Abstract
The Benedictus of Jacob Obrecht’s Missa Malheur me bat begins as shown in Example 1.1 Reading the score, we could imagine that Obrecht composed the opening imitation between the two lower voices more or less in the following fashion: He conceived the motive first heard in the middle voice and, very possibly at the same time, its imitative answer two measures later, then pursued the two voices more or less together until the start of the sixth measure in each, working out their motivic and intervallic relationships as he went. In principle, he would have followed the same procedure as Johann Sebastian Bach, more than two centuries later, still did in composing fugues.2 A bit more knowledge, however, forces us to modify this picture. For the middle voice, rather than freely invented, quotes exactly the same voice—the tenor—of the song on which Obrecht based the mass, Malcort’s...
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