Flemish Counterpoint

the first thing that comes to mind is "Counterpoint" by De La Motte, which talks quite a bit about medieval polyphony. But I am not an expert, so there might be something more specific that I know absolutely nothing about.

Keep in mind that you will hardly find anything "technical" if you approach the issue as if it were counterpoint. I think the best way to find something is to look under the heading of "modality". Historically, counterpoint is identified specifically with Palestrina or, rather, with the "learned" theorizations that took Palestrina's practice as a model. But Palestrina, like all those who preceded him, actually followed the various forms of medieval and Renaissance modal composition.

Afar as I know, there are no "manuals" on modality. But I fervently hope someone proves me wrong, because it would be something that I would also like to revisit. Those who study polyphony generally read historical treatises, which are difficult to find, difficult to understand, and contradict one another. It would be even better to analyze the compositions directly, but without a theoretical guide it is impossible... in this sense, De La Motte analyzes but from a "pragmatic" perspective, almost never speaking of modal theories...

Well, there is a chapter on Josquin in "Il Contrappunto" by Diether de La Motte, already cited other times here in the forum: http://it.scribd.com/doc/4438266/De-La-Motte-Contrappunto-cap-su-J-Desprez

It helped me

http://www.pianoconcerto.it/forum/index.php?/topic/1897-contrappunto-a-una-voce/

I don't know it, but it might provide some insights... does anyone have more info?

Title: De musica mensurabili. Manuale di notazione rinascimentale
Author: Rossi Francesco R.

http://www.ibs.it/code/9788870967463/rossi-francesco-r-/musica-mensurabili-manuale.html

Aside from the already mentioned de La Motte....

Zarlino: "Bicinia" on the twelve modes, precisely twelve short example compositions created by the Renaissance theorist and included in his Istitutioni Harmoniche as exemplifications of the twelve modes presented and explained therein.

I stumbled upon this PDF that I am reading

http://www.lucaverzulli.it/files/il_flauto_militare.pdf

It is certainly OT [Off-Topic] but there is an abundant bibliography and a snippet of the introduction to Borstein's work:

The third mode, or Phrygian mode, is practically a scale that starts from E and returns to E, but using only natural sounds.

Borstein, in the introduction to Zarlino's Bicinia, gives a detailed explanation of Renaissance modality. Regarding the third mode, he writes:

The 3rd authentic mode, spanning from E to E, has its regular cadences in E, G, B. In this mode, two particular cadences appear because they lack a leading tone: this makes it sound somewhat harsh, and Zarlino explains, in this regard, that its regular cadence in B, due to its harshness, is often replaced by the cadence in A, also for very precise harmonic reasons, since B lacks an upper fifth, as the B-F interval is a diminished fifth, i.e., a tritone to be avoided both melodically and harmonically. Regarding the practical substitution of the regular cadence in B with that in A, it happens that the 3rd mode loses its natural structure, mixing with the 9th mode: "If this did not mix with the Ninth, and were heard simply, it would have a somewhat harsh harmony: but because it is tempered by the Diapente [the fifth] of the Ninth, and by its cadence which occurs in A, which is greatly used in it; therefore [for this reason] some have held the opinion that it has a nature to move one to tears; wherefore they willingly accommodate to it those words that are mournful and full of lamentation".

Probably it is precisely this "harsh" mode characteristic that makes it preferred in music for war.

I don't know it, but it might provide some insights... does anyone have more info?

Title: De musica mensurabili. Manuale di notazione rinascimentale

Author: Rossi Francesco R.

http://www.ibs.it/code/9788870967463/rossi-francesco-r-/musica-mensurabili-manuale.html

http://musicserver.case.edu/~rwd/Notation/NotationManual.pdf

I am sharing this pdf on the subject:

http://www.diastemastudiericerche.org/PDF/Zarlino_abstract_terza_parte.pdf

Frank wrote:

Zarlino: "Bicinia" on the twelve modes, precisely twelve short example compositions created by the Renaissance theorist and inserted into his Istitutioni Harmoniche as exemplifications of the twelve modes exposed and explained therein.

I agree, from Zarlino it is possible to learn both the techniques of counterpoint and the precepts of "canto figurato", that is, the set of rules governing tempi, prolations, proportions, sesquialtera, hemiolas, melismata, blackening (annerimenti), slurs, etc.

To refine the knowledge of the topics treated by Zarlino, one should also turn to L. Zacconi: Prattica di musica (Part one, 1592 and Part two, 1622)

... it is also indicated for performers

cromatismo wrote:

To refine the knowledge of the topics treated by Zarlino, one should also turn to L. Zacconi: Prattica di musica (Part One, 1592 and Part Two, 1622)

... it is also indicated for performers

I noticed that it's on google books ...

http://books.google.it/books?id=w3LEzfw_2AgC&pg=PP5&lpg=PP5&dq=L.+Zacconi:+Prattica+di+musica&source=bl&ots=uFgGmZPder&sig=17Hgx6yFP14F3opsCpxUpNRKDdQ&hl=it&sa=X&ei=3KxPU5LPDoXVtQab3oDYAg&ved=0CFYQ6AEwBA#v=onepage&q=L.%20Zacconi%3A%20Prattica%20di%20musica&f=false

cromatismo wrote:

To refine the knowledge of the topics treated by Zarlino, one should also turn to L. Zacconi: Prattica di musica (Part One, 1592 and Part Two, 1622)

... it is also indicated for performers

Guys, you are wonderful.

I found a "summary"... let's hope it's good

http://www.giorgiopacchioni.com/Doppio/Notazione2.pdf

Zedef wrote:

Well, there is a chapter on Josquin in "Il Contrappunto" by Diether de La Motte, already cited other times here in the forum: http://it.scribd.com/doc/4438266/De-La-Motte-Contrappunto-cap-su-J-Desprez

If I remember correctly, in de La Motte there is also a chapter dedicated to Ockeghem ... especially focused on the rhythmic aspects of his music