| 词条 | Missa cuiusvis toni |
| 释义 |
The work's name reflects the fact that it may be sung in any of the Dorian, Phrygian, Lydian or Mixolydian modes. This is made possible by writing the music without clefs or key signatures, allowing the singers to assume those suited to the chosen mode.[4] This unusual and complex idea has led the musicologist Fabrice Fitch to describe the mass as "the work chiefly responsible for Ockeghem's reputation as an artful pedant".[5] Although Leeman L. Perkins describes the Missa Cuiusvis Toni as "not unduly complex in its contrapuntal style",[6] to compose a work to be singable in any of the four modes is a considerable technical challenge, because the cadences suitable for the Phrygian mode are unsuitable for the other modes, and vice versa.[5] Ockeghem's solution is to write cadences that today would be called plagal cadences.[4]{{#tag:ref|Cadences in Phrygian mode cannot have the fifth degree of the scale (B{{music|natural}} in E Phrygian) in the bass of the penultimate chord, as this would give rise to a diminished triad. To solve this, Ockeghem uses the fourth degree of the scale in the bass at these points.[4]|group="note"}} According to the musicologist Richard Turbet, this makes the Mass easiest to sing in the Phrygian mode and successively more difficult in the Mixolydian, Lydian and Dorian modes.[10] Both Turbet and Fitch believe that the work was conceived for the Phrygian mode and then adapted for the other modes.{{r|turbet|fitch}} Recordings
Notes1. ^1 {{Cite journal| first=Jaap |last=van Benthem |year=1997 |title='Prenez sur moy vostre exemple' – Signae, Text and cadences in Ockeghem's 'Prenez sur moy' and Missa Cuiusvis toni |journal=Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis |volume=47 |issue=1/2 |pages=99–118 |jstor=939121 |doi=10.2307/939121}} 2. ^1 {{Cite journal| first=David |last=Fallows |date=May 1984 |title=Johannes Ockeghem: The Changing Image, the Songs and a New Source |journal=Early Music |volume=12 |issue=2 |pages=218–230 |jstor=3137736 |doi=10.1093/earlyj/12.2.218}} 3. ^1 2 {{Cite journal| first=Fabrice |last=Fitch |date=August 1993 |title=Missa Cuiusvis toni by Johannes Ockeghem; George Houle (Review) |journal=Early Music |volume=21 |issue=3, French Baroque II |pages=486–7 |jstor=3128304 |doi=10.1093/em/xxi.3.486}} 4. ^1 *{{cite journal | first=Herbert |last=Kellman | title=The Origins of the Chigi Codex: The Date, Provenance, and Original Ownership of Rome, Biblioteca Vaticana, Chigiana, C. VIII. 234 | journal=Journal of the American Musicological Society | volume=11 |issue=1 | pages=6–19 | doi=10.2307/830135|jstor=830135 |year=1958 }} 5. ^1 {{GroveOnline|title=Ockeghem, Jean de |author=Perkins, Leeman L. |access-date=30 April 2013}} 6. ^1 2 3 {{Cite book| first=Richard |last=Taruskin |authorlink=Richard Taruskin |year=2010 |title=Music from the Earliest Notations to the Sixteenth Century |series=The Oxford History of Western Music |volume=1 |pages=479–480 |publisher=Oxford University Press |location=New York |isbn=978-0-19-538481-9}} 7. ^1 {{Cite journal| first=Richard |last=Turbet |date=March 1993 |title=Missa Cuiusvis Toni by Johannes Ockeghem (Review) |journal=The Musical Times |volume=134 |issue=1801 |page=140 |jstor=1193859}} References{{Reflist|refs=[1][2][3][4][5][6][7]}}{{Johannes Ockeghem}} 3 : Compositions by Johannes Ockeghem|Renaissance music|Masses (music) |
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