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style, while the motets are typically isorhythmic. Many of the motets are for four voices. One of the distinguishing features of his motet style is the frequent use of an opening duet for two high voices, after which the remaining voices join in; this was to become a hallmark of the
Burgundian
230:, ed. L. Macy. Accessed 28 October 2010 (This article is completely rewritten from the 1980 Grove article, but each contains useful information not found in the other)
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employed him as rector of the chapel, a post which he retained until 1443. In 1445 he moved to Liège, where he had a post at the
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techniques (frequent 6-3 parallelism in two voices singing above the principal melody part in the tenor voice),
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Survival of music from this age is spotty, and many sources of music from Liège were destroyed when
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sacked the city in 1468. Nevertheless, some of
Brassart's music has survived, including 11
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61:), though the date is only known approximately. From 1422 to 1431 he worked at the
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techniques, and frequently wrote with the melodic part in the top voice.
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The mass movements, all for three voices, most often employ the
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His music is typical of the early
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197:The New Grove Dictionary of Music and Musicians
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216:. New York, W.W. Norton & Co., 1954.
63:collegiate church of St John the Evangelist
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195:Keith E. Mixter: "Johannes Brassart", in
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251:Free scores by Johannes Brassart
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170:settings of this section of the
182:style. His most famous motet,
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73:. In the mid-1420s he visited
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106:collegiate church of St. Paul
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255:Choral Public Domain Library
291:Burgundian school composers
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96:In 1432 Brassart went to
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53:(now in the province of
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112:Music and influence
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172:Proper of the Mass
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28:Renaissance
24: 1400
265:Categories
168:polyphonic
141:isorhythm
71:succentor
153:introits
126:introits
47:Tongeren
253:in the
247:(IMSLP)
243:at the
59:Belgium
55:Limburg
49:in the
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157:motets
122:motets
98:Basel
67:Liège
45:near
218:ISBN
201:ISBN
149:mass
130:mass
124:, 8
81:and
75:Rome
43:Lauw
37:Life
65:in
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