Composers at Work - Owens, Jessie Ann
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Composers at Work discusses a problem that has fascinated scholars for a long time: how did Renaissance composers write their complex vocal polyphony? Twentieth-century scholars are so accustomed to scoring music, carefully lining up the vertical simultaneities, and carefully aligning the bar lines in order to study and perform music, that the idea that a composer could create elaborate polyphony, even in eight parts, without the aid of a score, seems incomprehensible. How then did sixteenth-century composers write their music, and what evidence exists to document this compositional process?…mehr

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Composers at Work discusses a problem that has fascinated scholars for a long time: how did Renaissance composers write their complex vocal polyphony? Twentieth-century scholars are so accustomed to scoring music, carefully lining up the vertical simultaneities, and carefully aligning the bar lines in order to study and perform music, that the idea that a composer could create elaborate polyphony, even in eight parts, without the aid of a score, seems incomprehensible. How then did sixteenth-century composers write their music, and what evidence exists to document this compositional process? Using sketches and other documentary evidence, long a matter of intense study in later centuries, Professor Owens' study is the first full-length investigation of the topic in Renaissance music. It sets out the indispensable background to an inquiry and into the fundamental processes of Renaissance composition.
Composers at Work is the first comprehensive and systematic study of compositional process in Renaissance music. Owens draws on documentary, manuscript, and theoretical evidence to construct a striking new explanation of how composers actually worked. Through a study of autograph sketches, drafts, and fair copies of composers such as Henricus Isaac, Cipriano de Rore, Francesco Corteccia, and Giovanni Pierluigi da Palestrina, Owens reveals a process of working in separate parts, line by line, and not in full score, as in our modern editions. This discovery has major implications for the analysis, editorial interpretation, and performance of early music.
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