A New Look at Palestrina's [i]Missa Papae Marcelli[/i]

01 October 1983 voice (usually an inner voice) that contributes to the organization of a piece, but not (usually) to its foreground. 4Irving Godt, "Renaissance Paraphrase Technique: A Descriptive Tool," Music Theory Spectrum II (1980), 110-118. 5A step in the right...

C. P. E. Bach His Mark

01 October 1979 facsimile edition Documenta Musicologica, Erste Reihe: Druckschriften-Facsimiles, III (Kassel and Basel, 1953). authors: Irving Godt author_ids: 1245 authors: Irving Godt author_ids: 1245

An Essay on Word Painting

01 October 1984 to Martin Bernstein, who in many ways influenced the preparation of this study. Celebremus: 1984. xii. 14. authors: Irving Godt author_ids: 1245 authors: Irving Godt author_ids: 1245

Style Periods of Music History Considered Analytically

01 October 1984 it produces a b-sharp equal to c and an f-flat equal to e, we have, not a circle, but a spiral of fifths. authors: Irving Godt author_ids: 1245 authors: Irving Godt author_ids: 1245

Mozart's Real Joke

01 October 1986 while the viola tests half-a-dozen cadential trills before settling on one that seems passably synchronized. authors: Irving Godt author_ids: 1245 authors: Irving Godt author_ids: 1245

“Oh My Son!”: The Musical Origins and Function of King David’s Lamentation

01 October 2009 Introduction In his 1981 article “Prince Henry as Absalom in David’s Lamentations” Irving Godt examined a group of seventeenth-century English settings based on King David’s laments for his son Absalom and his friend Jonathan.1 On the basis of the...