the counterpoint rules) as well as on assumptions of one voice bebop improvisation (the use of leading sound solutions specific to natural foursounds). …”
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Model improwizacji polifonicznej na tle popularnych metod improwizacji w muzyce rozrywkowej by Adam Fulara

“…System opiera się zarówno na metodach stosowanych w polifonii renesansu i baroku (m. in. melodia wiodąca Cantus Firmus, reguły kontrapunktu), jak i na założeniach jednogłosowej improwizacji bebopowej (wykorzystanie dźwięków wiodących, rozwiązania charakterystyczne dla czterodźwięków naturalnych). …”
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Intertextuality, exegesis, and composition in polytextual motets around 1500 by Kolb, P

“…The appendix includes a catalogue of the repertoire of polytextual motets and chansons with Latin cantus firmi over this period, with indexes by cantus firmus and composer. Also included are transcriptions of seven polytextual compositions without published editions. …”

Forma e simultaneidade na música polifônica do século XVI: análise do <i>Recercar decimo a tre voci</i> de Willaert by Marco Pupo Nogueira

“…Esta composição, transcrita integralmente neste trabalho a partir da edição de Antonio Gardano de 1559, é um exemplo de composição instrumental polifônica imitativa em que obviamente não se pode contar com o texto para a análise dos agrupamentos, como nos motetes, e nem com uma melodia preexistente, como em certas composições instrumentais do século XVI e XVII, nas quais ocorrem variações ou contrapontos sobre um cantus firmus. Em função destas características, típicas desse tipo de repertório instrumental, a estruturação de agrupamento se dá mais adequadamente pela qualificação de sua diversidade interna.…”
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