'Imitatio et aemulatio. De l'homme armé-traditie in heden en verleden als inspiratiebron voor een vernieuwde toonspraak, renaissance van de polyfonie?'

Imitatio et aemulatio : the L homme armé-tradition in the present and in the past as (inspirational) source for a renewed compositional language, renaissance of polyphony?How does a contemporary composer intercommunicate with music from the past? How can compositional ideas of the renaissance in particular polyphony influence the personal musical language? To what extent might music of a certain period serve as a source of inspiration and renewal for a contemporary composer, being very much aware of his position in the history of western music?The L homme armé-Masses belong to the largest complex of polyphonic compositions based on the same melody. Within this context a number of these masses (Josquin (2), de la Rue (2), Compère) were utilized in this comparative study as case studies for the sake of their many-sidedcounterpointical treatment of this L homme armé-melody, the canon techniques in particular.On the other hand, analysis, interviews and profound study of secundary literature are the means of this comparative research of works of the 20th and 21rst century which were also inspired by and based on the same melody. Works which were opted for this comparison are the Missa Quinque super l homme armé (Manneke,Vermeeren, D Hollander, De Ley, Van Reyn, 2004), Peter Maxwell Davies Missa super L homme armé (1968-1971), Karl Jenkins The Armed Man: A Mass for Peace (1999) and Christopher Marshall s L homme armé:Variations (2003).The development of an artistic portfolio with five new compositions shapes the guideline for musical reflection upon this research: an oratorio, Heilige Seelenlust focusses on canontechniques; Antifona for fanfare examines the function of cantus firmus as fundamental for an entire composition; Ma fin est mon commencement tries to formulate a compositional answer on the prolationcanon of the second Agnus Dei of Josquin s Missa super voces musicales; Agnus Dei for four voices and instruments emulates the proportion technique in the third Agnus Dei of the same Josquin Mass; finally, the 24 Emulations upon L homme armé for pianosolo are a symbiosis of all acquired insights of the previous works and stands for the final answer with regard to the question of finding an alternative model for a longer piece of music. These findings were stated on the base of articles, seminars and performances. They give concrete form to compositional answers on the (new) insights in polyphonic thinking and try to formulate on the other hand a contemporary vocal and instrumental interpretation of the research process, written down in this dissertation.status: publishe