Absalon fili mi is a Renaissance motet presumably composed by Josquin des Prez. It is a composition for four voices inspired on David’s lament over the death of his son Absalom. This motet contains religious subject because the poem is taken from the old testament of the Bible; however, it is not part of the liturgy. Departing from the tradition of the Medieval times, motets of the renaissance abandoned the use of the cantus firmus as a base of composition. Instead, all voices are polyphonically equal in values. In addition, some of the main characteristics of the renaissance music used in this motet are imitation technique, word painting and the use different types of cadences.
The poem used in the motet is inspired based on the story …show more content…
Many composer of the 15th century started to composed music that reflect the meaning of the text.
In this piece, there is a sense of the tonic in F although the key signature in the score provided is Bb major. However, since the piece starts and ends in F and we can hear clearly that F is the tonal center, it seems that it uses the F mixolydian mode. In the Renaissance, key signatures do not exist yet; therefore, the key signature might refer to the major scale from which the F mixolydian is constructed. Also it could be argued that the piece fluctuates between two tonal centers which would be Bb and …show more content…
the first cadence is found in measure 9. Although not all the voices finish their phrases, there is a point of rest and two of the voices, alto and bass, move contrary to create an octave with D. The other two voices move to Bb and F creating a Bb major triad. This cadence gives a sense that the piece is composed inn Bb major.
Example
Nonetheless, the last cadence in the piece is in the Late Renaissance style in which the bass moves down a 5th. Here, the superius, altus and bass voices resolve to F and the tenor goes to C. Since the voices in the next to last measure create a C major triad and resolve to F, it can be said that there is an authentic cadence, even though these terms were not used in the Renaissance.
Further, the melodic lines are mostly syllabic with some melismas, specially at the end of the phrases. However, in measure 9 the tenor voice offers a contrasting texture in which the melody starts melismatic but ends syllabic.
Examples:
Also, the motet contents syncopated rhythms in the melody with the use of tied note across the bar line. irregular division of the beat.
The poem used in the motet is inspired based on the story …show more content…
Many composer of the 15th century started to composed music that reflect the meaning of the text.
In this piece, there is a sense of the tonic in F although the key signature in the score provided is Bb major. However, since the piece starts and ends in F and we can hear clearly that F is the tonal center, it seems that it uses the F mixolydian mode. In the Renaissance, key signatures do not exist yet; therefore, the key signature might refer to the major scale from which the F mixolydian is constructed. Also it could be argued that the piece fluctuates between two tonal centers which would be Bb and …show more content…
the first cadence is found in measure 9. Although not all the voices finish their phrases, there is a point of rest and two of the voices, alto and bass, move contrary to create an octave with D. The other two voices move to Bb and F creating a Bb major triad. This cadence gives a sense that the piece is composed inn Bb major.
Example
Nonetheless, the last cadence in the piece is in the Late Renaissance style in which the bass moves down a 5th. Here, the superius, altus and bass voices resolve to F and the tenor goes to C. Since the voices in the next to last measure create a C major triad and resolve to F, it can be said that there is an authentic cadence, even though these terms were not used in the Renaissance.
Further, the melodic lines are mostly syllabic with some melismas, specially at the end of the phrases. However, in measure 9 the tenor voice offers a contrasting texture in which the melody starts melismatic but ends syllabic.
Examples:
Also, the motet contents syncopated rhythms in the melody with the use of tied note across the bar line. irregular division of the beat.