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Ockeghem's Missa cuiusvis toni: In Its Original Notation and Edited in All the Modes (Publications of the Early Music Institute) Paperback – August 22, 1992


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Product Details

  • Series: Publications of the Early Music Institute
  • Paperback: 272 pages
  • Publisher: Indiana University Press (August 22, 1992)
  • Language: English
  • ISBN-10: 0253328543
  • ISBN-13: 978-0253328540
  • Product Dimensions: 8.5 x 0.6 x 11 inches
  • Shipping Weight: 1.4 pounds (View shipping rates and policies)
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #2,563,189 in Books (See Top 100 in Books)

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About the Author

GEORGE HOULE, Professor of Music at Stanford University, is author of Meter and Music: 1600–1800. He has produced a modern edition of Le Ballet des Fâcheux: Beauchamp’s Music for Molière’s Comedy and of Doulce memoire, the latter containing twenty-four versions of the chanson.

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I was completely unaware of the sublime joys of singing great "a capella" choral music until my freshman year in college. I immediately developed a passion for such music (which has continued to grow for half a century). The most singular events in this process have been (1) my original college experiences singing Bach, (2) singing the MASSES of William Byrd (which I have done at every possible opportunity for half of my life), and (3) singing Ockeghem's MISSA CUIUSVIS TONI in all four modes.

Perhaps my fondest memory of graduate school in Early Music was a "seminar" in Ockeghem's MISSA CUIUSVIS TONI. It wasn't listed in the school catalogue, and it wasn't even a real class. Four students met at a professor's house once a week, and gradually worked through the mass in all four modes (Dorian, Phrygian, Lydian, and Mixolydian). [Dorian mode is available to modern ears through the songs "Greensleeves" and "Scarborough Fair," Lydian mode was often slightly modified so that it sounded like out modern major scale, and Mixolydian mode is available to modern ears through the music of the Scottish highland bagpipes}.

The great fun of MISSA CUIUSVIS TONI (apart from its being great music) is that it not only offers the opportunity to, but actually requires experimenting with "musica ficta." "Musica ficta" was a renaissance practice where singers would occasionally sing a particular note half-a-step sharp or half-a-step flat from the written note in the musical score.
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1 of 11 people found the following review helpful By A Customer on March 23, 1999
See Current Musicology 54 (1993), pp. 58-66, for a detailed review of this edition. Other editions of this music include: David Fallows, ed., Johannes Ockeghem, Missa Cuiusvis toni for four voices. Version in the Phrygian mode. Mapa Mundi Renaissance Performing Scores, Ser. B, No. 17 (London: Venderboeek & Imrie, 1989). Jaap van Benthem, ed., Johannes Ockeghem, Masses and Mass Sections, III, fasc. 3 & fasc. 4: Missa Cuiusvis toni upon re and mi (fasc. 3); Missa Cuiusvis toni upon fa-ut; Missa Prolationum (Utrecht, KVNM, 1996).
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Ockeghem's Missa cuiusvis toni: In Its Original Notation and Edited in All the Modes (Publications of the Early Music Institute)
This item: Ockeghem's Missa cuiusvis toni: In Its Original Notation and Edited in All the Modes (Publications of the Early Music Institute)
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