Anthology for Music Theory: Problems and Practices in the Middle Ages and Renaissance

woRkBOOk/antholoqy FOB

music theory; pROBlems and practices in the middle ages and Renaissance

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workbook anthology FOR

music theory:

problems and practices in the middle ages and Renaissance BY lloyd ultan

UNIVERSITY OF MINNESOTA PRESS D MINNEAPOLIS

Copyright ©1977 by the University of Minnesota. All rights reserved. Printed in the United States of America at the University of Minnesota Printing Department, Minneapolis. Published by the University of Minnesota Press, 2037 University Avenue Southeast, Minneapolis, Minnesota 55455, and published in Canada by Burns & MacEachern Limited, Don Mills, Ontario ISBN 8166-0803-2

preface

This volume was prepared as a companion to the author's textbook Music Theory: Problems and Practices in the Middle Ages and the Renaissance. The chapters were designed to parallel those of the textbook and the assignments to complement the materials presented in the respective chapters of the text. Many more problems are posed in each of the chapters than one would normally expect a student to cover in the period of time for which the study was designed (i.e., one academic semester for each of the two historical periods). This gives instructors the opportunity to select the types of problems that most closely meet the specific needs of each class and the special areas of emphasis they may choose to follow. Usually when assignments suggest "each of the following," instructors will wish to be selective, for to undertake all examples would, in many instances, prove to be an unduly large project to impose on students. It is possible that instructors may wish to distribute the several possibilities among members of the class for discussion and comparison. Some of the more rewarding activities for which the materials of this volume may be used will prove to be the comparative discussions that may result from the careful study of the examples provided. It is suggested that instructors extensively supplement the examples given here with analysis and discussion of student compositions, as well as with other examples that may be brought to class. It will quickly be recognized that because the size of compositions gradually increases throughout the historical periods, the demands of a single assignment become greater as students progress through this volume. Therefore it is suggested that some assignments be subdivided or spread over a longer period of time. It should be noted that some liberties have been taken in a number of pieces presented as diplomatic facsimiles. I was not concerned that the retranscriptions be exact replicas of the original manuscripts but that the notations used be accurate representations of what transpired in the pieces, as represented by the modern sources, and that the notations be compatible with the original notations. To this extent, I have compromised strict scholarly practice for pedagogical purposes. However, I firmly believe that the foundation provided in this study will contribute to students' fundamental and accurate knowledge of a complicated subject upon which they may build, should their interests lead them toward a more scholarly pursuit of the subject. One very important attitude that has greatly influenced the assignments provided and that should be carried into the activities of the classroom is that the music with which we are concerned is an exciting and beautiful literature that demands life. This music should

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be heard and performed by students with every means available and at every opportunity. Student performances of their own works and class discussion of them, as well as comparison with student performances of the literature provided, can produce the most rewarding and pleasurable dimension of the entire study. This facet should not be ignored but should be made the central focus for all other aspects of the technical theoretical work. A special word of appreciation must be expressed to Dr. George C. Schuetze whose advice and assistance throughout the preparation of this volume provided an invaluable contribution to the final results. Also, this opportunity must be taken to thank the many students who have contributed through their labors and their constructive suggestions toward the improvement and refinement of this volume. L.U.

VI

contents

Preface

v

Chapter 1 Notation

3

Chapter 2 Plainsong

31

Chapter 3 Monophonic Forms

51

Chapter 4 Early Polyphony

61

Chapter 5 Ars Nova Notation

85

Chapter 6 Early Contrapuntal Concepts and Devices

99

Chapter 7 Late Contrapuntal Concepts and Devices

105

Chapter 8 Sacred Polyphonic Forms

115

Chapter 9 Secular Polyphonic Forms

127

Chapter 10 The Late Fourteenth Century

139

Chapter 11 Transition

143

Chapter 12 Early Fifteenth Century —Dufay

145

Chapter 13 Middle and Late Fifteenth Century —Ockeghem

159

Chapter 14 Late Fifteenth and Early Sixteenth Centuries

183

Chapter 15 Sixteenth-Century Secular Forms

193

Chapter 16 Palestrina: Part One

225

Chapter 17 Palestrina: Part Two

237

Chapter 18 Summary, Conclusions, and New Directions

247

Sources

269

list of musical examples Chapter 1 Excerpt from Lauda, Jerusalem Dominum Eight Alleluias 5 Asperges me Domine 6 Depositum Creditum— Adsolitum — Regnat Bien me 13

3

10

Se valours—Bien me—Hie factus est 17 In mari miserie 20 Chaconnete — A la chemmes -Veritatum 22 Amours et ma dame aussi 27 Or est Baiars en la pasture 28 Helas! tant vi de male cure 29

Chapter 2 Kyrie XI (Orbis factor] Sanctus XI 34 Agnus Dei XI 35 Veni sancte 36

Chapter 10 33

Tout par compas suy composes A I'aventure va Gauvain 141 Chapter 11 No examples provided.

Chapter 3

Chapter 12

Victimae Paschali Laudes 54 Exsultet Orbis Gaudis 55 De bone amour 56 De ma dame souvenir 57 A sas figuras 58

Veni Sancte Spiritus (Dunstable) 146 Missa L'homme arme (Dufay) 149 Adieum'amour 154 Veni sancte Spiritus (Dufay) 155 Chapter 13

Chapter 4 Sanctus VII 61 Principes sacerdotum 66 Kyrie Salve 72 Credo VI (excerpt) 76 Free Organum (from Wolfenbiittel 1206) Viderunt Omnes 82

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He! dame de vaillance 85 Quant je sui 86 Adiu, Adiu, do us dame 87 C 'est force 91 Cine, un, treze, wit, neuf, d'amour fine N'en fait n'en dit 97

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Missa Pange Lingua 184 Greiner, zancker, schnopffitzer 190 Suesser vatter, herre Gott 192

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Chapter 6 99

Chapter 15 Le chant des oyseaux: Resvueillez vous (Janequin) Le chant des oyseaux (Gombert) Quanta piu m 'arde 216 Qu'est devenu ce bel ceil 222

195 208

Chapter 16

Chapter 7 Martyrum gemma—Diligenter—A Christo 106 Tant a souttille — Bien pert—Cuius pulcritudinem 109 Chapter 8 Res nova mirabilis — Virgo —Alleluia 116 Alleluia 120 Agnus Dei (from Messe de Nostre Dame} 122 Chapter 9 Sanz cuer—Amis, dolens—Dame, par vous ChosiPensoso 131 Somma felicita 135

Missa L'homme arme (Ockeghem) Missa Je ne demande 162 Beata es, Maria 167 Missa Prolationum Kyrie 174 Gloria in excelsis Deo 177 Chapter 14

Chapter 5

Ma fin est mon commencement Sumer is icumen in 102

139

127

Selected two-voice Cantiones (di Lasso) lo sento (Palestrina) 232 Chapter 17 Veni Sponsa Christe (motet) 238 VeniSponsa Christe (missa) 242 Chapter 18 Canzon francese del Principe 248 Versus from Feria Quinta, Resp. 2 253

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music theory; pROBlems and practices in the middle ages and Renaissance

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chaptec i

1. Compose a short but musically complete plainsong passage to the text Kyrie eleison. The passage should be in the Dorian mode using at least five different multiple-pitch neumes in the context of two incises.

2. Transcribe each of the following examples into modern notation and identify each of the multiple-pitch neumes by name.

Lauda, Jerusalem. Liber Usualis, p. 1227B. Reprinted with permission from the 1963 edition of Desclee & Co., Tournai-Doornik, Belgium.

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4

Alleluia. Liber Usualis, p. 95. Reprinted with permission from the 1963 edition of Desclee & Co., Tournai-Doornik, Belgium.

5

Asperges me Domine. Liber Usualis, p. 11. Reprinted with permission from the 1963 edition of Desclee & Co., Tournai-Doornik, Belgium.

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3. Compose an Alleluia with a mensurated duplum and an unmensurated cantus. The latter should be taken from one of the Alleluia examples provided earlier in this chapter. Prepare this piece in both modal notation and modern transcription. Use two different forms of the plica in this example. Set the duplum in the Iambic mode.

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8

4. Assignments for the following motet, Depositum Creditum—Ad solitum — Regnat: a. Identify the rhythmic modes used in each of the three voices of this piece. b. Sing each voice part in rhythm. c. Transcribe the piece into modern notation and place the parts in score layout (one above the other). d. Analyze the lines for each of the following: (1) Range; (2) Contour (including the identification of linear patterns, e.g., sequence); (3) Identify primary tones and justify your choices; (4) Describe the linear cadential patterns; (5) Identify the phrasing within each line. e. Analyze the vertical relationships for: (1) Favored structures for primary rhythmic positions (as defined by the modern transcription resulting from assignment 4.c.; (2) Differing treatment of less important rhythmic positions; (3) Use of dissonance, its location, and the type; (4) Cadential structures resulting from the relationships between the lines—note patterns, if any exist. f. Compose a motet in this style incorporating each of the following: (1) The rhythmic and melodic modes used in this piece; (2) Rhythmic modal notation, using the format in this piece; (3) Transcription into modern notation.

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Motet: Depositum Creditum—Ad solitum — Regnat. Bamberg, Staatsbibliothek, Ed. IV 6, fol. 4v.

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11

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5. For the ballade Bien me, which follows, complete each of the assignments: a. b. c. d. e.

Identify the rhythmic mode in which the piece is set. Sing the piece (with text or syllables). Transcribe the piece into modern notation. Identify the melodic mode in which the piece is set (justify your decision). Analyze the melody for each of the following: (1) Range; (2) Contour (including the identification of recurring patterns); (3) Identify the formal sections of the piece which classify it as a ballade; (4) Locate and define the linear cadential patterns; (5) Describe the structure of the individual phrases and compare them with each other.

f. Using a text of your choice, compose a ballade in the rhythmic and melodic modes represented in this piece.

Ballade: Bien me. Paris Bibliotheque Nationale, fr. 846, fol. 14r.

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14

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6. Complete each of the following assignments for the motet Se valours—Bien me—Hie factus est, which is provided: a. Sing each voice part separately. b. Analyze the lines for each of the following: (1) Range; (2) Contour, including the identification of melodic patterns (e.g., imitation or recurring sets of notes); (3) Primary tones (justify those selected); (4) Rhythmic concept (what mode, if any, pervades each part); (5) Linear cadential patterns; (6) Phrasing within each line; c. Analyze the vertical relationships for: (1) Favored structures for primary rhythmic positions (as defined by the modern measures in this transcription); (2) Freedoms reflected on less important rhythmic positions (e.g., the use of dissonance—note the location and the kinds employed); (3) The presence and function of musica ficta; (4) Cadential patterns resulting from the relationship between lines; d. Compare this transcription with Example 1.6 of the text.

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Transcription of Example 1.6. Motet: Se valours —Bien me—Hicfactus est. Bamberg, Staatsbibliothek, Ed. IV 6, fol. 9r.

17

Se valours-Bien me-Hic factus est. Bamberg, Staatsbibliothek, Ed. IV 6, fol. 9r.

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19

7. Transcribe each of the following examples into Franconian notation. Use the appropriate page format for motet examples (paper in this layout is provided on pp. 23 and 24).

In mari miserie — (duplum). Paris, Bibliotheque Nationale, fr. 146, Roman de Fauvel.

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21

1

Chaconnete—A la chemines— Veritatum. Bamberg, Staatsbibliothek, Ed. IV 6, fol. 6v and 7r.

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24

8. Compose two short monophonic musical phrases which could be used for a virelai text (text not necessary). Design the rhythm so that it can be set in either rhythmic modal or Franconian notation. Submit the assignment with three notational forms of the piece (each of those specified and modern notation).

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26

9. Transcribe each of the following examples into modern notation. Use key and meter signatures, clefs, and other symbols as appropriate to the needs of each piece.

Rondel: Amours et ma dame aussi. Adam de la Halle. Paris, Bibliotheque Nationale, fr. 25566.

27

Rondel: Or est Baiars en la pasture. Adam de la Halle. Paris, Bibliotheque Nationale, fr. 25566.

28

Rondeau: Helas! tant vi de male cure. Paris, Bibliotheque Nationale, Collection de Picardie 67, fol. 68r.

29

10. Sing each of the preceding examples (those provided and those composed) with the text, the hexachord syllables, or on a neutral syllable (e.g., la}. In multiple-part pieces, sing each voice part separately and then, with others, sing the complete pieces.

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chAptec 2 / plAinSOrtQ

1. In the Dorian mode, compose a nine-part Kyrie eleison according to the following form: A

B

A

a-b-a'

c-d-e

a-b-a'

Identify all multiple-pitch neumes (using more than eight different ones).

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32

2. Prepare comprehensive analyses of each of the following plainsong examples. Include in your analyses each of the following items plus any additional information you consider pertinent to an accurate description of the musical content of the examples. a. b. c. d.

Identify the mode and explain your decision. Identify the sacred form the example might represent. Justify your choice. Identify all multiple-pitch neumes. Discuss: range; phrase structure; significant melodic patterns; any modal mutations that occur; melodic style. e. Identify all other symbols (other than neumes) by name and define their function. f. Add appropriate solmization syllables over each neume; identify the hexachord being employed; and show each point of mutation using changes of hexachord only where necessary.

Kyrie (Orbis Factor). Liber Usualis, p. 46. Reprinted with permission from the 1963 edition of Desclee & Co., Tournai-Doornik, Belgium.

33

S

Sanctus. Liber Usualis, p. 47. Reprinted with permission from the 1963 edition of Desclee & Co., Tournai-Doornik, Belgium.

34

K

Agnus Dei. Liber Usualis, p. 48. Reprinted with permission from the 1963 edition of Desclee & Co., Tournai-Doornik, Belgium.

35

V

Veni sancte, Liber Usualis, pp.880-881. Repreinted with permission from the 1963 edition of De

36

Veni sancte. Liber Usualis, pp. 880-881.

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Venisancte. Liber Usualis, pp. 880-881.

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3. Using the complete text of the Agnus Dei, compose a plainsong melody in Mode V. Identify all symbols and neumes you include. Transcribe the example into modern notation at the same pitch level using the appropriate modern clef.

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40

4. Match Column 1 with Column 2. Column 1 a. b. c. d.

Ictus ij Strophic Ut queant laxis

Column 2 1. All stanzas to the same music 2. Change of hexachord. 3. Vertical episima.

e.

Mutation

4.

f. g. h. i. j.

Dactylic Hypodorian finalis Neumatic Gustos Confinalis

5. The note A. 6. Sing the preceding passage twice. 7. 8. Source of solmization syllables. 9. The note D. 10. Indicates the first pitch of the next line. 11. Sing the preceding passage three times. 12. A few notes to each syllable. 13. Tenor or reciting tone. 14. Continuous unfolding of new musical ideas.

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5. Compose a short melismatic passage consisting of one phrase with two incises that is clearly in the Phrygian mode. Use the text Alleluia, Amen. Employ at least eight multiplepitch neumes; these and all other symbols you use should be identified. Pay particular attention to the cadence and try to use one that is characteristic of many such passages (compare with some source such as the Liber Usualis).

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44

6. Using a Hymn text of your choice (with multiple stanzas), compose music appropriate to the text. Set the piece in the Lydian mode, use plainsong notation appropriate to the setting, and limit the range to the interval of a fifth.

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46

7. Select a Kyrie (e.g., Example 3.9 of the textbook) and add a trope text of your own to the music and the basic text provided. The trope should be appropriate to the spiritual intent of the Kyrie but may be in any language you choose.

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48

8. Sing each of the plainsong examples in this chapter (including those composed by the student) using the hexachord system. Make mutations as necessary, but use as few as possible.

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chapter 3 monophonic foams

1. In outline form, compare the similarities and differences of sacred and secular monophonic literature. Consider such factors as: singing style; phrasing; linear construction; modal clarity; cadential patterns; and form. Be specific and comprehensive. Sacred

Secular

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2. Analyze in depth each of the examples that follow. Include in your analyses the points listed below and supplement these by comments you consider pertinent for a complete understanding of the compositions. a. b. c. d.

Identify all multiple-pitch neumes. Define the musical form and indicate the factors that contributed to your decision. Describe the phrase structure and the factors that contribute to its delineation. Describe the contour of the line; as you do so, look for uniquely distinguishing characteristics (e.g., unusual skips, musica ficta). e. Identify the mode and describe the factors that assisted you in reaching your decision. f. What factors might contribute to a sense of unity and to a sense of variety in the musical design of the piece? Consider the relationship of the text to the music in regard to the overall musical conception.

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V

Victimae Paschali Laudes. Liber Usualis, p. 780. Reprinted with permission from the 1963 edition of Desclee & Co., Tournai-Doornik, Belgium.

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f

Exsultet Orbis Gaudis. Liber Usualis, pp. 425-426. Reprinted with permission from the 1963 edition of Desclee & Co., Tournai-Doornik, Belgium.

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De bone amour. Paris, Bibliotheque Nationale, fr. 846, fol. 41.

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De ma dame souvenir. Paris, Bibliotheque Nationale, fr. 846, fol. 32v.

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A sas figuras. Facsimil del codice j.b. 2 de el Escorial, No. 161

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3. Sing each of the preceding examples (those provided and those composed) with the text, the hexachord syllables, or on a neutral sound (e.g., la). In multiple-part pieces, sing each voice separately and then, with others, sing the complete pieces.

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cnapteR 4 / eABly polyphony.ORQanum

1. Using the following example as the vox principalis, compose an example of diapente organum. Select the appropriate clef and compatible neumes for the vox organalis.

5

Sanctus. Liber Usualis, p. 93. Reprinted with permission from the 1963 edition of Desclee & Co., Tournai-Doornik, Belgium.

2. Set the above example in four-part, composite diapente organum.

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3. Compose an example of diatesseron organum to Principes sacerdotum, provided below.

Principes sacerdotum. Liber Usualis, p. 776G. Reprinted with permission from the 1963 edition of Desclee & Co., Tournai-Doornik, Belgium.

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4. Set the preceding example in four-part, composite diatesseron organum.

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69

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5. Compose an example of free organum, form one, at the interval of a fifth to the Kyrie Salve that follows.

K

Kyrie Salve. Liber Usualis, p. 86. Reprinted with permission from the 1963 edition of Desclee & Co., Tournai-Doornik, Belgium.

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73

6. Compose an example of free organum, form two, to a plainsong example of your choice. It should be a complete piece, albeit brief. Identify the source.

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75

7. Using the phrase Credo in unum Deum provided below, compose a duplum part in the style of free organum, form three.

C Credo VI, Liber Usualis, p. 75. Reprinted with permission from the 1963 edition of Desclee & Co., Tournai-Doornik, Belgium.

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8. Using a tenor of your choice from the plainsong literature, compose an example of melismatic organum. The piece should be complete, albeit short. Identify the source.

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9. Select appropriate examples of plainsong from those provided in this workbook (or its accompanying textbook) to serve as the vox principalis for prepared singing exercises in the several forms of parallel organum. Be prepared to sing any voice part at the appropriate interval for the plainsong example chosen.

10. Select a plainsong melody to be used as the vox principalis, and prepare to sing a vox organalis part to it for each of the free forms of organum.

11. Sing all parts of all examples composed for this chapter using the hexachord system.

12. Improvise a melisma over a tenor sung by another member of the class.

13. In the example that follows, complete each of the steps below: a. Analyze the lines for mode (including the identification of any modal formulas that may be present), contour, recurring patterns, the relationship between the lines (e.g., crossings). b. Identify the vertical relationships and note the location of any dissonances that may appear. c. Using the lower voice as the vox principalis, compose a new vox organalis. d. Rewrite the two voice lines using the appropriate ligatures (as indicated by the brackets).

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Free Organum: Form II. Wolfenbiittel, Herzog August Bibliothek, 1206, fol. 64.

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14. In the example that follows, analyze the duplum for mode, contour, range, and its consonance/dissonance relationship to the cantus. Using the first five notes of the duplum as a new cantus, compose a new melismatic duplum of approximately the same number of pitches per cantus note as seen in this example. Use the text Alleluia.

Melismatic Organum: Viderunt Omnes. Wolfenbiittel, Herzog August Bibliothek, 1206, fol. 63.

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chaptec 5 / ARS HOVA HOtAtlOn

All composition and transcription assignments for this chapter and those that follow should be done on five-line staff paper, which is not provided in this workbook. 1. Compose music for a monophonic rondeau (the use of a text is not necessary) in Ars Nova notation using perfect tempus and minor prolation. Use the appropriate tempus and prolation sign and submit it and a modern transcription. 2. Compose music for a monophonic virelai (a text need not be used) in Ars Nova notation and include in the example punctus additionis and red notes. Use the appropriate tempus-prolation signature and submit it and a modern transcription. 3. Transcribe each of the following examples from Ars Nova notation into modern notation. Use appropriate clefs, key and metrical signatures.

Virelai: He! dame de vaillance. G. de Machaut. Paris, Bibliotheque Nationale, fr. 1586.

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II. Sa biaute, sa grant doucour d'amoureuse flame, Par souvenir, nuit et jour m'esprent et enflame. Dieus! c'est drois que je I'aim, Sans blame, de loial amour. III. Et quant sa haute valour mon fin cuer entame, Servir la weil sans folour penser ne diffame. Dieus! c'est drois que je I'aim, Sans blame, de loial amour.

Virelai: Quant je sui. . . G. de Machaut. Paris, Bibliotheque Nationale, fr. 1586. The text to this virelai is irregular. The three complete stanzas are provided.

86

Adiu, adiu, dous dame. Freely retranscribed by the author from Leo Schrade, ed., Polyphonic Music of the Fourteenth Century, Vol. IV, The Works of Francesco Landini, Editions L'OiseauLyre, Monaco, 1958, p. 192.

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Adiu, adiu, dous dame. Schrade, Polyphonic Music of the Fourteenth Century, Vol. IV, p. 192.

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Adiu, adiu, dous dame. Schrade, Polyphonic Music of the Fourteenth Century, Vol. VI, p. 192.

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4. Assignments for the virelai C'est force-. a. Identify the tempus and prolation. b. Sing the piece several times (until it flows smoothly and musically). c. Transcribe the piece into modern notation, extending it as necessary to produce the complete virelai form in a continuous unfolding (without underlaying two portions of the text beneath a single line). Identify the several sections of the virelai form as demonstrated in this piece. d. Analyze the melody for each of the following: (1) Range and melodic mode; (2) Contour (including the identification of recurring patterns); (3) Locate and define the linear cadential patterns; (4) Describe the structure of all individual phrases and compare. e. Using a text of your choice, compose a virelai in the same melodic mode and the same tempus and prolation as this one. Use Ars Nova notation and provide a modern transcription.

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Virelai: C'est force. Retranscription of F. Ludwig and H. Besseler, eds., Guillaume de Machaut, Musikalische Werke, Vol. I, Breitkopf and Hartel, Wiesbaden, 1954, p. 77.

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92

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5. Discuss the salient similarities and differences of the three mensural notations studied. Devote particular attention to those rhythmic possibilities present in one and absent in another. Also, consider in your discussion the musical implications of these three systems and how each might have affected the musical results of the period in which it was used. Demonstrate the natural evolution of notational needs and practices from square plainsong notation to the notation of the French Ars Nova. Be specific and detailed in your discussion. 6. Compose music for a monophonic ballade (a text need not be used) in Ars Nova notation. Use tempus imperfectum and major prolation with the appropriate signatures. Also, demonstrate the use of punctus divisionis in this piece. Submit this with a modern transcription. 7. Sing all examples in this chapter (both provided and composed) with the text, the syllables of the hexachord system, or a neutral syllable (e.g., la). 8. Transcribe each of the following examples into Ars Nova notation. Indicate the appropriate tempus and prolation signature.

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Cine, un, treze, wit, neuf d'amour fine. Paris, Bibliotheque Nationale, fr. 1586.

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N'en fait n'en dit. . . Paris, Bibliotheque Nationale, fr. 1586.

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chapteR 6 / eARly contRapuntal

concepts and devices

1. Compose a two-voice ballade using a text of your choice in an early contrapuntal style. Include at least two examples of Stimmtausch. Use Ars Nova notation and submit this with a modern transcription. 2. Prepare a comprehensive analysis of Ma fin est mon commencement. Include consideration of all vertical relationships, linear construction, dissonance treatment, cadences, and canonic treatment in your discussion. 3. Prepare a modern transcription of Ma fin est mon commencement.

Ma fin est mon commencement. Paris, Bibliotheque Nationale, fr. 1584.

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Ma fin est man commencement. Paris, Bibliotheque Nationale, fr. 1584. 1,4,7 Ma fin est mon commencement 3 et teneure vraiement 5 Mes tiers chans trois fois seulement 2,8 et mon commencement ma fin 6 se retrograde et einsi fin

4. Compose a Kyrie eleison section of a Mass in strict canon at the fifth below. The canon may be broken at the end of each section to produce a good cadence. Use Franconian notation on a five-line staff and submit it with a modern transcription. 5. Compose a cancrizans canon of approximately forty-eight semibreves. Using Ars Nova notation, include appropriate signatures and examples of punctus additionis. Submit with a modern transcription. 6. Prepare a modern transcription of Sumer is icumen in. 7. Prepare a comprehensive analysis of Sumer is icumen in. Include consideration of all vertical relationships, linear construction, dissonance treatment, cadences, relationship of the parts, and canonic treatment in your discussion.

101

c

Sumer is icumen in. London, British Museum, Harley 978, fol. llv.

102

Sumer is icumen in. London, British Museum, Harley 978, fol. llv.

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8. Compose a canon in augmentation at the interval of a sixth below. The canon should be in Ars Nova notation and in tempus imperfectum and major prolation using the appropriate symbols to represent these mensural characteristics. The augmentation may be double or triple value and when complete, the piece should stand alone as a total musican entity. Submit this assignment with a modern transcription. 9. Using one of the possibilities provided in Example 6.6 in the text, complete the canon by adding at least three times the amount of material given as a beginning. The final few notes of the canon may be free, to achieve an effective cadence. Submit this Ars Nova composition with a modern transcription. 10. Sing all examples in this chapter (both those provided and those composed) using the text, syllables from the hexachord system, or a neutral syllable (e.g., la}. Sing each line separately and then, with others, sing the complete piece.

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chaptec 7 / Ute contrapuntal concepts and devices

1. Compose an isorhythmic composition (without text) consisting of nine taleae and three colores (three taleae to each color). The piece should be set in tempus perfectum and major prolation using Ars Nova notation. Submit a modern transcription with the original. The tenor may be selected from a plainsong source (which should be identified) or it may be original. The final cadence should be a double leading type. 2. Prepare a comprehensive analysis of the Machaut motet Martyrum gemma—Diligenter —A Christo which follows. After transcribing the motet into modern notation, include in your analysis each of the following: a. b. c. d. e. f.

Linear design (e.g., contour and phrasing); Treatment of vertical relationships; Overall sense of phrasing; Use of musica ficta; Special compositional techniques (e.g., canon or sequences); Other points that you consider to be of special interest in this piece.

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Motet: Martyrum gemma—Diligenter—A Cbristo. F. Ludwig and H. Besseler, eds., Guillaume de Machaut, Musikalische Werke, Vol. Ill, Breitkopf and Hartel, Wiesbaden, 1954, p. 68.

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Marty rum gemma—Diligenter—A Christo. Ludwig and Besseler, Guillaume de Machaut, Musikalische Werke, Vol. Ill, p. 68.

107

3. Compose a three-voice isorhythmic composition (without text) that encompasses at least three taleae and uses hocket in the upper parts. The tenor should be selected from the plainsong literature (and identified) and the piece should end with an under-third type of cadence. Submit this assignment in both Ars Nova and modern notations. 4. Compose a piece that includes at least two different forms of hocket and several short canonic passages (each at different intervals). Demonstrate two types of cadences. This piece should be in three voice parts and in both Ars Nova and modern notational forms. 5. Prepare a comprehensive analysis of the composition that follows. Include in your analysis all points cited for assignment 2 above, plus additional information that may be required by the unique characteristics of this piece. Provide a transcription in Ars Nova notation.

108

Tant a soutille — Bien pert—Cuius pulcritudinem. Reprinted with permission from Ursula Giinther, CorpusMemurabilisMusicae, No. 39, American Institute of Musicology, Dallas, Texas, pp. 1-3. Armen Carapetyan is director of the Institute, which is now located in Rome.

109

Tantasouttille — Bienpert — Cuiuspulcritudinem.Gunther, Corpus Mensurabilis Musicae, pp. 1-3,

110

Tantasouttille—Bienpert—Cuiuspulcritudinem.Gunther, Corpus Memurabilis Musicae, pp. 1-3.

Ill

Tantasouttille—Bienpert—Cuiuspulcritudinem.Guntheic, Corpus Mensurabilis Musicae, pp. 1-3.

112

6. Sing all voice parts of all examples in this chapter (both those provided and those composed). Use the solmization system of syllables or a single neutral syllable (e.g., la). With others, learn all pieces for performance and discuss considerations of performance style.

113

114

chaptec s / SACR6d

polyphonic focms

1. Compose a three-voice conductus to a Latin text of your choice. Use Franconian notation and submit with a modern transcription of your piece. 2. Compose a three-voice isorhythmic motet to texts of your choice. Use Stimmtausch between the upper voices at some point in the piece. Set the composition in Franconian notation and submit with a modern transcription. 3. Prepare a comprehensive analysis of each of the following compositions, including in your analysis each of the following: a. b. c. d. e. f. g. h.

Transcribe into or from modern notation; Define the form and support your decision; Linear conception and design; Treatment of vertical relationships; Phrase structure by line and as a totality; Special compositional devices employed; Types of cadences and manner of approach; Other features of special interest.

115

Res nova mirabilix-virgo-Alleluia. bamber

116

Res nova mirabilis—Virgo—Alleluia. Bamberg, Staatsbibliothek, Ed. IV 6, fol. 59v and 60r.

117

Res nova mirabilis—Virgo—Alleluia. Bamberg, Staatsbibliothek, Ed. IV 6, fol. 59v and 60r.

118

Res nova mirabilis-Virgo-Alléluia. Bamberg, Staatsbibliothek, Ed. IV 6, fol. 59v and 60r.

119

Alleluia. Facsimile of Montpellier, Fac. des Medecins, H. 196, fol. 40v. Reprinted with permission from Yvonne Rokseth, Polyphonies de XIHe siecle, L'Oiseau-Lyre, Paris, 1935-1939.

120

Alléluia. Montpellier, Fac. des Médecins, H. 196, fol. 40v.

121

Agnus Dei. G. De Machaut. Reprinted with permission from Leo Schrade, ed., Polyphonic Music of the Fourteenth Century, Vol. Ill, The Works of Guillaume de Machaut, Editions L'Oiseau-Lyre, Monaco, 1956, pp. 60-62.

122

Agnus Dei. Schrade, Polyphonie Music of thé Fourteenth Century, Vol. III, pp. 60-62.

123

Agnus Dei. Schrade, Polyphonic Music of the Fourteenth Century, Vol. Ill, pp. 60-62.

124

4. Compose a movement of a Mass in the style of Machaut's Messe de Nostre Dame. Select a plainsong source for an isorhythmic tenor (identify the source). Set the work in four voices. Use both sequential and imitative writing in the upper voices. Employ three different cadential forms. Set the composition in Ars Nova notation and submit with a modern transcription. 5. Compose a short four-voice composition with one section devoted to a total isorhythmic treatment (i.e., all voices in isorhythm simultaneously), in which at least three statements of the isorhythmic passage are presented (these may be relatively brief). Include a double leading tone combined with a Landini-type cadence. Set the piece in Ars Nova notation and provide a modern transcription. 6. Sing all voice parts of all examples in this chapter (both those provided and those composed). With others, prepare several of these pieces for performance. In so doing, consider the appropriate performance style demanded by the period and the compositions themselves.

125

126

clupteR 9 / S6CUIAR

polyphonic fomns

1. Compose a chanson balladees in the style of Machaut. Use a text of your choice (or an original text) and set in three voice parts. The piece should be in tempus perfectum and in minor prolation. Set the piece in Ars Nova notation and provide a modern transcription. 2. Prepare a comprehensive analysis of the Machaut ballade Sanz cuer—Amis, dolem — Dame, par vous which follows. Consider in your analysis each of the items listed below: a. Linear concept and design; b. Vertical relationships and the use of dissonance; c. Use of musica ficta; d. Cadential treatment; e. Phrasing, both linear and the totality; f. Special compositional techniques; g. Text treatment (text is provided separately from the music, but its location in the music is noted by letters); h. Items of special interest.

Ballade.- Sanz cuer—Amis, dolens—Dame, par vous. Freely transcribed from F. Ludwig and H. Besseler, eds., Guillaume de Machaut, Musikalische Werke, Vol. I, Breitkopf and Hartel, Wiesbaden, p. 16.

127

Sanz cuer—Amis, dolens—Dame, parvous. Ludwig and Besseler, Guillaume de Machaut, Musikalische Werke, p. 16.

128

Ballade: Sanz cuer—Amis, dolens—Dame, parvous (first set of stanzas) A. Sanz cuer m'en vois, dolens et esploures pleins de souspirs et diseteus de joie, D'ardant desir espris et embrases, doume, que briefment vous revoie, si qu'einssi sans cuer durer ne,porroie ne telz maulz endurer, s'Espoirs en moy ne faisoit sa demeure En lieu dou cuer, dame, qui vous demeure. B. Amis, dolens, maz et desconfortes partes de moy et voles que je croie Que vos cuer m'est tous en tiers demores. Tres bien don guerredonner, et vous peusse A fin souhait donner quanque desirs en ce monde saveure, En lieu dou cuer, dame, qui vous demeure. C. Dame, par vous me sens reconfortes de tous les gries que recevoir soloie, par vous sui hors de toutes orphentes, Par vous ne puis riens sentir qui m'anoie Par vous m'e stuet esperer quanque loyaus Amis puet desirer, En lieu dou cuer, dame, qui vous demeure.

129

3. Prepare a comprehensive comparative analysis of the preceding ballade and the ballade provided in Example 9.2 in the text (Machaut's Dame, comment qu'amez de vous ne soie}. In your analysis and discussion, consider all items listed under assignment 2 above as well as others you find appropriate to the comparative process. 4. Compose a ballade in the style of Machaut using a text of your choice (possibly one in this chapter or an original). Include some use of canon or isorhythm and set the piece in Ars Nova notation. Provide a modern transcription with the original. Set the piece in tempus imperfectum and major prolation. 5. Prepare comprehensive analyses of the caccia and madrigal that follow. Include all items listed for assignment 2 above and any others that may be required for the special features of these works. Provide modern transcriptions for both.

130

Caccia: Chosi Pensoso. Leo Schrade, ed., Polyphonic Music of the Fourteenth Century, Vol. IV, The Works of Francesco Landini, Editions L'Oiseau-Lyre, Monaco, 1958, p. 219.

131

Chosi Pensoso. Schrade, Polyphonic Music of the Fourteenth Century, Vol. IV, p. 219.

132

Chosi Pensoso. Schrade, Polyphonic Music of the Fourteenth Century, Vol. IV, p. 219.

133

Chosi Pensoso. Schrade, Polyphonic Music of the Fourteenth Century, Vol. IV, p. 219.

134

Madrigal: Somma felicita. Leo Schrade, ed., Polyphonic Music of the Fourteenth Century, Vol. IV, The Works of Francesco Landini, Editions L'Oiseau-Lyre, Monaco, 1958, p. 206.

135

Somma felicita. Schrade, Polyphonic Music of the Fourteenth Century, Vol. IV, p. 206.

136

6. Compose a madrigal in the style of Landini, using a text of your choosing. Set the piece in the Ars Nova notation and provide a modern transcription. The piece should be in three voices and should include at least one under-third-type cadence. 7. Compose a caccia in the style of Landini, using a text of your choice that provides an opportunity for musical imitation of extramusical events or effects. Set the piece in Ars Nova notation and provide a modern transcription. 8. Sing all voice parts of all examples in this chapter (those provided and those composed) using the syllables of the solmization system, the text, or a neutral syllable (e.g., la). With others, prepare the pieces for performance and discuss the performance style that the individual works and the period demand.

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ciupteR 10 / the late Fourteenth centimy 1. Compose a ballade in the style of Fuions de ci (Example 10.6 of the text). Use a text of your choice, setting it in three voice parts. Employ Ars Nova notation and submit with a modern transcription. 2. Prepare a variable-meter version of the ballade Fuions de ci (Example 10.6 of the text) in modern notation. Metrical changes should be made as deemed appropriate to the rhythmical demands of each line individually, but pitches should be aligned in score form to be read where they first sound in relationship to the other parts. 3. Compose a bergerette in the style of the late fourteenth century. Use a text of your choice, setting it in three voice parts. Employ Ars Nova notation and submit the composition with a modern transcription. 4. Prepare a comprehensive analysis of each of the following examples. Consider in your discussion the items listed below: a. Rhythmic conception and relationships between lines; b. Vertical relationships, including the apparent treatment of consonance and dissonance; c. Use of musica ficta; d. Cadential practices; e. Other features you consider to be of interest or special importance.

Tout par compas suy composes. Chantilly, Musee Condee 1047, fol. 12, Baude Cordier. Reprinted with permission from Gilbert Reaney, ed., Corpus Mensurabilis Musicae, Vol. I, American Institute of Musicology, Dallas, Texas, 1955, p. 11. Armen Carapetyan is director of the Institute, which is now located in Rome.

139

Tout par compas suy composes. Reaney, Corpus Mensurabilis Musicae, p. 11.

140

A I'aventure va Gauvain. Reprinted with permission from Johannes Cesaris. Gilbert Reaney, ed. Corpus Mensurabilis Musicae, Vol. II, American Institute of Musicology, Dallas, Texas, 1959, pp. 21-22. Armen Carapetyan is director of the Institute, which is now located in Rome.

141

A I'aventure va Gauvain. Reaney, CorpusMensurabilisMusicae, Vol. II, pp. 21-22.

5. Sing all lines of all examples in this chapter (both those provided and those composed). Use the text (preferably), syllables of the hexachord system, or a neutral syllable (e.g., la}. With others, sing all examples as complete pieces.

142

chaptec 11 / tRADSltlOn

1. Prepare an essay discussing in detail the evolution of notational practices from approximately 1000 to 1400. Cite or compose brief examples to support your discussion. 2. Prepare an essay discussing in detail the evolution of polyphonic concepts and techniques from the period of strict organum to theMesse de Nostre Dame. Cite or compose brief examples to support your discussion. 3. Discuss each of the following including in your discussion the nature, function, and importance of each in composition and in the analytical process. a. Motive b. Repetition c. Sequence d. Imitation e. Cross relation f. Musica ficta g. Ritornello h. Nota cambiata 4. With other members of the class, prepare a program of music selected from the preceding chapters. Include a sampling of forms, styles, and original student compositions. These pieces should be learned in polished form for public presentation. Discreet use of appropriate instruments (either replicas of early instruments or reasonable substitutes, e.g., guitar instead of lute) should be included.

143

144

chaptec 12 / eaRly fifteenth centuRy -

dufav

All assignments from this chapter to the end of the workbook should be done in modern notation only. They should be set in vocal score layout unless another format is specified. 1. Select a cantus firmus from the monophonic literature. Using modern notation, arrange a score for four voice parts with the cantus firmus in the tenor having a three-to-one ratio metrically to the other three voice parts. Compose one-third of an Agnus Dei movement of a Mass using the final closing text: Agnus Dei, qui tollis peccata mundi: donna nobis pacem. 2. Compose three short passages to the word Amen. At least one of these must be in four voice parts, with the balance in three. In the style of Dufay, as presented in the text, demonstrate in each of these examples the following cadential patterns (one for each example): a. A double under-third cadence; b. A combined V-I and under-third cadence; c. A double-leading-tone cadence. Each example should be about four measures long and should be a complete musical statement. Special attention should be paid to the vertical relationships approaching the cadence —especially to the use of typical dissonances in such positions.

145

3. Prepare comprehensive analyses of each of the following examples. Consider all the items listed in the summary to this chapter in the text and include all that are applicable to the examples provided. Your analyses may be shown on the examples themselves with clear and concise references (if abbreviations are used, a summary of these must be provided so that misunderstanding can be avoided). In addition, prepare a supplementary statement that presents a detailed consideration of all pertinent matters (outline form is acceptable). Four basic general areas must be in eluded:. a. Rhythm (including that of each line and the total effect of the interaction of several lines); b. Line (including consideration of the contour of each line, intervallic treatment, and the principal tones of focus —how do they gain that identification); c. Vertical relationships (including consideration of dissonance treatment and recurring patterns of vertical combinations —chord progressions); d. Contrapuntal practices (including discussion of contrapuntal devices such as imitation, isorhythm, canon, and hocket). Include in your discussion consideration of phrasing within individual lines and between lines; musically created form-defining features; and all items of importance to an understanding of the unique characteristics of each of the pieces studied.

Veni Sancte Spiritus. Reprinted with permission from Manfred F. Bukofzer, Musica Britannica, Vol. Vlll,Jobn Dunstable, Complete Works, American Musicological Society, Dallas, Texas, 1970, pp. 92-94.

146

VeniSancte Spiritus. Bukofzer, Musica Britannica, Vol. VIII, pp. 92-94.

147

VeniSancte Spiritus. Bukofzer, Musica Britannica, Vol. VIII, pp. 92-94.

148

Missa L'homme arme. Reprinted with permission from H. Besseler, ed., CorpusMensurabilis Musicae, Guglielmi Dufay, Opera Omnia, Vol. Ill, Missarum pars altera, American Institute of Musicology, Dallas, Texas, 1951, pp. 33-36. Armen Carapetyan is director of the Institute, which is now located in Rome.

149

Missa L'homme arme. Besseler, CorpusMensurabilisMusicae, Vol. Ill, pp. 33-36.

150

Missa L'homme arme. Besseler, CorpusMemurabilisMusicae, Vol. Ill, pp. 33-36.

151

Missa L'homme arme. Besseler, CorpusMensurabilisMusicae, Vol. Ill, pp. 33-36.

152

Missa L'homme arme. Besseler, CorpusMensurabilisMusicae,Vo\. Ill, pp. 33-36.

153

Jay grant desir de prendre adresse, Pour quoy vous puisse reveir. Adieu m'amour [et ma maistresse, Adieu mon souverain desirj

Souvengne vous belle deesse De moy qui suy vo sains faillir En volonte de revenir Pensant a vo belle jounessc. Adieu etc.

Adieu m'amour. Reprinted with permission from Wolfgang Rehm, Musikalische Denkmaler, Vol. II, Gilles Bincbois —Chanson, B. Schott's Sohne, Mainz, 1957, p. 3.

154

Veni' sancte Spiritus. Reprinted with permission from H. Besseler, ed., Corpus Mensurabilis Musicae, Guglielmi Dufay, Opera Omnia, Vol. V, Compositiones Liturgicae Minores, American Institute of Musicology, Dallas, Texas, 1951, pp. 18-20. Armen Carapetyan is director of the Institute, which is now located in Rome.

155

Veni sancte Spiritus. Besseler, Corpus Mensurabilis Musicae, Vol. V, pp. 18-20.

156

Veni sancte Spiritus. Besseler, Corpus Mensurabilis Musicae, Vol. V, pp. 18-20.

157

4. Sing each of the examples in the chapter (including those you compose). Use the text provided and syllables of the hexachord system. Sing each voice part of each piece and with others, prepare each composition for performance. In addition to gaining facility in reading the notes and rhythms, a conscious effort should continuously be made to perform this music stylistically and with good taste.

158

chaptec is /

middle and late fifteenth

centimy - johannes ockeghem

1. Compose one-third of a Kyrie section of a Mass in the style of Ockeghem (using only the Kyrie eleison text). The piece should be approximately twenty to thirty measures, in four voice parts, and may or may not use a cantus firmus. Include a moderate amount of syncopation and close with an octave-leap cadence. 2. Compose a three-voice canon to a text of your choice. At least two of the voices must be in canon at the interval of a fifth (the interval of the third voice is optional). The entries should be approximately two measures apart and should have distinctive opening melodic designs. The total piece should be approximately fifteen to twenty measures, and the canon should be broken (if necessary) at the end, to produce an effective Landinitype cadence. 3. Prepare a comprehensive, comparative stylistic analysis of the two Mass movements that follow. Your analysis may be done on the examples themselves (i.e., abbreviations must be clearly identified in a key that must accompany the analysis). Provide a statement that presents a detailed consideration of all pertinent matters (outline form is acceptable). Four general areas must be included: a. Rhythm: as it relates to each line; a comparison of the lines in the two works; and the rhythmic effect of the totality of lines; b. Line: the relative importance of individual lines, their contour and function in the forward motion of the piece, and similar or different attitudes toward line in the two works, c. Vertical relationships: the nature of the treatment of chords and dissonances, the presence or absence of recurring patterns of chords, chord positions (i.e., inversions), and comparison of the two works in regard to these matters; d. Contrapuntal practices: comparison of texture, use of contrapuntal techniques, and treatment of the text relative to the interplay of the lines. Include in your discussion a consideration of phrasing within individual lines and between lines; the factors that contribute to the sense of phrasing; the musical components that may contribute to a sense of form definition; and all other items that may be appropriate to the particular works under consideration or appropriate to the comparative processes.

159

Missa L'homme arme. Reprinted with permission from Dragan Plamenac, ed., Johannes Ockeghem, Collected Works, Vol. I, Second Ed., American Musicological Society, Dallas, Texas, 1959, pp. 99-100.

160

Missa L'homme arme. Plamenac, Johannes Ockeghem, Collected Works, Vol. I, pp. 99-100.

161

Missaje ne demande. Johannes Wolf, Werken van Jacob Obrecht, Vol. I, republished by Gregg International Publishers, Ltd., Farnborough Hants, England, 1968, pp. 1-4.

162

Missa Je ne demande. Wolf, Werken van Jacob Obrecht, Vol. I, pp. 1-4.

163

Missaje ne demande. Wolf, Werken van Jacob Obrecht, Vol. I, pp. 1-4.

164

Missaje ne demande. Wolf, Werken van Jacob Obrecht, Vol. I, pp. 1-4.

165

4. Analyze the composition that follows, paying particular attention to special compositional devices (e.g., repetitions, imitations, and sequences). Note how and where they are used, and try to determine if any significant aspect of the total design of the piece is associated with them. Prepare an analysis of the vertical relationships throughout the composition. Make special note of cadential treatment and the possible recurrence of any patterns of chords. In this analysis, consider the use of dissonances, their location and type, and the effect they have on the music when they occur. Consider also the use of altered tones, their location, number, and possible significance.

166

Beata es, Maria. Johannes Wolf, Werken van Jacob Obrecht, Vol. I, republished by Gregg International Publishers Ltd., Farnborough Hants, England, 1968, p. 69.

167

168

Beata es, Maria. Wolf, Werken van Jacob Obrecht, Vol. I, p. 69.

Beata es, Maria. Wolf, Werken van Jacob Obrecht, Vol. I, p. 69.

169

Beata es, Maria. Wolf, Werken van-Jacob Obrecht, Vol. I, p. 69.

170

Beata es, Maria. Wolf, Werken van Jacob Obrecbt, Vol. I, p. 69.

171

Beata es, Maria. Wolf, Werken van Jacob Obrecbt, Vol. I, p. 69.

172

5. Prepare a comprehensive analysis of the two movements of theMissa Prolationum that follow. Students should devote special attention to the ways in which canon and metrical proportions are used in this composition. All factors considered in earlier analyses should be included in this one also. Note how the treatment of cadences is related to their position in the respective canons and what, if any, freedoms are taken at these points. Compare the materials of the two Kyrie sections and the materials of the Kyrie movement with the Gloria movement. 6. Compose one-third of a Kyrie movement using proportional canon. The piece may be in three or four voice parts and should be short (about twelve measures). Attempt to closely imitate the style represented in the analysis for assignment 5 above.

173

Missa Prolationum. Kyrie. Reprinted with permission from Dragan Plamenac, ed., Johannes Ockeghem, Collected Works, Vol. II, Second Ed., American Musicological Society, Dallas, Texas, 1947, pp. 21-27.

174

Missa Prolationum. Kyrie. Plamenac, Johannes Ockeghem, Collected Works, Vol. II, pp. 21-27.

175

Missa Prolationum. Kyrie. Plamenac, Johannes Ockeghem, Collected Works, Vol. II, pp. 21-27.

176

Gloria in excelsis Deo. Perfectum subdiatessaron. Reprinted with permission from Dragan Plamenac, ed., Johannes Ockeghem, Collected Works, Vol. II, Second Ed., American Musicological Society, Dallas, Texas, 1947, pp. 21-27.

177

Gloria in excelsis Deo. Perfectum subdiatessaron. Plamenac, Johannes Ockegbem, Collected Works, Vol. II, pp. 21-27.

178

Gloria in excelsis Deo. Perfectum subdiatessaron. Plamenac, Johannes Ockeghem, Collected Works, Vol. II, pp. 21-27.

179

Gloria in excelsis Deo. Perfectum subdiatessaron. Plamenac, Johannes Ockeghem, Collected Works, Vol. II, pp. 21-27.

180

Gloria in excelsis Deo. Perfectum subdiatessaron. Plamenac, Johannes Ockeghem, Collected Works, Vol. II, pp. 21-27.

181

7. Sing each of the examples provided in this chapter, using the texts. Sing all voice parts individually and then, with others, prepare each piece for performance with one voice on each part. Strive to produce a musical and stylistic result.

182

ctupteR 14 / Ute fifteenth and eaaly

sixteenth centuries josquin des paes

1. Prepare a short essay that compares the compositional styles of at least two composers represented in the preceding two chapters with that of Josquin. Cite examples to support your contentions, or compose brief passages reflecting the techniques or attitudes revealed in your study of their compositions. Include in your discussion: a. Special compositional devices or unique treatment of compositional devices that characterize each; b. Consider their respective approaches to line, rhythm, form, vertical relationships, and cadences, c. Express your view of the differences and similarities of their works (limiting your discussion to those included herein) and the musical impact or effect they convey (possibly including remarks about how these works compare with recent music with which you are more familiar and the aesthetic compatibility or incompatibility with your own tastes). 2. Prepare a comprehensive analysis of the Sanctus movement of theMz'ssa Pange Lingua that follows. Since there is a large amount of two-part writing in this movement, primary attention should be paid to the detailed analysis of the relationship between the two voice parts, the use of dissonance, the concept of line in this type of setting as compared with four-voice passages or the three- and four-part writing that has been considered to this point, and to the clarity or obscurity of phrase divisions. In addition to the points listed above, all items normally included in a comprehensive analysis of this kind should be taken into consideration and included in this analysis. 3. Compose a Sanctus movement of a Mass in the style of Josquin. This assignment may be divided into four sub assignments according to the four distinct sections in the example provided. At least two substantial examples of paired imitation should be included in this composition.

183

Missa Pange Lingua. Sanctus. Reprinted with permission from Friedrich Blume, ed., Das Chorwerk,JosquindesPres,MissaPange Lingua, Nr. l,M6selerVerlag, Wolfenbiittel, 1938, pp. 20-24.

184

Missa Pange Lingua. Blume, Das Chorwerk, Josquin des Pres, Missa Pange Lingua, pp. 20-24.

185

Missa Pange Lingua. Blume, Das Chorwerk, Josquin des Pres. Missa Pange Lingua, pp. 20-24.

186

Missa Pange Lingua. Blume, Das Chorwerk, Josquin des Pres, Missa Pange Lingua, pp. 20-24.

187

Missa Pange Lingua. Blume, Das Cborwerk, Josquin des Pres, Aiissa Pange Lingua, pp. 20-24.

188

4. Analyze each of the Heinrich Isaac pieces that follow. Compare them with each other and then consider how they are stylistically similar to and different from those of Josquin that have been studied. In the Isaac works, pay particular attention to the variety of cadences that is used, the linear and the composite phrase structures, and the elements that unify the broad structure of the compositions. 5. Compose a short piece in the style of Isaac as represented by the two examples provided. The piece should be in three voice parts and should reveal the same techniques and attitudes that are apparent in the works serving as models. 6. Sing all voice parts of all examples provided in this chapter using either the text or a neutral syllable (e.g., la}. With others, prepare each of the works for performance with one voice on each part.

189

Greiner, zancker, schnopffitzer. Reprinted with permission from Johannes Wolf, Denkmdler der Tonkunst in Osterreich, Heinrich Isaac, Weltliche Werke, Akademische Druck, U. Verlagsanstalt, Graz, 1907, pp. 11-12.

190

Greiner, zemcker, schnôpffitzer. Wolf, Denkmâler der Tonkunst in Ôsterreich, Heinrich Isaac, Weltliche Werke, pp. 11-12.

191

Suesser vatter, hene Gott. Reprinted with permission from Johannes Wolf, Denkmaler der Tonkunst in Osterreich, Heinrich Isaac, Weltliche Werke, Akademische Druck, U. Verlagsanstalt, Graz, 1907, p. 23. 7

192

'

t>

chaptec 15 / sixteenth-centimy

seculaa foams

1. Prepare a brief (but complete) outline of the similarities and differences between the chanson and the madrigal of the sixteenth century. Also, identify in this outline other secular forms that are similar to either the chanson or the madrigal. Chanson

Madrigal

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2. Prepare a detailed analysis of Le chant des oyseaux of Janequin which follows. Consider all factors that have been a part of analyses done to this point (e.g., rhythm, line, contrapuntal devices, form, and efforts at text painting). Also, consider the concept of linear and composite phrasing as reflected in this work. Note the abundance of repeated notes and comment on their use and effectiveness.

Le chant des oyseaux: Resvueillez vous. Reprinted with permission from A. Tillman Merritt and F. Francois Lesure, Clement Janequin, Chansons Polyphoniques, Vol. II, Editions de L'OiseauLyre, Monaco, Les Remparts, 1965, pp. 184-196.

195

Le chant des oyseaux: Resvueillez vous. Merritt and Lesure, Clement Janequin, Chansons Polyphoniques, Vol. II, pp. 184-196.

196

Le chant des oyseaux: Resvueillez vous. Merritt and Lesure, Clement Janequin, Chansons Polyphoniques, Vol. II, pp. 184-196.

197

198

Le chant des oyseaux: Resvueillez vous. Merritt and Lesure, Clement Janequin, Chansons Polyphoniques, Vol. II, pp. 184-196.

Le chant des oyseaux: Recueillez vous. Merritt and Lesure, Clément Janequin, Chansons Polyphonique s, Vol. II, pp. 184-196.

199

200

Le chant des oyseaux: Resvueillez vous. Merritt and Lesure, Clement Janequin, Chansons Polyphoniques, Vol. II, pp. 184-196.

Le chant des oyseaux: Resvueillez vous. Merritt and Lesure, Clément Janequin, Chansons Polyphoniques, Vol. II, pp. 184-196.

201

202

Le chant des oyseaux: Resvueillez vous. Merritt and Lesure, Clement Janequin, Chansons Polyphoniques, Vol. II, pp. 184-196.

Le chant des oyseaux: Resvueillez vous. Merritt and Lesure, Clement Janequin, Chansons Polyphoniques, Vol. II, pp. 184-196.

203

204

Le chant des oyseaux: Resvueillez vous. Merritt and Lesure, Clement Janequin, Chansons Polyphoniques, Vol. II, pp. 184-196.

Le chant des oyseaux: Resvueillez vous. Merritt and Lesure, Clément Janequin, Chansons Polyphoniques, Vol. II, pp. 184-196.

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Le chant des oyseaux: Resvueillez vous. Merritt and Lesure, Clement Janequin, Chansons Polyphoniques, Vol. II, pp. 184-196.

Le chant des oyseaux-. Resvueillez vous. Merritt and Lesure, Clement Janequin, Chansons Polyphoniques, Vol. II, pp. 184-196.

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3. Prepare a comprehensive analysis of Le chant des oyseaux by Nicolas Gombert which follows. Consider all the same points considered for the preceding example, modifying your discussion only because of the three, compared with four, voices and any special differences that may require a different approach. 4. Prepare a detailed comparison of the two versions of Le chant des oyseaux that have been analyzed above.

Le chant des oyseaux. Anne Bank, ed.( Nicolas Gombert, Le chant des oyseaux. Amsterdam, The Netherlands, 1950.

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Bank, Nicolas Gombert, Le chant des oyseaux.

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Bank, Nicolas Gombert, Le chant des oyseaux.

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Bank, Nicolas Gombert, Le chant des oyseaux.

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Bank, Nicolas Gombert, Le chant des oyseaux.

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Bank, Nicolas Gombert, Le chant des oyseaux.

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Bank, Nicolas Gombert, Le chant des oyseaux.

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Bank, Nicolas Gombert, Le chant des oyseaux.

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5. Prepare a comprehensive analysis of Adrian Willaert's Quanta piu m'arde which follows. Include in your discussion all matters that were studied in the preceding two compositions. Note the presence of a fifth voice and indicate whether such an addition changes the effect of the work or the role of each of the voices in relation to each other (as compared with three- and four-voice compositions that have been studied to this point). Include a harmonic analysis and a discussion of the use of dissonance. Compare this piece with the two preceding works for style, form, emphasis on one technique over another, treatment of text, and any other points that will contribute to an understanding of the similarities and differences existing between the works.

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Quanta piu m'arde. Reprinted with permission from Friedrich Chrysander and Phillip Spitta, Viertel-Jahrschrift fur Musikwissenscbaft, Adrian Willaert, Brietkopf and Hartel, Wiesbaden, 1966, pp. 455-460.

Quanta piu m'arde. Chrysander and Spitta, Viertel-Jahrscbrift fur Musikwissenschaft, Willaert, pp. 455-460.

Adrian

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Quanta piu m'arde. Chrysander and Spitta, Viertel-Jahrschrift fur Musikwissenschaft, Willaert, pp. 455-460.

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Adrian

Quanta piu m'arde. Chrysander and Spitta, Viertel-Jahrschrift fur Musikwissenschaft, Willaert, pp. 455-460.

Adrian

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Quanta piu m'arde. Chrysander and Spitta, Viertel-Jahrschrift fur Musikwissenschaft, Adrian Willaert, pp. 455-460.

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Quanta piu m 'arde. Chrysander and Spitta, Viertel-Jahrschrift fur Musikwissenschaft, Adrian Willaert, pp. 455-460.

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6. Prepare a detailed harmonic analysis of Qu'est devenu ce bel oeil by Claude Le Jeune which follows. Using D as your reference chord, identify all triads used. Note the chord quality (i.e., major, minor, augmented, or diminished) and the inversion (i.e., which member of the chord is the lowest sounding part —root, third or fifth). Note the use of altered tones and comment on them comparing them with other compositions studied to this point. 7. Compose a short composition in the style of one of the composers discussed earlier in this chapter. Identify the style you are trying to simulate and note the salient feature that you have incorporated in your piece. Use three or four voices. 8. Sing the voice parts of all compositions in this chapter. Use the text provided or a neutral syllable (e.g., la}. With others, prepare each of these pieces for performance with one voice to a part.

Qu'est devenu ce bel ceil. Reprinted with permission from D. P. Walker, Claude le Jeune, Airs, Vol. II, American Institute of Musicology, Dallas, Texas, 1959, pp. 66-67. Armen Carapetyan is director of the Institute, which is now located in Rome.

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(ii)

Qu'est devenu cette joue et d'amour [et de honte le pourpris, Sur qui 1'Amour etaloit cent mile rozes et lis? Qu'est devenu le fin or de ce poll prime [frize reluizant, Dont mile Amours, mile rets sans fin.aloyent [faconnant? (iii) Qu'est devenu cette main que 1'epouze [de Titon avouroit, Main, qui plu-blanche que lait, les nege' [mesrne efacoit? O maleur injurieux qui cachant ce trezor [sou-le tombeau, Fais que le monde n'a plus rien de mignard [ni de beau

Qu'est devenu ce bel ceil. Walker, Claude Le Jeune, Airs, Vol. II, pp. 66-67.

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chAptec i6 / palestRinA: paat one

1. Study the cantiones that follow and compare the two-voice style of Orlando di Lasso with the principles of Palestrina's two-voice writing. Note similarities and differences, study the linear design, and consider the treatment of rhythm and of dissonances. 2. Compose a two-voice piece about the length of one of the cantiones. Stay strictly within the compositional practices of Palestrina, but use a text of your choice (one of the Lasso texts would be perfectly acceptable). The piece should be composed for two male voices and should include a moderate amount of imitative writing.

Cantiones. Sancti mei. Reprinted with permission of Kalmus Music Publishing Co., Opa-locka, Florida, and Belwin-Mills Publishing Corp., New York, New York.

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Cantiones. Sancti mei.

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Qui vult venire post me. Reprinted with permission of Kalmus Music Publishing Co., Opa-locka, Florida, and Belwin-Mills Publishing Corp., New York, New York.

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Qui vult venire post me.

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Serve bone. Reprinted with permission of Kalmus Music Publishing Co., Opa-locka, Florida, and Belwin-Mills Publishing Corp., New York, New York.

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Serve bone.

Fulgebunt justi. Reprinted with permission of Kalmus Music Publishing Co., Opa-locka, Florida, and Belwin-Mills Publishing Corp., New York, New York.

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Fulgebunt justi.

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3. Analyze each of the lines in the Palestrina madrigal that follows. Study them carefully from the point of view of rhythm, contour, activity, and inactivity as related to each other, linear phrasing, the degree of adherence to the guidelines for this style provided in the text (note the nature of any departures that occur), the relationship of the text to the line, the use of musica ficta as a linear device, and the role of each of the lines at the approaches to cadences. 4. Using a text of your choice (e.g., the example provided for study for assignment 3 above), compose a two-voice madrigal that includes the stylistic traits revealed in the analysis for assignment 3.

Madrigal: lo sento qui d'intorno. Reprinted with permission from Lino Bianchi, Le Opere Complete, di Giovanni Pierluigi da Palestrina, Vol. XXXI, Edizione Fratelli Scalera, Rome, 1968, pp. 62-64.

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lo sento qui d'intorno. Bianchi, Le Opere Complete, di Giovanni Pierluigi da Palestrina, Vol. XXXI, pp. 62-64.

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lo sento qui d'intorno. Bianchi, Le Opere Complete, di Giovanni Pierluigi da Palestrina, Vol. XXXI, pp. 62-64.

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lo sento qui d'intorno. Bianchi, Le Opere Complete, di Giovanni Pierluigi da Palestrina, Vol. XXXI, pp. 62-64.

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5. Sing all lines of all examples in this chapter using the text provided. With others, prepare each of these works for performance. Also, prepare all student compositions for performance in the same manner. Compare, in group discussion, the relative strengths and weaknesses of the student works and the degree of success achieved in simulating the style of Palestrina.

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chaptec 17 / pAl6StBinA: pABt tWO

1. Analyze the motet Veni sponsa Christi which follows. Discuss in detail the form, treatment of lines, rhythm, dissonances, vertical relations, phrasing (both linear and composite), and text, comparing the actual compositional practices with the guidelines provided in the text. Make special note of any departures from expected practice and consider what factors may have had some bearing on the composer's decisions. 2. Compose a motet in the style of Veni sponsa Christi. Use a text of your choice (possibly that of the example). The piece need not be as long as the example, but it should contain the principal characteristics of that composition. The composition should be in four voice parts.

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Motet: VeniSponsa Christi. Reprinted with permission from Raffaele Casimiri, Le Opere Complete, di Giovanni Pierluigi da Palestrina, Vol. Ill, Edizione Fratelli Scalera, Rome, pp. 132-135.

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Veni Sponsa Christi. Casimiri, Le Opere Complete, di Giovanni Pierluigi da Palestrina, pp. 132135.

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VeniSponsa Christi. Casimiri, Le Opere Complete, di Giovanni Pierluigi da Palestrina, pp. 132135.

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VeniSponsa Christi. Casimiri, Le Opere Complete, di Giovanni Pierluigi da Palestrina, pp. 132-. 135.

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3. Prepare a comprehensive analysis of the Kyrie movement of theMissa: Veni Sponsa Christi in the same manner as in assignment 1 above. 4. Prepare a comprehensive statement comparing theMissa: Veni Sponsa Christi and its source, the madrigal of the same name. How literal was Palestrina in deriving his material from his earlier work? Where do departures from the source occur? What happens at these points? What reasons might be offered for the changes that were made in the later use of the material (i.e., in the Mass as compared with the madrigal)? 5. Compose a Kyrie movement in the same manner as that provided from iheMissa: Veni Sponsa Christi. Use either an early composition of your own as a source (submit a copy of it with the Kyrie version) or an example from earlier in this collection (excluding the madrigal Veni Sponsa Christi}. The Kyrie you compose should be clearly and firmly in the style of Palestrina's Mass movement in the example provided. Adjustments that may be necessary in the material from your source should be made to accommodate this style. The composition should be in four voice parts.

Missa: Veni Sponsa Christi. Reprinted with permission from Lino Bianchi, Le Opere Complete, di Giovanni Pierluigi da Palestrina, Vol. XXV, Edizione Fratelli Scalera, Rome, 1958, pp. 30-32.

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Veni Sponsa Christi. Bianchi, Le Opere Complete, di Giovanni Pierluigi da Palestrina, Vol. XXV, pp. 30-32.

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Veni Sponsa Christi. Bianchi, Le Opere Complete, di Giovanni Pierluigi da Palestrina, Vol. XXV, pp. 30-32.

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Veni Sponsa Christi. Bianchi, Le Opere Complete, di Giovanni Pierluigi da Palestrina, Vol. XXV, pp. 30-32.

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6. Sing all lines of all examples in this chapter using the text provided. With others, prepare each of the works for performance. Also, prepare all student compositions for performance in the same manner. Compare, in group discussion, the relative strengths and weaknesses of the student works and the degree of success achieved in simulating the style of Palestrina.

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chaptec is / sumnuRy, conclusions, and new directions

1. Prepare an essay comparing the problems faced by composers during the musical evolution of the Middle Ages with those faced during the musical evolution of the Renaissance. In your discussion, take into consideration the fact that certain problems were peculiar to the first period and others to the second. Include in your discussion each of the following specific areas of interest as well as other general areas that you consider important in understanding these two historical periods. a. b. c. d.

Notation; All matters related to line (e.g., range, contour, phrasing); Rhythm (of individual lines and of the composite effect of multiple lines); Vertical relationships and dissonance treatment (types of dissonances, where used, and the degree to which each was used in the several styles studied); e. Musical form—its early dependence on text; its later evolution as an independent entity; and the elements that contribute to its recognition and definition; f. Text treatment.

2. Prepare a short but comprehensive essay on the evolution of the cadence throughout the Middle Ages and the Renaissance. Include in your discussion consideration of monophonic and polyphonic cadences in various numbers of voice parts and relate the evolutionary process to a projection of what you believe the historical period that follows those studied would produce as a possible result of the cadential evolution. 3. Select a composer from those studied and prepare an in-depth study of his life, artistic output, and detailed analyses of at least two different types of compositions (e.g., sacred and secular, or two different sacred or two different secular forms). This report should be fully documented using both footnotes and bibliography in the manner used in this text. 4. Study all the compositions (or excerpts) that follow, paying special attention to the harmonic content. Write the chord names and inversions beneath each chord, and note any dissonances that may relate to chordal interpretation above the note of the dissonance. Note any recurring patterns of chords, and identify all cadences by harmonic content or other nomenclature that may be appropriate.

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Canzon francese del Principe. Reprinted with permission from Glenn E. Watkins, Gesualdo Venosa, Instrumentalwerke, Psalmen, Canzonetten, Vol. X, Ugrino Verlag, Hamburg, 1967, pp. 16-20.

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Canzon francese del Principe. Watkins, Gesualdo di Venosa, Instrumentalwerke, Vol. X, pp. 16-20.

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Canzon francese del Principe. Watkins, Gesualdo di Venosa, Instrumentalwerke, Vol. X, pp. 16-20.

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Canzon francese del Principe. Watkins, Gesualdo di Venosa, Instrumentalwerke, Vol. X, pp. 16-20.

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Canzon francese del Principe. Watkins, Gesualdo di Venosa, Instrumentalwerke, Vol. X, pp. 16-20.

Versus from Feria Quinta, Resp. 2. Reprinted with permission from Glenn E. Watkins, Gesualdo di Venosa, Responsoria, Ugrino Verlag, Hamburg, 1959, p. 16.

5. Prepare a recital for public presentation devoting half of the program to examples selected from those provided in this workbook and the other half to student compositions prepared for assignments provided herein. Every effort should be made to provide a balanced and artistically effective event. Performances should be as polished and stylistically accurate as possible. Appropriate available instruments (e.g., lutes, hand drums, recorders) should be used with discretion and good taste.

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sources

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sources Manuscripts Bamberg, Staatsbibliothek, Ed, IV 6. Chantilly, Musée Condée 1047. Facsimil del côdice j.b. 2 de el Escorial. London, British Muséum, Harley 978. Montpellier, Faculty des Médecins, H. 196. Paris, Bibliothèque Nationale, Collection de Picardie 67. Paris, Bibliothèque Nationale, fr. 146, Roman de Fauvel. Paris, Bibliothèque Nationale, fr. 846. Paris, Bibliothèque Nationale, fr. 1584. Paris, Bibliothèque Nationale, fr. 1586. Paris, Bibliothèque Nationale, fr. 25566. Paris, Bibliothèque Nationale, nouv. acq. fr. 4917. Wolfenbùttel, Herzog August Bibliothek, 1206. Collections Bank, Annie, éd. Nicolas Gombert, Le chant des oyseaux. Amsterdam, The Netherlands, 1950(?). Besseler, Heinricus. Corpus Mensurabilis Musicae, Guglielmi Dufay, Opéra Omnia, vol. III, Missarum pars altéra. Dallas, Texas: American Institute of Musicology, 1951. Besseler, Heinricus. Corpus Mensurabilis Musicae, Guglielmi Dufay, Opéra Omnia, vol. V, Compositiones Liturgicae Minores. Dallas, Texas: American Institute of Musicology, 1951. Bianchi, Lino. Le opéra complète, di Giovanni Pierluigi da Palestrina, vols. XXV and XXXI. Rome: Edizione Fratelli Scalera, 1939Blume, Friedrich. Das Chorwerk, Josquin des Près, Missa Pange Lingua. Wolfenbiittel: Môseler Verlag, 1938. Bukofzer, Manfred F., éd. Musica Britannica, vol. VIII, John Dunstable, Complète Works. Dallas, Texas: American Musicological Society, 1970. Casimiri, Raffaele. Le opéra complète, di Giovanni Pierluigi da Palestrina, vol. III. Rome: Edizione Fratelli Scalera, 1939 Chrysander, Friedrich, and Spitta, Phillip. Vierteljahrsschrift fur Musikwissenschaft. Wiesbaden: Brietkopf und Hàrtel, 1966. Gùnther, Ursula. Corpus Mensurabilis Musicae, thé Motets of thé Manuscripts: Chantilly, musée conde 564

(olim 1047) and Modena, Biblioteca estense, M.5.24 (olim lat. 568). Dallas, Texas: American Institute of Musicology, 1965. Liber Usualis, edited by thé Bénédictines of Solesmes. New York: Desclee Co., 1963. Ludwig, F., and H. Besseler, eds. Guillaume de Machaut Musikalische Werke, vols. I and III. Wiesbaden: Brietkopf and Hàrtel, 1954. Merritt, A. Tillman, and Lesure, François. Clément Janequin. Chanson Polyphoniques, vol. II. Monaco: Editions de L'Oiseau-Lyre, 1965. Plamenac, Dragan, éd. Johannes Ockeghem, Collected Works, vols. I and II. Dallas, Texas: American Musicological Society, 1949. Reaney, Gilbert, éd. Corpus Mensurabilis Musicae, Early Fifteenth Century Music, vol. II. Dallas, Texas: American Institute of Musicology, 1959. Rehm, Wolfgang. Musikalische Denkmàler, vol. II, Gilles Binchois—Chansons. Mainz: B. Schott's Sôhne, 1957. Schrade, Léo. Polyphonie Music of thé Fourteenth Century, vol. IV, The Works of Francisco Landini. Monaco: Editions de L'Oiseau-Lyre, 1956. Walker, D. P. Claude Le Jeune, Airs, vol. II. Rome: American Institute of Musicology, 1959. Watkins, Glenn E. Gesualdo di Venosa, Instrumentalwerke, Psalmen, Canzonetten, vol. X. Hamburg: Ugrino Verlag, 1967. Watkins, Glenn E. Gesualdo di Venosa, Responsoria. Hamburg: Ugrino Verlag, 1959. Woledge, Brian. The Penguin Book of French Verse, to thé Fifteenth Century, vol. I. Middlesex, England: Penguin Books, 1968. Wolf, Johannes, Denkmàler der Tonkunst in Osterreich, Jahrg. XIV71, vol. 28, Heinrich Isaac, Weltliche Werke. Graz: Akademische Druck, U. Verlagsanstalt, 1907. Wolf, Johannes. Werken van Jacob Obrecht, vol. I. Republished by Gregg International Publishers, Ltd., Farnborough Hants, England, 1968. Zenck, Hermann, and Gerstenberg, Walter, eds. Corpus Mensurablis Musicae, Adrian Willaert, Opéra Omnia. Dallas, Texas: American Institute of Musicology, 1966.

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