isorhythmic การใช้

• Second staff : isorhythmic tenor as notated in mensural notation.
• These early permutation technique already anticipated later isorhythmic composition techniques.
• Many compositions became isorhythmic in all voices, a practice known as panisorhythm.
• There are 112 pieces total, mostly by rondeaus, virelais, and isorhythmic motets.
• Successive mensural canons were a characteristic feature of late 14th and early 15th century isorhythmic motets.
• During the decades following and into the 15th century, upper voices became increasingly involved in isorhythmic organization.
• The motets by Grenon are unusual in their use of strict isorhythmic technique, usually in all voices.
• In some aspects they are similar to motets of Dufay, except for the strictness of the isorhythmic principle.
• Various musical styles and techniques are represented including English discant, treble-dominated works, isorhythmic compositions, and canons.
• A number of his works have been based on Renaissance isorhythmic techniques such as the nonet " Ficta ".
• The mass movements, all for three voices, most often employ the fauxbourdon style, while the motets are typically isorhythmic.
• This tended to obscure the rhythm supplied by the " cantus firmus " that had been apparent in the medieval isorhythmic motet.
• Structural diagram of the isorhythmic tenor in Johannes Alanus "'Sub arturo plebs  Fons citharizantium  In omnem terram ".
• This is unusual for isorhythmic motets, in which the sections normally become progressively shorter, but this proportional structure achieves its own equally effective balance.
• Moreover, the final isorhythmic section provides the usual drive to an accelerated finish by giving the upper voices the shortest note values in the piece.
• Two of the era's most important composers of isorhythmic motets are Phillipe de Vitry ( 1291 1361 ) and Guillaume de Machaut ( c . 1300 1377 ).
• His motet " A virtutis ignitio / Ergo beata / Benedicta filia ", for four voices with three simultaneously sung texts, is isorhythmic in all parts.
• While it grew out of the medieval isorhythmic motet, the Renaissance composers of the motet generally abandoned the use of a repeated figure as a " cantus firmus ".
• During the period the motet transformed from the isorhythmic model of the 14th century to the smoothly polyphonic, sectional composition seen in the work of the later Burgundians such as Busnois.
• The three mass movements, two Glorias and a Credo, all for four voices, are influenced by Ciconia; the three motets, also for four voices, are isorhythmic.