'How it might have been made' is what analysis should always be, and very rarely is. The destructive approach proves nothing while the speculative opens up a world of different realities - and fires our imaginations. Thank you!
This compositional strategy walkthrough is a great format! The modified hypotheticals are so interesting. By the way, my condolences on the sunset of Finale. I hope your transition is smooth.
@@TenorCantusFirmusI would strongly consider attempting Musescore, even if you have attempted it in the past and did not enjoy it! It has grown so much in the past few years, and I very strongly feel that right now it is by far the best composition software! It also supports other fonts very well, and has great options for many different forms of early music notation!
There is nothing that even comes close to the value of your videos - especially when it comes to Early Music! Thanks for sharing your immense wisdom and insight!
I skipped to the end of this because I didn't even know what a Motet was and just wanted to hear what it all sounded like before watching 30 minutes of compositional study, and oh my gosh if this isn't absolutely beautiful harmony and motion. I really can't wait to watch the rest of this from the beginning now!
Where did 孔子, Kǒngzǐ say this? It sounds like a thing he might have said, regarding rites and music properly performed being a way to understand the virtue of the ancients, and certainly something a confucian scholar who learns writing with a brush might say, but I am not aware of a specific quote to this effect.
@@danyelnicholas It is actually by Xunzi (荀子) in the chapter Ruxiao (儒孝): "understanding is less than doing" (知之不若行之). The English translation "I do and I understand" is most likely a paraphrase of the above quote, misattributed to Confucius.
Writing a term paper on Vincenzo Galilei for my required undergraduate Music History I course and discovered Mr. Rotem's channel. Subscribed and now binge watching. Greetings from New Mexico.
I think this is the best channel with information about archaic and classical music. It's perfect; the edition, the explanation and the format... Congrats!
This is wonderful. It might have been useful, however, for your viewers to learn that the text is the tract before the blessing of the water during the liturgy for Holy Saturday. This may also be an important clue to fuller understanding of the composer’s creative process.
First and foremost, this is a beautiful motet (of course, I have an affinity to Mode III), and deserves to be better known. Second, as I've learned in my own experience of composing and singing polyphony, the techniques of Cantare super librum (Canon, gymel, faburden, etc.) are really fundamental to composition, and are found everywhere.
What a beautifully made motet!! not that long ago at music school all of these were left to us in class like it was some sort of obscure unknown arcane we could never reach or get to know. Thanks for making such a beautiful episode showing us it was all in the books and out old times teachers just illiterates about all of this
You make it look so easy! Notes effortlessly appearing in the right order on each staff. Maybe this is my favorite of your episodes, but I’ve certainly loved the previous ones. Thank you for acknowledging the sampling of Josquin’s Miserere Mei. There it was, so understated, so gorgeous. This composition feels to my soul so much like the work of Tomás Luis Victoria, I can’t be convinced wasn’t nearby when it was written. Beautifully performed. Brilliantly narrated.
Following this channel is such an inspiration, even for writing new music in a contemporary style. The type of detail work these pieces showcase is something that I often find lacking in contemporary vocal music. It’s not the change of style so much as a seeming lack of consciousness of what helps or hinders the vocal performance. I suppose a change in style also to a greater or lesser degree comes with not only a change in writing but with that also a loss of elements that I perceive much clearer in other styles, but I miss it nevertheless.
Wow! Thank you so much for this, Elam! Also the performance was exceptional - beautifully restrained S sounds, such a relief to not hear every one of them hissing!
Wonderful episode, Elam, thank you to you and your team! As a composer I really appreciated how you took a few "stock phrases," tried to shoehorn them in, and then finesse them into something much more beautiful and satisfying. I rarely analyze my own work with this perspective but I think I do this a lot! Thank you again, and a special thank you to Capella Pratensis for such a beautiful performance of this otherwise forgotten work. Also you, Mark.
Where do I begin to thank you for your thoughtful and dedicated analysis, which to my mind can only come out of an absolute love of the the art of music. You deserver many compliments and acknowledgements for the insights you provide. I can only state in the way of gratitude: Your Analysis's read like a Love Poem and your Love Poems read like an Analysis. However, what I'm really stating is; Thank you for reminding me why I love 'Sincere Music' so much. It's a gift that's only purpose is to be shared and to make better in our empathies.
Can we appreciate the amount of great work put into these videos. Magnificent. Also, we need to write a requiem for Finale as that music software is no more.
¡Hermoso! Un gran video como siempre. It must be watched several times for enjoying every detail. Aplausos para ti y tu equipo de producción, y a tus amigos cantantes.
Magnificent video, as always, but perhaps even more brilliant and touching. Wonderful music, profound and inspiring biblical lyrics, detailed, ingenious and invaluable demonstration of historical contrapuntal techniques... And such a wonderful and moving performance! This video really enriched my day and my life! Thank you all, very much!
Thank you for your expertise in early music. I've been watching this channel for a long time and enjoy every episode. I studied early music theory many years ago as part of my undergraduate studies. It is nice to be reminded of these things long ago moved to the back of my mind.
this is such a brilliant resource. thank you so much for this incredible analysis and wonderful way of presenting your musical insights. this specific approach reveals a lot about how this might have been composed. this is all the more great, since I have made the experience that although there are many good theoretical resources, when it comes to how to *actually* do it there seems to be some more knowledge and experience one needs to have. as always this video was so nicely written, informative, entertaining and of course topped off by a wonderful performance at the end! thanks Elam!
Wow! What an absolutely fascinating video. So much valuable information packed into a relatively short video. I can see that I'll be watching this video many, many more times over the next few weeks (or months) in an effort to fully absorb and understand everything you've presented here. I've always been fascinated by composers and compositions from that period (especially Cristobal Morales). The performance given at the end of the video was delightful. Thanks so much!
How good in this performance turn finale piece in a parts! It’s more fibre and touching than usual complete partiture, may be a more gentle and more egoiste in motion 🤩
Fascinating to walk through the process this way! And honestly I really like that you mention how so many of these decisions would have relied on that enormous musical vocabulary. For us modern composers there are no rules at all (at least it feels that way for certain kinds of music!), and in a way that's a challenge because when anything is allowed, then how do you narrow down your choices?! And yet, the challenge before Ziprianus would have been significant too, and I really enjoyed the way this explored each little obstacle and how his composition solved them. Absolutely gorgeous performance as well, many many thanks to Cappella Pratensis!!
A very fine video - a really clear and imaginative presentation. It's my first time to your channel and I'm looking forward to watching and learning more. Thank you.
All composition students should watch tutorials like this. We'd be so much richer culturally for it. Was there ever a feeling that using one type of stock input at the start and another type of stock input at the end made the entire piece stylistically inconsistent?
Weer een leerzame les uit de reeks. Wij zingen met het koor vooral renaissance muziek, en early music helpt ons daar keer op keer. Als dirigent ken ik natuurlijk de klassieke harmonie, maar dit gaat veel verder dan wat wij ooit geleerd hebben. Met deze reeks wordt alles veel duidelijk. En daar genieten de koorleden ook erg van. Bedankt.
I love the Duolingo incorrect-sound whenever there's something wrong 😂 Ziprianus and Ciprian are quite close sounding, aren't they! Although I was not expecting a major third at the end, the lack of it still broke my heart 💔. From my layman's experience of listening to a lot of hopeless endings from Desprez and Rue, Ziprianus must have been Flemish or thereabouts... Thank you Maestro Rotem, Tim Braithwaite and Capella Pratensis for bringing this unrighteously-forgotten piece back to life! This, and all the resources on the channel, will aid me in trying to bring all the knowledge from Peter Schubert's Modal Counterpoint (2nd edition) together... Hopefully! 😅
Very good! I always recommend my students to (try to) identify what was composed first, principally in orchestral works. If you visit Vienna let me know and I present you to italian congregation to sing something like this in vocal ensemble in the latin mass
1:43...umm, is the main reason you guys are removing a Cipriano de Rore attribution is due to lack of concordance with Medinaceli???? if so, I can change your mind quickly.
Awesome episode Elam, what a gift every time a notification of this channel comes. What I cannot locate in any on your videos is the discussion of the ranges. Why Canto and Alto use the ranges of the plagal version of the mode. If someone could point where this is previously discussed I would greatly appreciate it since it sounded new to me
Excellent video - at 7:48, how come the intervals are different - and incorrect - when putting the melodies into the tenor and alto? What changes them to a fourth?
An interesting facet of this process of composition is the lack of overall structure. The composer seems to set one sentence at the time, without much regard for the overall structure of the piece. It is a very different way to conceive of music and sound-space in general to ours.
That's because the structure of a Renaissance motet is mostly based on the text. Also, when it comes to how the counterpoint was composed, fugues didn't have a well defined structure of subjects and countersubjects until the baroque period.
Josquin Desprez's name in Latin was Josquinus Pratensis. So Cappella Pratensis is 15th-century Latin for The Josquin Choir. Desprez ("of the fields" or "of the meadows") was evidently a local nickname for the family, whose actual surname was Lebloitte. All three of them were referred to in various documents as Jos or Gos "Lebloitte dit Desprez." ("Gossart," the name of father and grandfather, means "Big Gos"; "Josquin" means "Little Jos." Presumably this was the local equivalent of "Sr." and "Jr.")
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
'How it might have been made' is what analysis should always be, and very rarely is. The destructive approach proves nothing while the speculative opens up a world of different realities - and fires our imaginations. Thank you!
This compositional strategy walkthrough is a great format! The modified hypotheticals are so interesting. By the way, my condolences on the sunset of Finale. I hope your transition is smooth.
@@rionsanura I'm having to transition to Dorico too, but at least for the moment I think Finale was better 😕😕. I'm still using it.
This video of Elam using Finale in August 2024 could become a historical document…
@@TenorCantusFirmusI would strongly consider attempting Musescore, even if you have attempted it in the past and did not enjoy it! It has grown so much in the past few years, and I very strongly feel that right now it is by far the best composition software! It also supports other fonts very well, and has great options for many different forms of early music notation!
@@Gunnar120 I'll give a try...
Sunset of Finale? I must have missed an important announcement as a Finale user myself...
Bravi tutti! Also RIP Finale. A worthy swan song
Fantastic episode! I love your approach of rebuilding a piece from scratch.
I note that the "mi-" of "miserere" is sung on the note mi.
We stay, don’t worry! So much knowledge and musicality! Love to watch all your episodes but this was extra interesting. Thank you!
30:50 For anyone wondering, A4 is 360 Hz in this recording.
That’s an impressively low base for A4, didn’t know that!
@@clipPRmusicThis was not a standard A tuning, it’s just transposing to account for the singers’ ranges.
Amazing episode ! this channel is a goldmine for the amateur historically interested musician.
Oh hi!
There is nothing that even comes close to the value of your videos - especially when it comes to Early Music! Thanks for sharing your immense wisdom and insight!
I skipped to the end of this because I didn't even know what a Motet was and just wanted to hear what it all sounded like before watching 30 minutes of compositional study, and oh my gosh if this isn't absolutely beautiful harmony and motion. I really can't wait to watch the rest of this from the beginning now!
Guess this is the closest to time travel we'll ever get...thanks for being able to "turn into" Ziprianus and sharing the process with us
This is the reason Why I follow this gorgeous channel
Gorgeous piece. And as Confucius said, "if I do, I understand" - Thus, analyzing a piece "from within" like in this case is an extremely good idea.
Where did 孔子, Kǒngzǐ say this? It sounds like a thing he might have said, regarding rites and music properly performed being a way to understand the virtue of the ancients, and certainly something a confucian scholar who learns writing with a brush might say, but I am not aware of a specific quote to this effect.
@@danyelnicholas It is actually by Xunzi (荀子) in the chapter Ruxiao (儒孝): "understanding is less than doing" (知之不若行之).
The English translation "I do and I understand" is most likely a paraphrase of the above quote, misattributed to Confucius.
This is an outstanding video. I am continually amazed at how clearly and effectively you guys present this information. I learn so much!
Writing a term paper on Vincenzo Galilei for my required undergraduate Music History I course and discovered Mr. Rotem's channel. Subscribed and now binge watching. Greetings from New Mexico.
This is one of the best - if not THE best - musical analyses I've ever seen on the internet. It would be great if this could become a series.
I think this is the best channel with information about archaic and classical music. It's perfect; the edition, the explanation and the format... Congrats!
Grazie. ありがとうございます。
This is wonderful. It might have been useful, however, for your viewers to learn that the text is the tract before the blessing of the water during the liturgy for Holy Saturday. This may also be an important clue to fuller understanding of the composer’s creative process.
First and foremost, this is a beautiful motet (of course, I have an affinity to Mode III), and deserves to be better known.
Second, as I've learned in my own experience of composing and singing polyphony, the techniques of Cantare super librum (Canon, gymel, faburden, etc.) are really fundamental to composition, and are found everywhere.
Grazie.
What a beautifully made motet!! not that long ago at music school all of these were left to us in class like it was some sort of obscure unknown arcane we could never reach or get to know. Thanks for making such a beautiful episode showing us it was all in the books and out old times teachers just illiterates about all of this
Elam, my most heartfelt thanks for this great video. You are a superb teacher and divulgator
simply wonderful
You make it look so easy! Notes effortlessly appearing in the right order on each staff. Maybe this is my favorite of your episodes, but I’ve certainly loved the previous ones. Thank you for acknowledging the sampling of Josquin’s Miserere Mei. There it was, so understated, so gorgeous. This composition feels to my soul so much like the work of Tomás Luis Victoria, I can’t be convinced wasn’t nearby when it was written. Beautifully performed. Brilliantly narrated.
Following this channel is such an inspiration, even for writing new music in a contemporary style. The type of detail work these pieces showcase is something that I often find lacking in contemporary vocal music. It’s not the change of style so much as a seeming lack of consciousness of what helps or hinders the vocal performance. I suppose a change in style also to a greater or lesser degree comes with not only a change in writing but with that also a loss of elements that I perceive much clearer in other styles, but I miss it nevertheless.
Thank you!
Wow! Thank you so much for this, Elam! Also the performance was exceptional - beautifully restrained S sounds, such a relief to not hear every one of them hissing!
Wonderful episode, Elam, thank you to you and your team! As a composer I really appreciated how you took a few "stock phrases," tried to shoehorn them in, and then finesse them into something much more beautiful and satisfying. I rarely analyze my own work with this perspective but I think I do this a lot! Thank you again, and a special thank you to Capella Pratensis for such a beautiful performance of this otherwise forgotten work. Also you, Mark.
Absolutely brilliant.
Where do I begin to thank you for your thoughtful and dedicated analysis, which to my mind can only come out of an absolute love of the the art of music. You deserver many compliments and acknowledgements for the insights you provide. I can only state in the way of gratitude: Your Analysis's read like a Love Poem and your Love Poems read like an Analysis. However, what I'm really stating is; Thank you for reminding me why I love 'Sincere Music' so much. It's a gift that's only purpose is to be shared and to make better in our empathies.
I love seeing how music is written.
Can we appreciate the amount of great work put into these videos. Magnificent. Also, we need to write a requiem for Finale as that music software is no more.
¡Hermoso! Un gran video como siempre.
It must be watched several times for enjoying every detail.
Aplausos para ti y tu equipo de producción, y a tus amigos cantantes.
Magnificent video, as always, but perhaps even more brilliant and touching. Wonderful music, profound and inspiring biblical lyrics, detailed, ingenious and invaluable demonstration of historical contrapuntal techniques... And such a wonderful and moving performance! This video really enriched my day and my life! Thank you all, very much!
Thank you for your expertise in early music. I've been watching this channel for a long time and enjoy every episode. I studied early music theory many years ago as part of my undergraduate studies. It is nice to be reminded of these things long ago moved to the back of my mind.
This is incredibly insightful! I really want to learn how to write renaissance music like this, and this is a great help/motivation!
beatiful
this is such a brilliant resource. thank you so much for this incredible analysis and wonderful way of presenting your musical insights. this specific approach reveals a lot about how this might have been composed. this is all the more great, since I have made the experience that although there are many good theoretical resources, when it comes to how to *actually* do it there seems to be some more knowledge and experience one needs to have. as always this video was so nicely written, informative, entertaining and of course topped off by a wonderful performance at the end! thanks Elam!
I love how you analyze everything musical.
Elam you are amazing, thank you for your work, it's marvellously inspiring!!
Amazing!
Wow! What an absolutely fascinating video. So much valuable information packed into a relatively short video. I can see that I'll be watching this video many, many more times over the next few weeks (or months) in an effort to fully absorb and understand everything you've presented here. I've always been fascinated by composers and compositions from that period (especially Cristobal Morales). The performance given at the end of the video was delightful. Thanks so much!
Thank you! Thank you! Thank you!!!
How good in this performance turn finale piece in a parts! It’s more fibre and touching than usual complete partiture, may be a more gentle and more egoiste in motion 🤩
that was a beautiful analysis
Gracias Maestro!! ❤
This is so great! Many thanks and admiration for all the work that went in this video, I'm blown away.
Really enjoyed this, thank you! The recording at the end, after seeing it develop, was special 😊
Fantastico !
Fascinating to walk through the process this way! And honestly I really like that you mention how so many of these decisions would have relied on that enormous musical vocabulary. For us modern composers there are no rules at all (at least it feels that way for certain kinds of music!), and in a way that's a challenge because when anything is allowed, then how do you narrow down your choices?! And yet, the challenge before Ziprianus would have been significant too, and I really enjoyed the way this explored each little obstacle and how his composition solved them.
Absolutely gorgeous performance as well, many many thanks to Cappella Pratensis!!
Very nice video! I'm trying to compose a motet by following this
This format is mazing, thank you so much.
really like this new format
A very fine video - a really clear and imaginative presentation. It's my first time to your channel and I'm looking forward to watching and learning more. Thank you.
Positively wonderful.
Love this content! Thank you very much!
Very interesting and informative, thank you!
A masterpiece! Congratulations!
All composition students should watch tutorials like this. We'd be so much richer culturally for it.
Was there ever a feeling that using one type of stock input at the start and another type of stock input at the end made the entire piece stylistically inconsistent?
Weer een leerzame les uit de reeks. Wij zingen met het koor vooral renaissance muziek, en early music helpt ons daar keer op keer. Als dirigent ken ik natuurlijk de klassieke harmonie, maar dit gaat veel verder dan wat wij ooit geleerd hebben. Met deze reeks wordt alles veel duidelijk. En daar genieten de koorleden ook erg van. Bedankt.
Just wow
Yayyyyy! I’ve been looking forward to this video
I love the Duolingo incorrect-sound whenever there's something wrong 😂 Ziprianus and Ciprian are quite close sounding, aren't they!
Although I was not expecting a major third at the end, the lack of it still broke my heart 💔. From my layman's experience of listening to a lot of hopeless endings from Desprez and Rue, Ziprianus must have been Flemish or thereabouts...
Thank you Maestro Rotem, Tim Braithwaite and Capella Pratensis for bringing this unrighteously-forgotten piece back to life! This, and all the resources on the channel, will aid me in trying to bring all the knowledge from Peter Schubert's Modal Counterpoint (2nd edition) together... Hopefully! 😅
This is so helpful, thank you.
Fantastic! Thank you!!
I see you are using Finale. I've used it for 32 years; that's a lot of music to export in XML and then reformat. Great video as usual!
Outcome was outstanding
The song is fantastic and the video as well. Thank you so much!
Love it so much! Please consider a similar format for a madrigal as well.
Great episode. Thanks
Thanks, this was inspirational and beautiful😊
Fascinating video, and an invaluable insight into period compositional techniques.
Thank you for yet another fine episode 🌞
beautiful
You using Finale makes me smile ☺️💜
0:16 what instruments were used to make the intro?
Very instructive. Grazie, Elam.
A brilliant analysis!
Elam shaved!
Lookin' good, Elam!
Fantastic video. ❤
Really very nicely done!
I can't help it. It reminds me of the O Magnum Mysterium. Man, I wish I had this video back when I was taking my 16 century counterpoint class! 😁
WAWAWIWA this is great
This is a monumental episode, awesome collaboration with an amazing group! Checked my inbox daily to see when it would drop
Very good! I always recommend my students to (try to) identify what was composed first, principally in orchestral works. If you visit Vienna let me know and I present you to italian congregation to sing something like this in vocal ensemble in the latin mass
1:43...umm, is the main reason you guys are removing a Cipriano de Rore attribution is due to lack of concordance with Medinaceli???? if so, I can change your mind quickly.
Nice Video
Awesome episode Elam, what a gift every time a notification of this channel comes. What I cannot locate in any on your videos is the discussion of the ranges. Why Canto and Alto use the ranges of the plagal version of the mode. If someone could point where this is previously discussed I would greatly appreciate it since it sounded new to me
Check the episode about modes! ⚡
Thank you Elam, the information was right there, I forgot because that wonderful episode always makes my poor head spin a little
By the way, the links to the footnotes on that episode seem to be broken
@malzola347 it seems to work: www.earlymusicsources.com/youtube/sicut
You should upload more often
EMS just dropped a new video! ahhh!
RIP Finale
RIP finale 💔
Enjoy 30:48
Excellent video - at 7:48, how come the intervals are different - and incorrect - when putting the melodies into the tenor and alto? What changes them to a fourth?
RIP Finale
אני בטוח שזה הרבה יותר קשה משזה נראה אבל גרמת לכל התהליך להראות כל כך קל והגיוני שלמרות שאני לא מלחין בסגנון הזה כמעט בכלל, אבל עכשיו ממש בא לי לנסות
An interesting facet of this process of composition is the lack of overall structure. The composer seems to set one sentence at the time, without much regard for the overall structure of the piece. It is a very different way to conceive of music and sound-space in general to ours.
That's because the structure of a Renaissance motet is mostly based on the text. Also, when it comes to how the counterpoint was composed, fugues didn't have a well defined structure of subjects and countersubjects until the baroque period.
Also you, Mark!
Oh Joy! Another of Elam's videos! Capella Pratensis = The Academy of (the Chapel of) St. Martin in the FIELDS?
Josquin Desprez's name in Latin was Josquinus Pratensis. So Cappella Pratensis is 15th-century Latin for The Josquin Choir.
Desprez ("of the fields" or "of the meadows") was evidently a local nickname for the family, whose actual surname was Lebloitte. All three of them were referred to in various documents as Jos or Gos "Lebloitte dit Desprez." ("Gossart," the name of father and grandfather, means "Big Gos"; "Josquin" means "Little Jos." Presumably this was the local equivalent of "Sr." and "Jr.")
You should write a composition textbook