Nuper rosarum flores

rdf:langString Nuper rosarum flores

rdf:langString Simas Freire, Tiago. 2012. Sur la relation humaniste entre la musique et l'architecture au XVe siècle: une nouvelle lecture de Nuper rosarum flores et de sa relation numérologique controversée avec la Cathédrale de Santa Maria del Fiore . Lyon: CNSMDL.

rdf:langString Turner, Charles. 1991. "Proportion and Form in the Continental Isorhythmic Motet c. 1385–1450". Music Analysis 10, nos. 1–2 : 89–124.

rdf:langString Warren, Charles. 1973. "Brunelleschi's Dome and Dufay's Motet". The Musical Quarterly 59:92–105.

rdf:langString Fallows, David. 1987. Dufay, revised edition. The Master Musicians Series. London and Melbourne: J. M. Dent.

rdf:langString Carpenter, Patricia. 1973. "Tonal Coherence in a Motet of Dufay". Journal of Music Theory 17:2–65.

rdf:langString Bent, Margaret. 2008. "What is Isorhythm?" In Quomodo cantabimus canticum? Studies in Honor of Edward H. Roesner edited by David Butler Cannata, Gabriela Ilnitchi Currie, Rena Charnin Mueller, and John Luis Nadas, 121–143. Middleton: The American Institute of Musicology.

rdf:langString Trachtenberg, Marvin. 2001. "Architecture and Music Reunited: A New Reading of Dufay's Nuper rosarum flores and the Cathedral of Florence". Renaissance Quarterly 54, no. 3 : 740–775.

rdf:langString Nuper rosarum flores

rdf:langString Nuper rosarum flores

rdf:langString Nuper rosarum flores ("Recently Flowers of Roses/The Rose Blossoms Recently"), is a motet composed by Guillaume Dufay for the 25 March 1436 consecration of the Florence Cathedral, on the occasion of the completion of the dome built under the instructions of Filippo Brunelleschi. Technically, the dome itself was not finished until five months later, at which time a separate consecration was celebrated by Benozzo Federighi, the bishop of Fiesole, substituting for the newly appointed archbishop of Florence, Cardinal Vitelleschi. It has been argued that the motet presents homographic tenors and is therefore not an isorhythmic motet as often presented, since there are no isorhythms in its compositional proceedings.[[[Wikipedia:Citing_sources|page needed]]]_2-0" class="reference"> Regardless, the motet is striking for its synthesis of the older isorhythmic style and the new contrapuntal style that Dufay himself would explore further in the coming decades, as would successors such as Ockeghem and Josquin des Prez. The work is considered an icon of Western culture. The title of the piece stems from the name of the cathedral itself: Santa Maria del Fiore, or St. Mary of the Flower. The opening lines of Dufay's text refers to Pope Eugene IV's gift to the cathedral, and to the city of Florence, of a golden rose to decorate the high altar—a gift made the week before the dedication.