"Flats, Modality, and Musica Ficta in Some Early Renaissance Chansons"

7/28/2019 "Flats, Modality, and Musica Ficta in Some Early Renaissance Chansons"

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Yale University Department of Music

Flats, Modality, and Musica Ficta in Some Early Renaissance ChansonsAuthor(s): Edward L. KottickSource: Journal of Music Theory, Vol. 12, No. 2 (Winter, 1968), pp. 264-280Published by: Duke University Press on behalf of the Yale University Department of MusicStable URL: http://www.jstor.org/stable/843313 .

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2 6 4F l a t s , Modality,

a n d Musica F i c t a

i n S o m e

The modality of a cadence in polyphonic modal music is com-monly assigned by identifying both the lowest-sounding finaltone, and the scalic arrangement of the notes leading to it. Ifthe final tone is D, and if the notes preceding it derive from aDorian scale configuration, we perceive the complex as a ca-dence to D-Dorian, or, in the context of this article, as an"untransposed" cadence (Example 1). A cadence to G-Dorian-one whose lowest-sounding final tone is G, and whose scalic

A shorter version of this paper was read at the Fall meeting ofthe Midwest Chapter of the American Musicological Society,Chicago, Illinois, November, 1965.

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2 6 5

E a r l y Renaissance

Chansons

EDWARD L. KOTTICKconfiguration is from G to G with the B-flat - may be consid-ered as a Dorian cadence "transposed" by one flat (Example 2).Similarly, a C-Dorian cadence is one "transposed"by two flats(Example 3). *1In the Early Renaissance chanson this transposition of the modemay be effected in one or more of three ways: first, by flatsignatures at the clef - what we would call a "key signature" ifwe were dealing with functionally tonal music; second, by thepresence of internal flats - that is, flats that appear in placesother than at the clef; and third, the transposition may be causedby the addition of unwritten but implied flats, or musica ficta.However, examination of the chanson repertoire shows that flat



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2 6 6 ( 5signatures at the clef and internal accidentals (and by inference,musica ficta) can vary in the same piece as it appears in con-cordant sources. On occasionthese differences may be of suchmagnitude that a given piece appears in different modal frame-works in different manuscripts.The problem can be stated simply: are the flats used to trans-pose the mode, or is the transposition of the mode a by-productof some other phenomenon? Other questions come to mind.Does the horizontal element still take precedence over the ver-tical in early Renaissance style? Should transposed modes,along with partial signatures *2, signatures that change fromline to line, and signatures that vary from source to source,be regarded in the light of melodic rather than harmonic con-siderations? In answering these questions we will see howmodal transpositions of a given piece may indeed occur as aresult of variant flat signatures, and I will offer a pragmaticexplanation of this phenomenon. *3Renaissance theorists, as well as contemporary musicologists,have been interested in the relationships between flats, mod-ality, and musica ficta. Their rules, principles, procedures,and explanations generally are helpful, for most often the prob-lems and the solutions are obvious. However, while workingon an edition of the Chansonnier Cordiforme (sigla Par 2973)*4, I discovered many specific questions of musica ficta, andinstances of partial signatures and changing modalities that arenot explained by these theorists. Thus I found myself agreeingwith Van den Borren, who said over thirty-five years ago:"When one finds himself confronted by numerous practical cases,those subtle interpretations of passages from theorists likeAdam of Fulda, or Glareanus, help but little in the applicationof the implied accidentals. "*5Logically, this was the time to examine the internal evidence,to see what the chanson repertoire itself could reveal aboutflats, modality, and musica ficta. Using Par 2973 as my basemanuscript, I tabulated the presence of flat signatures at theclef, and internal accidentals, in 30 songs from Par 2973, andin the same songs as they appeared in other manuscripts. Someof the results of this tabulation are summarized in Appendix B.Sixteen chansons are listed with flat signatures at the clef andconcordances for each of the signatures. *6 The signatures arerepresented as follows: a dash means that that voice has noflat signature at the clef; one flat signifies a signature of bb;two flats, bb and eb. Thus "O pelegrina, o luce" appears inPar 2973 with no signature in the superius, bb in the tenor, and



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2 6 7EXAMPLE

1 Vray dieu d'amours (Anon.):cadence to D-Dorian

1 W][:

2 O pelegrina, o luce (Anon.): cadence to G-Dorian00I -

" j J7

3Dona gentile he belle como l'oro (Dufay):cadence to C-Dorian

fill,VVIn,

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2 6 8EXAMPLE

4Par.2973: Gentil modono de nonme hobondonore3v-5 .J [Sedinghom~

_ _ 'I I

njen-tiiado - re.

o Fre-c " saem-ma . ) o ma -gaI IJI M I

O pre-ci - sa e non meaban-Oor de mar - g

A5

,,, . ,,. - " ,,1=. ,

.! , , .don



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2 0 9

20

A I- I, lu si!? - ,tIIu - oLI-" *

25

te - ne a mi -- - - ta

In tu a guar - di a de no my

__30 _far mo-ri . re.A . - "-, '- "'- ---I II/:

rF="-" 1 ;;-]

boomr, . . - "

Accidentals above the staves are from Par 362Accidentals in the signature or before the notes are from Par 2973Accidentals in parenthesis are editorial



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2 7 0bb in the contratenor; but in Pay 362 the signature of the tenoris bb and eb.Appendix B shows clearly that signatures can vary from sourceto source, and that partial signatures do not always occur inwhat we consider "normal"'patterns. Although we might expectsome manuscripts consistently to have more, and some to havefewer flats in their signatures, this does not appear to be thecase. Further, the time and place of compilation seems tohave little bearing on a manuscript's supply of flats at the clefand internal flats. In a given manuscript we might expect achanson with a fuller signature to have fewer internal flats,while in a source with a lesser signature we would hope tofind more internal flats. Sometimes this is so, but often itis not. For example, "Je ne veis onques la pareille" appearsin Par 2973 with a signature of -, 6, b, and contains 13 internalflats; in Tr 90 it has a signature of -, b, -, and 7 internal flats,while in Flo 2356 the signature is b, -, -, and there is but oneinternal flat. The situation is further complicated by "floating"signatures, or signatures that change from line to line. In Par2973 Busnois' "Est il mercy de quoy" begins with a signatureof -, b, -, but a flat at the clef is added to the second line of thesuperius. The signature, now 6, b, -, remains the same throughthe third line; however, in the fourth line it becomes -, -, ,and remains so to the end of the piece.When a chanson appears in different sources with varying sig-natures, when the number of internal flats differ, and when"floating" signatures might be present, one of two things canhappen to the modal structure of the version less liberally sup-plied with flats. Either the internal flats, the requirements ofmusica ficta, or both, can produce a reading in which the es-sential bb's, or bb's and eb's, are inflected in accordance witha source that has a fuller signature; or, the modal structurecan be changed from a transposed to a non-transposed mode,or from a mode transposed by two flats to one transposed byone flat.Bedingham's "Gentil madona de non me habandonare" illustratesthe first possibility. In Pa 2973 and in three other manu-scripts its signature is -, 6b,f, but in Pay 362 it is -, -, - (SeeAppendix B). No internal flats are involved. Together, thetenor and contratenor contain 17 "6's*. The location and prob-able alteration of the "b's" in the Pay 362 version appear abovethe staves in the transcription (Example 4), which is from Par2973. A glance at the transcription will show that the modalscale at the final cadence, F-Ionian, remains the same in both



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2 7 1versions, and that most of the essential "b's" flatted by thesignature of -, 6, , are flatted by musica ficta in Pav 362.Furthermore, if the Lydian and Ionian modal scales representtwo versions of a pattern, it is of little consequence which onetechnically is functioning at the moment. Performance of thetwo versions will indicate that either reading is musically valid.*7Dufay's "Le serviteur hault guerdonnd" provides an exampleof the second possibility, a change in modal structure. Fivesources have a signature at the clef of 66, 66, bb (See AppendixB). Thus, the transcription from Par 2973 (Example 5) repre-sents the normal modal version of this chanson. Wol 287 andPer 431 both have the signature of 6, 6, 6, but in the latter itbecomes 6, -, 6 after the second line of the tenor. The proba-ble inflections of the "e's" in Wol 287's version of Le serviteurappear above the staves in the transcription. In the five manu-scripts containing signatures of 66, b , bb the final cadence ofthis chanson is to C-Dorian, or a Dorian pattern transposed bytwo flats. The final cadence of Le serviteur in Wol 287 wouldbe to C-Mixolydian, or a Mixolydian pattern transposed by oneflat. Up to measure 23, the Per 431 version is essentially thesame as the Wol 287. Even though the tenor loses its flat afterthe second line, all "b's" after the second line are flatted bythe requirements of musica ficta. Wol 287's internal flats inmeasures 24, 25, and 26 might have signified that all "e's"from this point on required flatting; if this were so, then theWol 287 version of Le serviteur also would have ended in C-Dorian. But there is no such indication in Per 431. The in-ternal flats are lacking and a performance of the chanson fromthis manuscript would end in C-Mixolydian. Either versionseems musically satisfying and stylistically acceptable.The problem of flats, modality, and musica ficta in the earlyRenaissance chanson can be explained if we agree that melodicrequirements did indeed take precedence over harmonic con-siderations. The composer used flats so that his melodies,which he wrote in a desirable range, might be sung smoothlyand correctly, avoiding awkward intervals and melodic patterns,and fitting well with the other voices of the piece. He wasaware, no doubt, that the introduction of flats might result ina transposed mode, but he was less concerned about it thanthetheorist who might later examine his piece. Furthermore,some melodies sounded just as smooth with fewer flats as theydid with more, which is another way of saying that they maysound as well in one modal framework as another. Hence par-tial signatures, varying signatures, varying internal flats, and



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2 7 2

EXAMPLE5

Par.2973 : Le serviteur hault guerdonne33v-34 *=J [_LDufoy]

I.e ser -vi-teur hault guer -do -. .

le'. As- biY et bien _ for - - Iu

. /

.._- -10

- ce (de Fran - ce) Me

[- -.----------

AL 15"



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2 7 3

20

I rpll - -, r a pour -

.... "-i I , I

25

voian - - pour- voiari - - - ce]

D ung tout se_ mt

F F

031

D'ungbienordon -'-- -

or - don ne.

. . - 'I-VI 1

Accidentals above the staves are from Wol 287Accidentals in the signature or before the notes are from Par 2973Accidentals in parenthesis are editorial



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2 7 4floating signatures, along with the art of musica ficta, oftenreflect the freedom of choice the composer yielded to the scribeand the performer.This explanation seems even more reasonable when other facetsof the repertoire are taken into account. We have been dis-cussing aspects of a musical practice in which a three-partchanson might be performed as a duo by omitting a voice, orin four parts by adding a newly composed part, in which sub-stituting one's own contratenor part for the composer's wasacceptable practice. Chansons were written for amateurs whoperformed them with any combination of voices or instrumentsthat happened to be available. Rhythmic and melodic elementscould vary in the same piece from manuscript to manuscript.The decoration of a cadence often was decided by the scribe,who also had his own ideas about which notes should be liga-tured and which should not. The accurate setting of a text, oreven, as in some cases, the existence of a text, seemed to bea matter of little concern, and literary readings varied evenmore than musical readings. Chansonniers were compiled notfor performance, but to grace the fifteenth-century equivalentof the living-room coffee table. All these elements of the earlyRenaissance chanson repertoire were subject to such variationas a matter of course. It was no different with flats, modality,and musica ficta.



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REFEREN C ES

1 In his article, "The Function of Conflicting Signatures in Early Polyphonic Music "The Musical Quarterly, XXXI (1945), pp. 227-260, Edward Lowinsky uses theterms "once transposed" and "twice transposed" to describe these occurrences.2 Partial signatures have been the subject of some heated debate in musicologicalcircles. Willi Apel, in his Accidentien und TonalitSt in den Musikdenkmalerndes 15. und 16. Jahrhunderts (Berlin, 1936), his "The Partial Signatures in theSources up to 1450", Acta Musicologica X (1938), pp. 1-13, and XI (1939), pp.40-42, and his Notation of Polyphonic Music (Cambridge, Mass., 1953), con-cluded that partial signatures reflected different "tonal realms" within the modalframework. Edward Lowinsky took exception to Apel's views and stated in "TheFunction of Conflicting Signatures in Early Polyphonic Music", The MusicalQuarterly, XXXI(1945), pp. 227-260, that partial signatures resulted from cer-tain cadential formulae that appeared in the music. Richard Hoppin disagreedwith bothApel and Lowinsky in his "Partial Signatures and Musica Ficta in SomeEarly 15th-Century Sources", Journal of the American Musicological Society,VI(1953), pp. 197-215, and theorized that partial signatures indicated the simul-taneous use of two modes, or of one mode in its transposed and untransposedforms. Professor Lowinsky published a rebuttal to Hoppin, "Conflicting Viewson Conflicting Signatures", Journal of the American Musicological Society, VII(1954), pp. 181-204; Professor Hoppin returned with a counter-rebuttal, "Con-flicting Signatures Reviewed", Journal of the American Musicological Society,IX (1956), pp. 97-117.3 In his article, "Tone System in the Secular Works of Guillaume Dufay", Journalof the American Musicological Society, XVIII (1965), pp. 131-169, Leo Treitlerdiscusses differences in signatures of Dufay works as they appear in variousmanuscripts. Near the end of his paper (p. 166), Treitler poses three unan-swered questions about these variant signatures: (1) can they be attributed toscribal errors, or (2) were they reflected in differences in performance, or (3)do they cast doubts on the theory that tonalities in this music are reflected bysignatures?4 This manuscript was the subject of my doctoral dissertation entitled, "The Mu-sic of the Chansonnier Cordiforme: Paris, Bibliotheque Nationale, Rothschild2973", 2 vols. (University of North Carolina, Chapel Hill, 1962). The textsedited by Robert White Linker.5 Charles Van den Borren (ed.). Polyphonia Sacra: a Continental Miscellany ofthe Fifteenth Century (London, 1932), ii.6 For complete concordances of these chansons see E. Kottick, "The ChansonnierCordiforme', Journal of the American Musicological Society, XX (1967), pp. 9-27. It should be mentioned that my figures show that almost half the chansonsof the repertoire have no flat signature at the clef. About 250% ave signaturesof bb or all the parts, or bband e6 for all the parts. Hence, partial signaturesand floating signatures occur in approximately one-quarter of the chansons inthis repertoire.

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7 No doubt the reader will wish to replace my musica ficta with his own, but thisshould cause no damage to the general thesis. My guidelines for the applicationof musica ficta are derived mostly from the evidence of internal accidentals andare as follows:

MELODIC PRINCIPLES(1) A flat is used to perfect the melodic interval of a fourth or fifth, andthe same intervals occurring in a strong rhythmic relationship with in-tervening notes.(2) A flat is used to avoid chromaticism. For example, if the note "b" isflatted for one of the reasons given here, then a "b" occurring one ortwo notes later in the same voice most likely also should be flatted.(3) An internal accidental before a note usually applies to the subsequentnotes of that pitch until the end of the phrase is reached.(4) A flat is used to preserve like intervals in imitative passages at theunison or octave.(5) A flat may be applied without specific melodic or harmonic justificationto a structurally important note that is part of a phrase which is a repe-tition or variation of a previous phrase that contained the accidental.(6) A "b" between two "a's" or an "e" between two "d's."should be flatted ifthis melodic fragment occurs prominently in other parts of the song inthe flatted form. The same principle applies to melodic fragments in-cluding "d's", "a's", and "b's".(7) A "b" or an "e" is flatted if its immediately preceding upper or loweroctave has been flatted by either the signature at the clef, an interval

accidental, or by the application of one of these principles.HARMONIC PRINCIPLES

(8) A flat is used to perfect the harmonic interval of an octave.(9) A flat is used to perfect the harmonic interval of a fifth when the inter-val is in a structurally significant position.

(10) A flat is used to prevent a cross-relationship between two notes of thesame pitch in different voices when they occur in two adjacent or nearlyadjacent chords of the same harmonic content, provided that the cross-relationship cannot be justified as a necessary consequence of the voiceleading.



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APPENDIX A: SOURCES AND SIGLA

Bol Q16 Bologna, Museo Civico Bibliografico Musicale (olim Liceo Musicale),Cod. Q16.Cop 2918 Copenhagen, Kongelige Bibliotek, MS Thott 2918 (Chansonnier Copen-hagen).Dij 517 Dijon, Bibliothbque de la Ville, MS 517.Esc IV, a. 24 Escorial, Biblioteca del Monasterio, MS IV, a. 24.Flo 27 Florence, Biblioteca Nazionale Centrale, MS Panciatichi 27.Flo XIX, 59 Florence, B.N.C., MS Magl. XIX, 59 (B. R. 229).Flo XIX, 121 Florence, B. N.C., MS Magl. XIX, 121.Flo XIX, 176 Florence, B.N.C., MS Magl. XIX, 176.Flo XIX, 178 Florence, B.N.C., MS Magl. XIX, 178.Flo 2356 Florence, Biblioteca Riccardiana, MS 2356.Flo 2794 Florence, Biblioteca Riccardiana, MS 2794.Lon 31922 London, British Museum, Additional MS 31922.Mun 351a Munich, Bayerische Staatsbibliothek, Cim. 351a (Mus. MS 3232)(Schedelsche Liederbuch).NH Mel New Haven, Conn., Yale University Library, Mellon Chansonnier.Odh Harmonice musices odhecaton A (Venice: Ottaviano dei Petrucci,1501).Par 15123 Paris, B.N., fonds fr. 15123 (-hansonnier Pixerecourt).Par 676 Paris, B.N., Rdserve Vm7676.Par 2973 Paris, B.N., Rothschild 2973 (Chansonnier Cordiforme).Pay 362 Pavia, Biblioteca Universitaria, Cod. Aldini 362.Per 431 Perugia, Biblioteca Comunale, Cod. 431 (G. 20).Rom XIII, 27 Rome, Citta del Vaticano, Biblioteca Apostolica Vaticana, Archiviodella Cappella Giulia, MS XIII, 27 (Medici Codex).



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Rom 1411 Rome, Cittadel Vaticano, Bibl. Ap. Vat., Arch. della Cappella Giulia,Cod. Urb. Lat. 1411.Rom 2856 Rome, Biblioteca Casanatense, Cod. 2856.Tr 89 Trent, Biblioteca di Castello del Buon Consiglio, Cod. 89.Tr 90 Trent, Biblioteca di Castello del Buon Consiglio, Cod. 90.VerDCCLVII Verona, Biblioteca Capitolare, Cod. Mus. DCCLVII.Wash 252 Washington, D.C., Library of Congress, MS. M2.I L252 Case (Chan-sonnier Laborde).Wol 287 Wolfenbiittel, Landesbibliothek, MS extrav. 287.



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APPENDIX B: FLAT SIGNATURES AT THE CLEFIN SIXTEEN EARLY RENAISSANCE CHANSONS

Gentil madona de non me habandonare [Bedingham]Esc IV, a. 24, NH Mel, Par 2973, Par 15123: -, 6, b.Pay 362: -, -, -.

O pelegrina, o lucePar 2973: -,6,~ . Pay 362: -,.6,b.

O rosa bella [Dunstable]Esc IV, a. 24, Par 15123, Rom 1411, Wol 287: 6, 6, b.Par 2973, Pay 362: -, , -.Tr 89, Tr 90: -, -,.Dij 517: 6, ~, -.

J'ay pris amours a ma deviseBol Q16, Flo 27, Par 2973, Par 15123,Per 431: -,-,-.Wash 252: -, , b.

De tous biens plaine est ma maistresse [Hayne]Bol Q16, Flo XIX, 121, Flo XIX, 178, Flo 2356, Flo 2794,NHMel, Odh, Par 15123, Rom 2856: 6, 6, b.Dij 517, Wash 252, Cop 2918, Lon 31922: 6, ', ~b.Par 676, Par 2973: 6, bL, -.Wol 287: -, -, -.Pay 362: -, , -.Per 431: ,66, b.

J'ay moins de bien [Busnois]Dij 517: 6, -, -.Flo XIX, 59: 6, 6, b.Par 2973: ,,-.Wash252: 6, , bb.

Cent mille escus [Caron]Dij 517, Flo XIX, 59, Flo XIX, 178, Per 431, Rom XIX, 27Rom 2856, Ver DCCLVII: -, 6, b.Par 15123: -, , -.Par 2973: -, -, .

Le souvenir de vous me tue [Morton]Cop 2918, Dij 517, Par 2973, Wol 287: - -,-Bol 216, Par 15123, Wash252: , , b.Flo XIX, 176: -, K,-.Flo 2356: -, -, K.Per 431: , b, -.



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2 6 0

L'omme bany de sa plaisance [Barbingant]Dij 517, Flo XIX, 176, Par 15123, Wash 252: 66, , b.NH Mel: 6, bb, bb.Pay 362: -, bb,bb.Par 2973: -, , b.

N'aray je jemais mieulx que j'ay? [Morton]Cop 2918, Dij 517, Flo 2356, NH mel, Par 2973, Par 15123,Wash 252, Wol 287: -, -, -.Esc IV, a. 24: -, b, b.Flo XIX, 176: -, , -.

Le serviteur hault guerdonne [Dufay]Dij 517, Esc IV, a. 24, Par 2973, Par 15123, Rom XIII, 27: bb, bb,66.Flo 2794, Per 431, Wol 287: 6, ,b.Pavy362: ,6 6, 6b.Tr 90: 6., 96, -.

Est il mercy de quoy [Busnois]Dij 517, Par 2973, Wol 287: -, , -.Wash 252: 6, 6, b.NH mel: -,-,-.

Tout a par moy [Frye]Par 2973, Wash 252: -, , -.NH Mel: -, -, b.Flo 2356: , -, -.Wol 287: -, -, -.

Ma bouche rit et ma pensee pleure [Ockeghem]Flo 2356, Flo XIX, 176, Mum 351a, NH Mel, Par 2973,Par 15123, Rom 2856, Rom XIII, 27, Wol 287: -,-,-.Wash 252: -, 6, b.

Mon seul plaisir, ma doulce joye [Dufay, Bedingham]Flo 2356, Flo XIX, 176, Mun 351a, Par 15123, Pay 362,Wol 287: -,-,Esc IV, a. 24, Par 2973: -, 6, b.Wash 252: -, -, b.

Je ne veis onques la pareilleMun 351a, Par 2973, Wol 287: -, 6, b.Flo XIX, 176, Wash 252: ,b, b.Flo 2356: , -,-Tr 90: -, , -.

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"Flats, Modality, and Musica Ficta in Some Early Renaissance Chansons"