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## The Modality in Motets of Sixteenth-Century Polish Composers

### Michał Wysocki

#### Abstract

Motets of sixteenth-century Polish composers have not been subjected to examination for the influence of rules of the modes derived from the sixteenth-century music theory yet. The term "modality" used in the title of the dissertation is to be understood as a component of the tonality of Renaissance music related to the modal theory and traditional modal categories. The dissertation’s aim is to examine the impact of modal rules in the compositional process of Polish composers using a method based on Bernhard Meier's view on modality yet amended due to some Harold S. Powers’ theses. The dissertation includes a presentation of recent research on the Renaissance modality, the main views of Harold Powers on the role of rules of modes in sixteenth-century music and his concept of tonal types, as well as an explanation of the assumptions and methods adopted in the thesis. The main part contains analyses of the motets of Jerzy Liban, Sebastian of Felsztyn, Wacław of Szamotuły, Tomasz of Szadek, Walenty Gawara and Marcin Paligon. Each of the pieces was examined separately for several modally relevant issues, including properties of cantus firmus, tonal type, exordium shaping, melodic features and cadential structure.
Record ID
UAM1dd4e1a8a704453a9ea4e3261fe71fa4
Diploma type
Doctor of Philosophy
Author
Michał Wysocki Michał Wysocki,, Adam Mickiewicz University (AMU)
Title in Polish
Modalności dzieł motetowych kompozytorów polskich XVI wieku
Title in English
The Modality in Motets of Sixteenth-Century Polish Composers
Language
pol (pl) Polish
Certifying Unit
to_translate_Wydział Nauk o Sztuce [nowa struktura organizacyjna] (SNH/WNoS)
Scientific discipline (2.0)
1.7 arts studies
Year of creation
2021
Start date
2020
Defense Date
22-03-2021
Title date
22-03-2021
Supervisor
Pages
300
URL
https://hdl.handle.net/10593/26307 Opening in a new tab
Keywords in English
mode; modality; motet; polyphony; Renaissance
Abstract in English
Motets of sixteenth-century Polish composers have not been subjected to examination for the influence of rules of the modes derived from the sixteenth-century music theory yet. The term "modality" used in the title of the dissertation is to be understood as a component of the tonality of Renaissance music related to the modal theory and traditional modal categories. The dissertation’s aim is to examine the impact of modal rules in the compositional process of Polish composers using a method based on Bernhard Meier's view on modality yet amended due to some Harold S. Powers’ theses. The dissertation includes a presentation of recent research on the Renaissance modality, the main views of Harold Powers on the role of rules of modes in sixteenth-century music and his concept of tonal types, as well as an explanation of the assumptions and methods adopted in the thesis. The main part contains analyses of the motets of Jerzy Liban, Sebastian of Felsztyn, Wacław of Szamotuły, Tomasz of Szadek, Walenty Gawara and Marcin Paligon. Each of the pieces was examined separately for several modally relevant issues, including properties of cantus firmus, tonal type, exordium shaping, melodic features and cadential structure.

Uniform Resource Identifier
https://researchportal.amu.edu.pl/info/phd/UAM1dd4e1a8a704453a9ea4e3261fe71fa4/
URN
urn:amu-prod:UAM1dd4e1a8a704453a9ea4e3261fe71fa4

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