150:. The four voices each sing in a different mensuration. For instance, in the first "Kyrie", the four voices sing in the meters 2/2, 3/2, 6/4, and 9/4 respectively (in modern notation). Thus, the second voice, in 3/2, sings the same tune as the first voice, in 2/2, but half again as slowly, so the voices gradually pull apart. The same occurs between the second pair of voices, in 6/4 and 9/4 respectively. In the score, only one voice was written out for each canon, with the mensuration marks (approximately equivalent to a modern
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uses progressive canon in all its movements. Most of the movements feature pairs of mensuration canons. The interval separating the two voices in each canon grows successively in each consecutive movement, beginning at the unison, proceeding to the second, then the third, and so forth, reaching the
201:'s exact date of composition is not known, and there is no evidence other than what can be inferred from its internal characteristics, or from a comparison with other Ockeghem works that have tentative dates (Ockeghem's output is notoriously resistant to precise dating, even for a composer of the
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Johannes
Ockeghem, "Masses and Mass Sections IX-XVI." Ed. D. Plamenac. Publikationen älterer Musik, ii (New York, 1947, 2/1966).
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Ockeghem was the first composer of canons at the second, third, sixth, and seventh (the "imperfect" intervals), and the
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Alfred Mann, J. Kenneth Wilson, Peter
Urquhart, "Canon." Grove Music Online, ed. L. Macy (Accessed July 31, 2007),
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sometime between 1498 and 1503, shortly after
Ockeghem's death. The other is the Vienna manuscript (Wien,
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achievement of the fifteenth century", and was possibly the first multi-part work written with a unifying
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Leeman
Perkins, "Johannes Ockeghem." Grove Music Online, ed. L. Macy (Accessed July 31, 2007),
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may have been the first work to employ them. Its format, with the interval of
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expanding from the unison up to the octave, was used by Bach in the
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in a twofold mensural canon between two pairs of voices. (
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The mass is for four voices, and is in the usual parts:
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Renaissance Music: Music in
Western Europe, 1400–1600.
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There are two sources preserving the mass. One is the
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275:Mann/Wilson/Urquhart, Canon, Grove online
266:Mann/Wilson/Urquhart, Canon, Grove online
352:Scores of the Missa Prolationum at IMSLP
328:New York, W.W. Norton & Co., 1998.
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189:(f.106v to 114r), which was copied for
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146:octave at the "Osanna" section in the
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141:more than two centuries later, the
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479:Compositions by Johannes Ockeghem
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120:(in three sections: I, II, III)
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35:Ordinary of the Mass
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417:Missa prolationum
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133:J.S. Bach
118:Agnus Dei
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