On the Interaction of Working with Primary Sources Techniques: To the Methodology of the Early Renaissance Music Analysis
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Abstract
The article deals with one of the key aspects of the Renaissance compositional process – the work with a borrowed primary source (cantus prius factus). Despite the fact that the implementation of cantus prius factus is well studied, some aspects of this phenomenon require further reflection and systematization. The speech is about the process of interaction between the techniques of working with the primary source, which is a characteristic feature of the Renaissance music. The given examples clearly demonstrate the coexistence of the techniques of cantus firmus and cantus floridus, cantus firmus and paraphrase, cantus firmus and parody, parody and paraphrase in various forms of manifestation. As an analytical material, the works of the leading representatives of the era who lived and worked mainly in the second half of the 15th century: J. Okeghem, G. Dufay, P. de La Rue,
A. Agricola were chosen. Some attention is also paid to the review of foreign and domestic literature, in which, in one way or another, questions of combining compositional techniques are raised.
In general, two levels of interaction can be distinguished: monochronic (simultaneous) and diachronic (consecutive). The proposed typology allows a deeper understanding of the work with borrowed material and clarifies the terminological apparatus.
Keywords: Renaissance, primary source, cantus prius factus, elaboration, interaction, cantus firmus, paraphrase, parody, imitation mass.
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