O. D. Gerasimchuk
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The paper is devoted to the principles of polyphonic adaptations of sources in German
many-voiced songs of the 15th–16th centuries. Alongside with the greater number of
voices, throughout this historical period one could observe the reinforcement of the
cantus firmus composing technique, therefore, the increase of the tenor’s functional
importance. It is noted that the song authors relied on monophonic folklore and secular court tunes. Concerning the tenor attribution problem, the author of the paper underlines its complexity due to the latency of sources and the unstable position of the tenor’s function in the texture. The texture-register position, contrast to other voices and order of entrance are viewed as reference points.
Key words: German tenor song, countertexture, source, cantus firmus.
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