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8/18/2019 Oliver Strunk: Origins of the "L'homme armé" Mass
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American Musicological Society and University of California Press are collaborating with JSTOR to digitize, preserve and
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merican Musicological Society
University of California Press
Origins of the "L'homme armé" MassAuthor(s): Oliver StrunkSource: Bulletin of the American Musicological Society, No. 2 (Jun., 1937), pp. 25-26Published by: on behalf of theUniversity of California Press American Musicological Society
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This content downloaded from 128.255.6.125 on Tue, 20 Oct 2015 01:56:23 UTCAll use subject to JSTOR Terms and Conditions
8/18/2019 Oliver Strunk: Origins of the "L'homme armé" Mass
http://slidepdf.com/reader/full/oliver-strunk-origins-of-the-lhomme-arme-mass 2/3
8/18/2019 Oliver Strunk: Origins of the "L'homme armé" Mass
http://slidepdf.com/reader/full/oliver-strunk-origins-of-the-lhomme-arme-mass 3/3
26 BULLETIN
OF THE
AMERICAN MUSICOLOGICAL
SOCIETY
recognized
relation to
our
mass-appears
indeed to
have been
directly
inspired
by
it
or
by
the
hypothetical
chanson-setting by
Busnoys
on
which the whole series may have rested. The Morton setting, pre-
sumably
a
quodlibet,
is
actually
little more than
a combination
of the
three lower
voices of
the
Tu solus
altissimus
section
of
Busnoys's
Et
in
terra with an
independent
discant.
The conclusion
is
obvious.
Either the Morton
setting
borrows
directly
from
the
Busnoys
mass,
or
both
compositions
go
back to the
hypothetical
original, by
Bus-
noys,
to which
Aron alludes.
And
it
is
only
from
the
Tu solus
altissimus
section
of
Busnoys's
mass
that
we
may
conclude
with
any
certainty what
this
hypothetical original may
have been
like.
On the
Question
of
Johannes
Ockeghem's
Clefless
Compositions
Joseph
S.
Levitan
(WB)
(APRIL
25TH,
I936,
at the
residence
of
Dr.
Harold
Spivacke,
WASHINGTON,
D.
C.)
NOTE:This paper is being published in full in The Musical Quarterly for
October,
1937,
XXIII,
4.
Violin
Shifting
Louis Cheslock
(WB)
(JUNE
27TH, I936,
at
the
Peabody
Conservatory
of
Music,
BALTIMORE)
SHIFTING
(change
of
position)
is fundamental in violin
technique
(i)
as a means of
reaching
the
higher
positions
for
additional
notes,
(2)
to
make similar
notes
accessible on
different
strings
in order
to
gain variety
in tonal
color,
(3)
as a
means
toward
aesthetic
expression.
In
a
preliminary
study,
a
count
of twelve
teaching pieces
of
the
earlier
grades
involving
shifts
up
to
the 8th
position
showed
approxi-
mately
two-thirds
occurring
between
the
first
and
third
positions.
The
frequency
of
shifting
in some
standard
concerti,
such
as
Bruch,
Mendelssohn and
Tschaikowsky,
is
striking;
also the preponderance
of
motions
from
odd to
odd
positions
(i,
3,
5,
etc.)
over those
among
even
positions
(2,
4,
6,
etc.),
the former
occurring
about
thirteen
times
as
often
as
the
latter.
The
first movements
alone
of the
above
concerti
totalled
1234
shifts
which involved
all
possible
combinations
between
the
first
and twelfth
positions.
Among
further
points
discussed
were:
use
and
abuse
of
guide
tones
during
shifting;
fantasy
types
of
portamenti
characteristic
of
the individual styles of artists; the speed of shifting; the effects of
26 BULLETIN
OF THE
AMERICAN MUSICOLOGICAL
SOCIETY
recognized
relation to
our
mass-appears
indeed to
have been
directly
inspired
by
it
or
by
the
hypothetical
chanson-setting by
Busnoys
on
which the whole series may have rested. The Morton setting, pre-
sumably
a
quodlibet,
is
actually
little more than
a combination
of the
three lower
voices of
the
Tu solus
altissimus
section
of
Busnoys's
Et
in
terra with an
independent
discant.
The conclusion
is
obvious.
Either the Morton
setting
borrows
directly
from
the
Busnoys
mass,
or
both
compositions
go
back to the
hypothetical
original, by
Bus-
noys,
to which
Aron alludes.
And
it
is
only
from
the
Tu solus
altissimus
section
of
Busnoys's
mass
that
we
may
conclude
with
any
certainty what
this
hypothetical original may
have been
like.
On the
Question
of
Johannes
Ockeghem's
Clefless
Compositions
Joseph
S.
Levitan
(WB)
(APRIL
25TH,
I936,
at the
residence
of
Dr.
Harold
Spivacke,
WASHINGTON,
D.
C.)
NOTE:This paper is being published in full in The Musical Quarterly for
October,
1937,
XXIII,
4.
Violin
Shifting
Louis Cheslock
(WB)
(JUNE
27TH, I936,
at
the
Peabody
Conservatory
of
Music,
BALTIMORE)
SHIFTING
(change
of
position)
is fundamental in violin
technique
(i)
as a means of
reaching
the
higher
positions
for
additional
notes,
(2)
to
make similar
notes
accessible on
different
strings
in order
to
gain variety
in tonal
color,
(3)
as a
means
toward
aesthetic
expression.
In
a
preliminary
study,
a
count
of twelve
teaching pieces
of
the
earlier
grades
involving
shifts
up
to
the 8th
position
showed
approxi-
mately
two-thirds
occurring
between
the
first
and
third
positions.
The
frequency
of
shifting
in some
standard
concerti,
such
as
Bruch,
Mendelssohn and
Tschaikowsky,
is
striking;
also the preponderance
of
motions
from
odd to
odd
positions
(i,
3,
5,
etc.)
over those
among
even
positions
(2,
4,
6,
etc.),
the former
occurring
about
thirteen
times
as
often
as
the
latter.
The
first movements
alone
of the
above
concerti
totalled
1234
shifts
which involved
all
possible
combinations
between
the
first
and twelfth
positions.
Among
further
points
discussed
were:
use
and
abuse
of
guide
tones
during
shifting;
fantasy
types
of
portamenti
characteristic
of
the individual styles of artists; the speed of shifting; the effects of
This content downloaded from 128.255.6.125 on Tue, 20 Oct 2015 01:56:23 UTCAll use subject to JSTOR Terms and Conditions
