To David Jensen's query about "popular" religious music in the 16th
century and later; have a look at the article "Sources, MS" in the
New Grove, section IX, 13: "Simple polyphony in monophonic liturgical
books". "Canto fratto" (better "cantus fractus") is the term for
chant with a definite rhythm, which starts turning up in the late
15th century and had an important influence on the 17th-century
practice of composing what the French called "plain chant musical" or
new chant melodies. In the 16th century by far the most widely used
chant in cantus fractus was Credo IV (in the LU), called the "Credo
cardinale", but there seems to have been a conventional rhythmic
version of Credo I, and many hymn tunes were given a definite rhythm.
See, for instance, Richard Sherr, "The performance of chant in the
Renaissance and its interactions with polyphony", in Thomas Forrest
Kelly (ed.), _Plainsong in the age of polyphony_ (Cambridge
University Press, 1992), 178-208.
The notes to the Peres recording seem to be characteristically
imprecise and exaggerated. How can we draw conclusions about music
that "remains to be discovered"?
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Jeffrey Dean Internet: [log in to unmask]
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England 'Harmonia est discordia concors.'
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