By Kirilyuk, Andrei P

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68V, 21r). 11. Adolf Abert, "Das musikalische Studienheft des Wittenberger Studenten Georg Donat (urn 1543)," Sammelbande der Internationalen Musikgesellschaft 15 (1913-1914): 68-98; John Kmetz, "The Piperinus-Amerbach Partbooks: Six Months of Music Lessons in Renaissance Basle," in Music in the German Renaissance, ed. John Kmetz (Cambridge, 1994), 215-234. 12. Paula Higgins, "Music and Musicians at the Sainte-Chapelle of the Bourges Palace, 1405-1515," Atti del XIV Congresso della Societa Internazionale di Musicologica (Turin, 1990), 3: 692.

Next he created a chordal grid, writing the tenor line first and noting its distance from the discantus. The beginner 43. "Fundamentum," modern edition in Hans Buchner, Samtliche Orgelwerke, ed. and trans. Jost Harro Schmidt, Das Erbe deutscher Musik 54-55 (Frankfurt, 1974), 54: 22-23. This passage is from the version of the treatise found in Basel, Offentliche Bibliothek der Universita't, MS F I 8 a, copied by Christoph Piperinus (see John Kmetz, Die Handschriften der Universitdtsbibliothek Basel [Basel, 1988], 33-34 and n.

In cantionibus quae ex fuga constant, vox fugam incipiens vel continuans primaria et praecipua est, cui reliquae omnes quotquot fuerint parere coguntur, de qua re infra agetur. The ancient [theorists] judged that the tenor was to be found first, the discantus in the second place, the bassus in the third, and the altus was to be added last. Whence the tenor appears to have acquired its name from tenere, "to hold," because the other parts look to it as if it were the brain, In simple or florid counterpoint this opinion of the ancient theorists can and must be observed but any voice to which the motive that is to be composed is given (whether it be the discantus or bassus or whichever voice) shall by a kind of right be called the tenor.

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75 Years of Matter Wave: Louis de Broglie and Renaissance of the Causally Complete Knowledge by Kirilyuk, Andrei P


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