Feminae: Medieval Women and Gender Index


  • Record Number: 10109
  • Author(s)/Creator(s): Bloxam , M. Jennifer.
  • Contributor(s):
  • Title: La Contenance Italienne: The Motets on "Beata es Maria" by Compère, Obrecht, and Brumel [The author explores the influence of the "lauda," a popular Italian religious song, on three related motets in praise of the Virgin Mary. Title note supplied by Feminae.].
  • Source URL: Early Music History (Full Text via JSTOR) 11 (1992): 39-89. Link Info target = '_blank'>Early Music History (Full Text via JSTOR) 11 (1992): 39-89. Link Info
  • Description:
  • Article Type: Journal Article
  • Subject (See Also): Brumel, Antoine, Composer- Beata es Maria Compere, Loyset, Composer- Ave Maria Gratia Plena Composers Laude, Vernacular Hymns Mary, Virgin, Saint in Music Motets Music Obrecht, Jacob, Composer- Beata es Maria Sources
  • Geographic Area: Italy
  • Century: 15
  • Related Resources:
  • Primary Evidence:
  • Illustrations: Fourteen Figures. Figure One Music and text for "In natali Domini" (Bologna, Civico Museo Bibliografico Musicale MS Q15 (olim 37), fols. 201v-202r). Figure Two Music and Text of the Latin "laude," "Beata es Maria" followed by excerpts from the three motets composed by Compère, Obrecht, and Brumel. Figure Three Music and text of the opening to Compère's "Ave Maria gratia plena." Figure Four (3b in text) Music and text of the conclusion of Compère's "Ave Maria gratia plena" (as transmitted in all sources except Siena, Biblioteca Comunale degli Intronati, MS K.I. 2). Figure Five (3c in text) Music and text of the conclusion of Compère's "Ave Maria gratia plena" (as transmitted in Siena, Biblioteca Comunale degli Intronati, MS K.I.2 with the superius and tenor reconstructed from later sources). Figure Six (4 in text) Music and text of the line "Ave Maria gratia plena" as sung in the usage of Paris compared with motets by Compère ("Ave Maria gratia plena" altus, opening of "prima pars" and and "Ave Domine Jesu Christe" tenor, conclusion) and Obrecht ("Beata es Maria" altus, opening of "Secunda pars"). Figure Seven (5a in text) Music and text of Obrecht's "Beata es Maria," opening. Figure Eight (5b in text) Music and text of Obrecht's "Beata es Maria," opening of "secunda pars." Figure Nine (6 in text) Music and text of Obrecht's "Quis numerare queat," excerpt from "secunda pars." Figure Ten (7 in text) Music and text of Brumel's "Beata es Maria," opening. Figure Eleven (8 in text) Music of Arnold de Lantins' "In tua memoria," tenor. Figure Twelve (9 in text) Music of Dufay's "Invidia nimica," opening of "volta," superius. Figure Thirteen (10 in text) Music and text of Compère's "0 genetrix gloriosa," excerpt. Figure Fourteen (11 in text) Music and text of Josquin Desprez's "Ave Maria...virgo serena," excerpt.
  • Table: Two tables. Table One. Manuscript and print copies of "Ave Maria gratia plena" by Loyset Compère. The table lists ten manuscripts and one early printed book with provenances and dates. Table Two Comparison of the motet texts by Compère, Obrecht, and Brumel on "Beata es Maria."
  • Abstract:
  • Author's Affiliation: Williams College
  • Conference Info: - , -
  • Year of Publication: 1992.
  • Language: English
  • ISSN/ISBN: 02611279
  • Material/Technique :
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