D'Alvarenga, João Pedro2022-09-052022-09-052022-07-05PURE: 45645206PURE UUID: 58468cf1-abbe-42fc-9fe7-7f53ae70e039ORCID: /0000-0003-2106-9333/work/118497715http://hdl.handle.net/10362/143481UIDB/00693/2020 UIDP/00693/2020A part of the Lost&Found project, currently run in CESEM at Universidade Nova de Lisboa, explores the neglected repertories of mid to late 16th-century Portuguese polyphony by analysing coherent collections of complete works and essaying the reconstruction of missing voices in incomplete sets of manuscript partbooks. It builds upon a considered adaptation of the methodologies for contextually and dynamically displaying music and musical analysis in the digital domain first developed within international groundbreaking projects, like The Lost Voices, and CRIM. A considerable portion of the corpus selected for analysis consists of a group of imitation masses, the models of which, except one, are still unidentified. This poses the problem of knowing to what extent the polyphonic techniques and style of the mass depend on the model. This knowledge has obvious implications on the assessment of freely composed works to which missing voices have to be reconstructed. The analysis of the relationships between Francisco de Santa Maria’s Missa O beata Maria and its known model — a motet by Pedro Guerrero — illuminates not only the former composer’s style from his reworking methods of the latter composer’s work, but also the type of imitatio prevalent in Portuguese masses from the latter half of the 16th century.294276engconference object