| Series |
Princeton studies in music ; no. 1
Princeton studies in music ; no. 1. ^A640824
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| Contents |
Earliest works, ca. 1415-1423 -- 1423-1429 -- 1426-1431 -- 1426-1433 -- 1433-1435 -- 1433-1445 -- 1433-ca. 1455 -- 1435-ca. 1460 -- ca. 1454-1474 -- Summary, conclusions, proposals -- Appendix A: The Dufay works ; Masses ; Partial masses ; Individual mass sections ; Motets ; Brief liturgical pieces ; Secular works -- Appendix B: manuscript abbreviations. |
| Abstract |
Although, in the words of the author, there is "nothing startling about a chronology of all the works of this composer because so much sound research has been done in the Dufay era in recent years," the author's study marks the first time an attempt has been made at a comprehensive chronology of the works of Guillaume Dufay. The author approaches all the compositions of Dufay from the point of view of mensural practice. He examines the mensurations used and the signatures employed to make these mensurations explicit or to modify them; he focuses his attention on such details as types of coloration and peculiarities of notation. This has enabled him to date each piece more precisely than would have been possible in a chronology based on manuscript studies or stylistic analyses of the music. Professor Hamm has divided the works into nine groups, each group differentiated from the other by details of mensural usage. The author has been able to discern that in addition to chronological changes in Dufay's mensural practice, there are differences between his practice and that of other composers. On the basis of this information, he suggests that the Missa Sancti Antoni as well as several other works commonly attributed to Dufay, may not have been written by him. |
| General note | "The Dufay works." pages 165-179. |
| Bibliography note | Includes bibliographical references (pages 183-186) and index. |
| LCCN | 63009992 |
