LEADER 00000nam  2200337   4500 
001    AAI3065079 
005    20120618091408.5 
008    120618s2002    ||||||||||||||||| ||eng d 
020    9780493842806 
035    (UMI)AAI3065079 
040    UMI|cUMI 
100 1  Pacha, Danielle Joanne 
245 14 The Veritatem family:  Manipulation, modeling and meaning 
       in the thirteenth-century motet 
300    332 p 
500    Source: Dissertation Abstracts International, Volume: 63-
       09, Section: A, page: 3054 
500    Chair:  Dolores Pesce 
502    Thesis (Ph.D.)--Washington University in St. Louis, 2002 
520    Motet composers of the thirteenth century often based 
       their compositions on preexistent chant segments, placing 
       the chant in the lowest voice to serve as scaffolding for 
       the upper lines. An examination of selected motets reveals
       that composers did not treat these chant segments as 
       intractable foundations that inevitably dictated the 
       direction of newly composed music, but rather viewed them 
       as malleable materials that they could manipulate to 
       achieve desired effects. A group of motets on the 
       Veritatem tenor contains an especially sophisticated 
       manipulation of the chant segment to achieve a large-scale
       tenor design; during each repetition of the tenor the 
       composer slightly alters the original pitch content and 
       even omits a portion of the chant. In addition, members of
       the Veritatem family are related by features shared among 
       the upper voices as well as by the tenor design, 
       suggesting that some composers may have engaged in 
       conscious modeling as they created new motets. A detailed 
       study of this family forms the main focus of my 
       dissertation 
520    My study of the Veritatem family includes an examination 
       of texts as well as music, exploring the ways in which a 
       thirteenth-century listener might experience these texts 
       as they interact together in a polyphonic complex. When 
       searching for meaning in motets, one often encounters an 
       incongruous mixture of subjects, as multiple texts, both 
       spiritual and profane, interact over a liturgical tenor. 
       Although many motets do little to reconcile conflicting 
       texts, others inspire a range of interpretations by 
       manipulating the rhetorical conventions of medieval poetry
       and blurring poetic genres. In addition, some motet texts 
       share intriguing similarities with contemporary saints 
       lives and sermons, suggesting that they may have resonated
       with spiritual texts in the minds of medieval listeners. 
       Two motets from the Veritatem  family illustrate special 
       treatments of texts; in EM 35, the composer creates a 
       musical setting that highlights significant moments in a 
       poem, letting them ring through an otherwise dense 
       polyphonic texture. In EM 36, conflicting poems interact 
       together to create multiple meanings, on the one hand 
       serving as secular entertainment and on the other 
       encouraging spiritual contemplation 
590    School code: 0252 
650  4 Music 
650  4 History, Medieval 
690    0413 
690    0581 
710 2  Washington University in St. Louis 
773 0  |tDissertation Abstracts International|g63-09A 
856 40 |uhttp://pqdd.sinica.edu.tw/twdaoapp/servlet/
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