Its popularity perhaps derives from its position near the juncture between the architectonic approach to form inherited from the isorhythmic motet of de Vitry and Machaut in the fourteenth century and the more flowing and expressive contours that would characterize vocal music of the mature Renaissance. To be sure, its use of the tenor cantus firmus holds the entire polyphonic structure together and lends the motet its overall shape. As exemplified in the work under consideration, this trend toward greater expressivity became more pronounced in the so-called "tenor motet," which was not obligated to meet the same liturgical demands as the mass. The Ave regina caelorum, which is usually given the Roman numeral designation "III" to distinguish it from two earlier motets on the same antiphon, was composed sometime before , the year in which it was copied into a manuscript at Cambrai. Stylistically it distinguishes itself from earlier motet styles in its use of the cantus firmus. In fact, at the beginning of the motet, before the tenor even enters with the cantus firmus, the three other voices take turns "foreshadowing" the antiphon melody; thus, when the tenor finally appears, the cantus firmus does not seem like a sturdy structural pillar so much as the natural outgrowth of a series of imitative entries.
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Et pro nobis Christum exora. Hail, O Queen of Heaven enthroned. Hail, by angels mistress owned. Hail, O Queen of Heaven.
Hail, O Lady of Angels Hail! Compline , as revised in after the Second Vatican Council , ends with the antiphon alone. Dignare me laudare te, Virgo sacrata. Da mihi virtutem contra hostes tuos. Concede, misericors Deus, fragilitati nostrae praesidium: ut, qui sanctae Dei Genetricis memoriam agimus; intercessionis eius auxilio, a nostris iniquitatibus resurgamus.
Per Christum Dominum nostrum. Vouchsafe that I may praise thee, O sacred Virgin. Give me strength against thine enemies. Let us pray We beseech thee, O Lord, mercifully to assist our infirmity: that like as we do now commemorate Blessed Mary Ever-Virgin, Mother of God; so by the help of her intercession we may die to our former sins and rise again to newness of life.
Through Christ our Lord. Allow me to praise thee, O sacred Virgin. Against thy enemies give me strength. Let us pray. Grant unto us, O merciful God, a defense against our weakness, that we who remember the holy Mother of God, by the help of her intercession, may rise from our iniquities, through Christ our Lord.
Ave Regina coelorum a 3 (Dufay, Guillaume)
Dufay passed away on the 27th. As a conscientous and wealthy late-medieval Catholic, Dufay had already endowed annual services for his immortal soul. By , Dufay had established an annual Ladymass to be sung; his will, furthermore, stipulated ongoing payments for the singing of his lost Requiem and his antiphon Ave regina coelorum. On the other hand, the Missa Ave regina coelorum could have been the annual Ladymass he established in for the Feast of St. Mary of the Snows. In his four-voiced Missa Ave regina coelorum, Dufay showed the face of things to come in musical style. Though all five movements of the mass open with identical statements of a unifying musical "motto" in accordance with decades of mass composition, even the style of this motto shows a greater reliance on imitation within the musical fabric.
Ave Regina caelorum, antiphon for 4 voices