[01:43] Bernhard Maier, who included Ziprianus’ pieces in his complete edition of Cipriano de Rore’s works as “doubtful”, described the pieces as composed by “a ‘non-Italianized’ Netherlander of the mid-sixteenth century.” ed. Bernhard Meier (American Institute of Musicology, 1959-1977), vol. 8. Jessie Ann Owens, in her article about de Rore in Grove, suggested that Ziprianus might be Cipriano de Soto [Grove]. 

[03:22] See Anne Smith, The Performance of 16th-Century Music (Oxford University Press, 2011), “Appendix: Modal characteristics” (p. 165) where collected statements about each mode are presented including the affects that are connected with them. See also our episodes Modes in the 16th and 17th centuries [YouTube], 10:23’.

[04:08] While the typical ranges associated with each mode are only an octave, it is not unusual for a melody to go beyond these limits. This tendency is compounded by the relationship between modal theory, which is primarily a method of classifying melody, and the compositional requirements of polyphony. We should not be surprised, therefore, that both the alto and bass descend lower than their expected ambitus, due to the foundational role played by cadences on A in polyphonic works in E modes. 

[04:30] In terms of theoretical sources, writers such as Cerone, Pontio and Sweelinck saw E and A as the appropriate cadence points in the third mode. See again Anne Smith’s modal-characteristics compendium quoted above. 

[04:52] In addition to Santa Maria, other contemporaneous authors such as Montanos and Cerone also describe this technique of duos. See Peter Schubert, ‘Hidden Forms in Palestrina's First Book of Four-Voice Motets’, in Journal of the American Musicological Society, Vol. 60, No. 3 (2007), pp. 483-556 [Jstor]. 

[05:20] For more information see particularly Gary Towne, “A Systematic Formulation of Sixteenth-Century Text Underlay Rules (Part I of II),” American Institute of Musicology Verlag Corpusmusicae, GmbH 44 (1990): 255–87. and Gary Towne, “A Systematic Formulation of Sixteenth-Century Text Underlay Rules: Part II,” American Institute of Musicology Verlag Corpusmusicae, GmbH 45 (1991): 143–68. 

[06:08] A systematic overview of sequential melodies that can be used in imitation can be found in Johannes Menke, ‘Historisch-systematische Überlegungen zur Sequenz seit 1600’, in: musik.theorien der gegenwart 3 (Saarbrücken, 2009), pp. 87-111 [academia.edu]; see in particular Abbildung 2. In our episode Stretto Fuga [Youtube, 2:10] we quoted Zarlino writing how those stock canon melodies are overused; see the footnote 1 of that episode [footnotes page]. 

[08:25] Two examples: 1. In Appenzeller Benedictus’ “Musae Iovis” from 1545 [cpdl], a piece in the third mode, a similar progression of entries appears, including one that includes a B-flat. 2. In Orlando di Lasso’s “Psalmi Davidis poenitentiales” [cpdl], in both the third and fourth Psalms (which are in the third and fourth mode respectively), B-flat is used, despite its inherent contradiction of the mode. 

[10:23] Introducing subjects overlapping with cadences is a matter presented very thoroughly by Santa Maria. See our episode How to improvise polyphony in four voices according Tomás de Santa María [YouTube]. 

[12:32] When a contrapuntal accompaniment can appear also inverted (that is, the voice that was first above the second voice can also be below it or vice versa) it is called invertible counterpoint or, by authors like Zarlino “double counterpoint”. We mentioned this in our episode The fascinating counterpoint of Lamentation letters [Youtube, 11:28’]. See footnote 8 for that episode [footnote page]. 

[15:00] It should be noted that the text underlay in the manuscript leaves room for other readings, such as having a melisma on “si” – “desi - - derat”, but this is not better as it accentuates the “de” – an unaccented syllable. 

[15:14] For example, Adriano Banchieri: “... la onde la maniera de gl'antichi fu questa, empievano la Cartella di note in Contrapunti osservatissimi, & poi sottoponevangli l'Oratione, quivi al Concerto sentivasi soavissima Armonia, ma tal armonia non solo era contraria all'Orazione, ma spesse fiate alle parole dolorose udivasi allegrezza, & alle parole baldanzose udivasi languidezza." (“...The method of the older writers was this: they filled the page with notes in the strictest counterpoint, and then they set the text under them, so that in the performance one heard the sweetest harmony, but this harmony was not only contrary to the text, but often to sorrowful words one heard lively [music], and to bold words one heard languid [music].” Adriano Banchieri, Cartella musicale (3rd ed. 1614, Venice) [imslp], p. 165. English translation from Clifford Alan Cranna, Adriano Banchieri's "Cartella Musicale" (1614): Translation And Commentary (PhD, Stanford University, 1981) [ProQuest], p. 348. 

[23:13] The “Miserere” by Josquin [Wikipedie] is special for having the first tenor part singing only “Miserere mei Deus” throughout the piece, while the other voices are having the complete text. Composers such as Willaert [cpdl], Rore [cpdl], and Vicentino clearly alluded to Josquin’s piece when they set the text “Infelix ego”, which also have “Miserere mei Deus” as a refrain, and also dedicate one part to only singing it. Josquin’s Miserere can be found in many sources [Diamm]; the page shown in the video is taken from BSB Mus.ms. 10 [MDZ]. 

[29:28] The “supplementum” does not appear as a rhetorical figure in Burmeister's work, but it does appear as such in many other sources. Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music (U of Nebraska Press, 1997), 344-348.