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By Riemann, Hugo, 1849-1919
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With these four-part — new masters, who are expressly termed the teachers of Johann Okeghem, Antoine Busnois, Vincent Faugues and Firmin Caron, composition enters a period of high perfection. Beside the composition of masses, in quite analogous style the composition of motets developed with and several parts above a cantus firmus; artistic imitations the number of as in the mass, is almost exclulikewise artistically written chansons are frequently for two or three voices, while the already mentioned compositions of national airs are also for four voices.
Thirds above, III. and indeed, sometimes below, and even the beginning and end (points panics the caiitus fir thus in thirds in [B O OK sometimes in , thirds times in single sixths^ of rest in general) are always in the unison or octave: at ^S=S=f=^=^i ^^i=^=fz^^^,^ ^ \^ The three-part faux-bourdon apparently combined in the notation the continuous accompaniment of upper and lower thirds; i. e. ^). =g=^--gz=»^=z-j=:n3 A notation was, of course, as little needed for the gymel and faux-bourdon as for the oj^ganum of fourths, or the dechant in its original form of alternate fifths and octaves.
Until the i6th century. I^J. i regard to the movement of the parts, especially the prohibition of con- and fifths? Certainly: and Jean de Muris was indeed for a long time unjustly regarded as the author of this still fully valid prohibition. Muris was a stanch conservative master who rejected the radical innovations of his contemporaries and secutive octaves sought to preserve faithfully the traditions of the epoch of Franco. As the actual representative of the great progress of the 14th century, Philip de Vitry (Philippus de Vitriaco) must rather be recognized, even though he perhaps did not introduce all these epoch-making innovations, but only first arranged them systematically, and by acute logic definitely established them in his works.
Catechism of musical history (Vol 2) by Riemann, Hugo, 1849-1919