Ave Maria
Updated on 15/08/2020- Composer
- Reference source
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E-TZ 2/3, ff. 258v-259r
- Musical parameters
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Voices Mensuration Clefs Final 4e c1c4c4f4 D - Edition
- Editor
- Special musical devices
- Other modern editions
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Borg, Paul W, “The Polyphonic Music in the Guatemalan Music Manuscripts of the Lilly Library” (unpublished Ph.D dissertation, Indiana University, 1985), vol. 2, pp. 262, 297-99Freis, Wolfgang, “Cristóbal de Morales and the Spanish Motet in the First Half of the Sixteenth Century: An Analytic Study of Selected Motets by Morales and Competitive Settings in SEV-BC 1 and TARAZ-C 2-3” (unpublished Ph.D. dissertation, The University of Chicago, 1992), pp. 423-26
PA 9, pp. 51-54
Calahorra Martínez, Pedro, Autores hispanos de los siglos XV-XVI de los Ms. 2 y 5 de la Catedral de Tarazona, Polifonía Aragonesa, 9 (Zaragoza: Institución Fernando el Católico, 1995) - Bibliography
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Freis, Wolfgang, “Cristóbal de Morales and the Spanish Motet in the First Half of the Sixteenth Century: An Analytic Study of Selected Motets by Morales and Competitive Settings in SEV-BC 1 and TARAZ-C 2-3” (unpublished Ph.D. dissertation, The University of Chicago, 1992)Rees, Owen, “The Coimbra Manuscripts and the ‘Spanish Court Repertory’: The Motet Peccavi domine”, in Musical Exchanges, 1100-1650: Iberian Connections, ed. by Manuel Pedro Ferreira, Iberian Early Music Studies, 2 (Kassel: Reichenberger, 2016) pp. 191-208Rodríguez-García, Esperanza, “What Did the Composer Antonio de Ribera Learn from Alonso Pérez de Alba at Seville Cathedral? A New Look at Ribera’s Missa sine nomine and Devotional Motets”, Portuguese Journal of Musicology, new series, 6/1 (2019), 29-61 <http://rpm-ns.pt/index.php/rpm/article/view/367>
- Sources including this piece
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Source Location in source Attribution and other inscriptions Notes E-TZ 2/3 ff. 258v-259rAº Ribera- —
P-Cug MM 048 f. 39v—- —
P-Ln CIC 60 ff. 1v-2r—- —
US-BLl 01 3v-4r—- —
E. Rodríguez-García
In the first section, 'Dominus tecum' is inserted thrice in the text, acting as a refrain. The second section is made out of a string of litany-like pleas to the Virgin using the formula 'ora pro nobis'.
The use of 'Dominus tecum' as a refrain also appears in the anonymous motet Gabriel angelus.