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Guillaume Dufay의 Motet : Nuper Rosarum Flores 分析
박문정 同德女子大學校 1983 同大論叢 Vol.13 No.1
The spirit of humanism, which was one of the factors giving rise to the Renaissance, was apparent in art and literature from the late fourteenth century, whereas the Gothic style was still a dominating factor in musical art throughout the fourteenth century. It was from the fifteenth century that the humanstic spirit made its influence upon music, and the musical Renaissance began. Composers of the early fifteenth century began to concern themselves with melodic beauty, fuller sound and harmonic unity. Dufay was active during the end of a transitional period between the ars nova of the fourteenth century and the development of polyphony in the first half of the fifteenth century along with Dunstable and Binchois. Dufay had his early musical training at Cambrai and through his teacher R. Loqueville, Dufay acquired knowledge of the style of French ars nova tradition, especially the style of J. Ciconia, who died in 1411. Dufay's main contribution to music history were the development of fauxbourdon and the cyclic Mass. However, he wrote music in almost every form practiced in his time. Among the thierteen authentic isorhythmic motets, the Nuper rosarum belongs to the group of four in which only the lower voices are isorhythmic. The motet, Muper rosarum was written for the consecration of the cathedral, Santa Maria del Fiore, at Florence, celebrated by Pope Eugene Ⅳ on March 25, 1436. It is written for four voices, two texted upper voices (triplum and motetus) and two untexted tenors (primus and secundus) which carry the cantus firmus. The cantus firmus was taken from the first phrase in Introit, In Anniversario Dedicationis Ecclesiae, and is presented untexted by the two tenors. These tenors carry the same cantus firmus a fifth apart. The isorhythmic structure is generated by these tenors. The motet, Nuper rosarum, exhibits several significant stylistic features of the time in which it was written. The legacy of the fourteenth century technique is found in the isorhythmic use of the tenors which were based on chant melody. Attention to the vertical sonority, the flowing melody, highly controlled use of dissonances, the treble-dominated texture, and the use of the authentic cadences are all features of the music of the fifteenth century.