Ultan, Lloyd - Music Theory. Problems and Practices in the Middle Ages and Renaissance (University of Minnesota,

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music theory;pROBlems and practices

in the middle agesand Renaissance

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FOR

music theory:

problems and practicesin the middle agesand Renaissance

BYlloyd ult an

UNIVERSITY OF MINNESOTA PRESS D MINNEAPOLIS

workbook anthology

Copyright ©1977by the University of Minnesota.All rights reserved.Printed in the United States of Americaat the University of MinnesotaPrinting Department, Minneapolis.Published by the University of Minnesota Press,2037 University Avenue Southeast, Minneapolis, Minnesota 55455,and published in Canada by Burns & MacEachernLimited, 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 de-signed to parallel those of the textbook and the assignments to complement the materialspresented in the respective chapters of the text.

Many more problems are posed in each of the chapters than one would normally ex-pect a student to cover in the period of time for which the study was designed (i.e., oneacademic semester for each of the two historical periods). This gives instructors the op-portunity to select the types of problems that most closely meet the specific needs ofeach class and the special areas of emphasis they may choose to follow.

Usually when assignments suggest "each of the following," instructors will wish to beselective, for to undertake all examples would, in many instances, prove to be an undulylarge project to impose on students. It is possible that instructors may wish to distributethe several possibilities among members of the class for discussion and comparison. Someof the more rewarding activities for which the materials of this volume may be used willprove to be the comparative discussions that may result from the careful study of theexamples provided.

It is suggested that instructors extensively supplement the examples given here withanalysis and discussion of student compositions, as well as with other examples thatmay be brought to class.

It will quickly be recognized that because the size of compositions gradually increasesthroughout the historical periods, the demands of a single assignment become greater asstudents progress through this volume. Therefore it is suggested that some assignmentsbe subdivided or spread over a longer period of time.

It should be noted that some liberties have been taken in a number of pieces presentedas diplomatic facsimiles. I was not concerned that the retranscriptions be exact replicasof the original manuscripts but that the notations used be accurate representations ofwhat transpired in the pieces, as represented by the modern sources, and that the nota-tions be compatible with the original notations. To this extent, I have compromisedstrict scholarly practice for pedagogical purposes. However, I firmly believe that thefoundation provided in this study will contribute to students' fundamental and accurateknowledge of a complicated subject upon which they may build, should their interestslead them toward a more scholarly pursuit of the subject.

One very important attitude that has greatly influenced the assignments provided andthat should be carried into the activities of the classroom is that the music with which weare concerned is an exciting and beautiful literature that demands life. This music should

v

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 com-parison with student performances of the literature provided, can produce the most re-warding and pleasurable dimension of the entire study. This facet should not be ignoredbut should be made the central focus for all other aspects of the technical theoreticalwork.

A special word of appreciation must be expressed to Dr. George C. Schuetze whoseadvice and assistance throughout the preparation of this volume provided an invaluablecontribution to the final results. Also, this opportunity must be taken to thank the manystudents who have contributed through their labors and their constructive suggestionstoward 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 Se valours—Bien me—Hie factus est 17Excerpt from Lauda, Jerusalem Dominum 3 In mari miserie 20Eight Alleluias 5 Chaconnete — A la chemmes -Veritatum 22Asperges me Domine 6 Amours et ma dame aussi 27Depositum Creditum— Adsolitum — Regnat 10 Or est Baiars en la pasture 28Bien me 13 Helas! tant vi de male cure 29

Chapter 2

Kyrie XI (Orbis factor]Sanctus XIAgnus Dei XIVeni sancte 36

Chapter 3

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

Chapter 4

Sanctus VII 61Principes sacerdotum 66Kyrie Salve 72Credo VI (excerpt) 76Free Organum (from Wolfenbiittel 1206) 81Viderunt Omnes 82

Chapter 5

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

Chapter 6

Ma fin est mon commencement 99Sumer is icumen in 102

Chapter 7

Martyrum gemma—Diligenter—A Christo 106Tant a souttille —

Bien pert—Cuius pulcritudinem 109

Chapter 8

Res nova mirabilis — Virgo —Alleluia 116Alleluia 120Agnus Dei (from Messe de Nostre Dame} 122

Chapter 9

Sanz cuer—Amis,dolens—Dame, par vous 127

ChosiPensosoSomma felicita

Chapter 10

Tout par compas suy composesA I'aventure va Gauvain 141

Chapter 11

No examples provided.

Chapter 12

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

Chapter 13

Missa L'homme arme (Ockeghem) 160Missa Je ne demande 162Beata es, MariaMissa Prolationum

Kyrie 174Gloria in excelsis Deo 177

Chapter 14

Missa Pange Lingua 184Greiner, zancker, schnopffitzerSuesser vatter, herre Gott 192

Chapter 15

Le chant des oyseaux:Resvueillez vous (Janequin) 195

Le chant des oyseaux (Gombert) 208Quanta piu m 'arde 216Qu'est devenu ce bel ceil 222

Chapter 16

Selected two-voice Cantiones (di Lasso) 225lo sento (Palestrina) 232

Chapter 17

Veni Sponsa Christe (motet)VeniSponsa Christe (missa) 242

Chapter 18

Canzon francese del Principe 248Versus from Feria Quinta, Resp. 2 253

3 334

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139

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167

190

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131135

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FOR

music theory;

pROBlems and practices

in the middle agesand Renaissance


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-pitchneumes in the context of two incises.

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

Lauda, Jerusalem. Liber Usualis, p. 1227B. Reprinted with permission from the 1963 edition ofDesclee & 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.

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

3. Compose an Alleluia with a mensurated duplum and an unmensurated cantus. Thelatter 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 differentforms of the plica in this example. Set the duplum in the Iambic mode.

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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 moderntranscription 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 pat-

terns, 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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5. For the ballade Bien me, which follows, complete each of the assignments:

a. Identify the rhythmic mode in which the piece is set.b. Sing the piece (with text or syllables).c. Transcribe the piece into modern notation.d. Identify the melodic mode in which the piece is set (justify your decision).e. 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 modesrepresented 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—Hiefactus 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 re-

curring 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 modernmeasures in this transcription);

(2) Freedoms reflected on less important rhythmic positions (e.g., the use of disso-nance—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.

16

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

17

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

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7. Transcribe each of the following examples into Franconian notation. Use the appropri-ate 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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1

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

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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 orFranconian notation. Submit the assignment with three notational forms of the piece(each of those specified and modern notation).

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9. Transcribe each of the following examples into modern notation. Use key and metersignatures, 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.

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

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

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10. Sing each of the preceding examples (those provided and those composed) with thetext, 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 followingform:

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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2. Prepare comprehensive analyses of each of the following plainsong examples. Includein your analyses each of the following items plus any additional information you considerpertinent to an accurate description of the musical content of the examples.

a. Identify the mode and explain your decision.b. Identify the sacred form the example might represent. Justify your choice.c. Identify all multiple-pitch neumes.d. 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 be-

ing employed; and show each point of mutation using changes of hexachord onlywhere necessary.

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

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34

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

S

K

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

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V

36

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

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 nota-tion at the same pitch level using the appropriate modern clef.

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4. Match Column 1 with Column 2.

Column 1 Column 2

a. Ictus 1. All stanzas to the same

b. ijc. Strophic 2. Change of hexachord.

d. Ut queant laxis 3. Vertical episima.

e. Mutation 4. f. Dactylic 5. The note A.g. Hypodorian finalis 6. Sing the preceding passageh. Neumatic twice.

i. Gustos 7.j. Confinalis 8. Source of solmization syl-

lables.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 syl-

lable.

13. Tenor or reciting tone.

14. Continuous unfolding of

new musical ideas.

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music

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5. Compose a short melismatic passage consisting of one phrase with two incises that isclearly in the Phrygian mode. Use the text Alleluia, Amen. Employ at least eight multiple-pitch neumes; these and all other symbols you use should be identified. Pay particular at-tention 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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6. Using a Hymn text of your choice (with multiple stanzas), compose music appropriateto the text. Set the piece in the Lydian mode, use plainsong notation appropriate to thesetting, and limit the range to the interval of a fifth.

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7. Select a Kyrie (e.g., Example 3.9 of the textbook) and add a trope text of your own tothe music and the basic text provided. The trope should be appropriate to the spiritual in-tent 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 thestudent) using the hexachord system. Make mutations as necessary, but use as few as pos-sible.

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1. In outline form, compare the similarities and differences of sacred and secular mono-phonic 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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chapter 3 monophonic foams

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2. Analyze in depth each of the examples that follow. Include in your analyses the pointslisted below and supplement these by comments you consider pertinent for a completeunderstanding of the compositions.

a. Identify all multiple-pitch neumes.b. Define the musical form and indicate the factors that contributed to your decision.c. Describe the phrase structure and the factors that contribute to its delineation.d. Describe the contour of the line; as you do so, look for uniquely distinguishing char-

acteristics (e.g., unusual skips, musica ficta).e. Identify the mode and describe the factors that assisted you in reaching your de-

cision.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 re-gard to the overall musical conception.

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

V

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

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f

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 thetext, the hexachord syllables, or on a neutral sound (e.g., la). In multiple-part pieces, singeach 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 diapenteorganum. Select the appropriate clef and compatible neumes for the vox organalis.

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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 editionof Desclee & Co., Tournai-Doornik, Belgium.

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

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5. Compose an example of free organum, form one, at the interval of a fifth to the KyrieSalve 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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6. Compose an example of free organum, form two, to a plainsong example of yourchoice. It should be a complete piece, albeit brief. Identify the source.

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

CCredo 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 ofmelismatic 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 itsaccompanying textbook) to serve as the vox principalis for prepared singing exercises inthe several forms of parallel organum. Be prepared to sing any voice part at the appropri-ate interval for the plainsong example chosen.

10. Select a plainsong melody to be used as the vox principalis, and prepare to sing a voxorganalis 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 formulasthat may be present), contour, recurring patterns, the relationship between thelines (e.g., crossings).

b. Identify the vertical relationships and note the location of any dissonances thatmay 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 itsconsonance/dissonance relationship to the cantus. Using the first five notes of the duplumas a new cantus, compose a new melismatic duplum of approximately the same numberof 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 followshould 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 ArsNova notation using perfect tempus and minor prolation. Use the appropriate tempus andprolation sign and submit it and a modern transcription.

2. Compose music for a monophonic virelai (a text need not be used) in Ars Nova nota-tion and include in the example punctus additionis and red notes. Use the appropriatetempus-prolation signature and submit it and a modern transcription.

3. Transcribe each of the following examples from Ars Nova notation into modern nota-tion. Use appropriate clefs, key and metrical signatures.

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

85

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 thisvirelai is irregular. The three complete stanzas are provided.

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

87

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 por-tions of the text beneath a single line). Identify the several sections of the virelaiform 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 thesame tempus and prolation as this one. Use Ars Nova notation and provide a moderntranscription.

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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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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 inanother. Also, consider in your discussion the musical implications of these three systemsand 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 plain-song notation to the notation of the French Ars Nova. Be specific and detailed in yourdiscussion.

6. Compose music for a monophonic ballade (a text need not be used) in Ars Nova nota-tion. 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 tran-scription.

7. Sing all examples in this chapter (both provided and composed) with the text, the syl-lables of the hexachord system, or a neutral syllable (e.g., la).

8. Transcribe each of the following examples into Ars Nova notation. Indicate the appro-priate 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 contRapuntalconcepts and devices

1. Compose a two-voice ballade using a text of your choice in an early contrapuntalstyle. Include at least two examples of Stimmtausch. Use Ars Nova notation and sub-mit this with a modern transcription.

2. Prepare a comprehensive analysis of Ma fin est mon commencement. Include consid-eration 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 commencement3 et teneure vraiement5 Mes tiers chans trois fois seulement

2,8 et mon commencement ma fin6 se retrograde et einsi fin

4. Compose a Kyrie eleison section of a Mass in strict canon at the fifth below. The canonmay be broken at the end of each section to produce a good cadence. Use Franconian no-tation on a five-line staff and submit it with a modern transcription.

5. Compose a cancrizans canon of approximately forty-eight semibreves. Using Ars Novanotation, include appropriate signatures and examples of punctus additionis. Submit witha 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 allvertical relationships, linear construction, dissonance treatment, cadences, relationship ofthe parts, and canonic treatment in your discussion.

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

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c

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 shouldbe in Ars Nova notation and in tempus imperfectum and major prolation using the appro-priate symbols to represent these mensural characteristics. The augmentation may be dou-ble or triple value and when complete, the piece should stand alone as a total musican en-tity. Submit this assignment with a modern transcription.

9. Using one of the possibilities provided in Example 6.6 in the text, complete the canonby adding at least three times the amount of material given as a beginning. The final fewnotes of the canon may be free, to achieve an effective cadence. Submit this Ars Novacomposition with a modern transcription.

10. Sing all examples in this chapter (both those provided and those composed) using thetext, syllables from the hexachord system, or a neutral syllable (e.g., la}. Sing each lineseparately and then, with others, sing the complete piece.

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chaptec 7 / Ute contrapuntalconcepts and devices

1. Compose an isorhythmic composition (without text) consisting of nine taleae andthree colores (three taleae to each color). The piece should be set in tempus perfectumand major prolation using Ars Nova notation. Submit a modern transcription with theoriginal. 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, includein your analysis each of the following:

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

105

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

106

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

107

3. Compose a three-voice isorhythmic composition (without text) that encompasses atleast three taleae and uses hocket in the upper parts. The tenor should be selected fromthe plainsong literature (and identified) and the piece should end with an under-thirdtype 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 shortcanonic passages (each at different intervals). Demonstrate two types of cadences. Thispiece 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 anal-ysis all points cited for assignment 2 above, plus additional information that may be re-quired by the unique characteristics of this piece. Provide a transcription in Ars Nova no-tation.

108

Tant a soutille — Bien pert—Cuius pulcritudinem. Reprinted with permission from UrsulaGiinther, 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 com-posed). Use the solmization system of syllables or a single neutral syllable (e.g., la). Withothers, 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 nota-tion and submit with a modern transcription of your piece.

2. Compose a three-voice isorhythmic motet to texts of your choice. Use Stimmtauschbetween the upper voices at some point in the piece. Set the composition in Franconiannotation and submit with a modern transcription.

3. Prepare a comprehensive analysis of each of the following compositions, including inyour analysis each of the following:

a. Transcribe into or from modern notation;b. Define the form and support your decision;c. Linear conception and design;d. Treatment of vertical relationships;e. Phrase structure by line and as a totality;f. Special compositional devices employed;g. Types of cadences and manner of approach;h. 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 withpermission 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., Poly-phonic Music of the Fourteenth Century, Vol. Ill, The Works of Guillaume de Ma-chaut, 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. Il l , pp. 60-62.

124

4. Compose a movement of a Mass in the style of Machaut's Messe de Nostre Dame. Se-lect a plainsong source for an isorhythmic tenor (identify the source). Set the work infour voices. Use both sequential and imitative writing in the upper voices. Employthree different cadential forms. Set the composition in Ars Nova notation and submitwith a modern transcription.

5. Compose a short four-voice composition with one section devoted to a total isorhyth-mic treatment (i.e., all voices in isorhythm simultaneously), in which at least threestatements 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 inArs Nova notation and provide a modern transcription.

6. Sing all voice parts of all examples in this chapter (both those provided and those com-posed). With others, prepare several of these pieces for performance. In so doing, con-sider the appropriate performance style demanded by the period and the compositionsthemselves.

125

126

clupteR 9 / S6CUIAR

polyphonic fomns

1. Compose a chanson balladees in the style of Machaut. Use a text of your choice (or anoriginal text) and set in three voice parts. The piece should be in tempus perfectum and inminor 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, Wies-baden, p. 16. 127

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

128

Ballade: Sanz cuer—Amis, dolens—Dame, parvous

(first set of stanzas)

A. Sanz cuer m'en vois, dolens et esploures pleinsde souspirs et diseteus de joie,

D'ardant desir espris et embrases, doume, quebriefment vous revoie, si qu'einssi sans cuerdurer ne,porroie ne telz maulz endurer,

s'Espoirs en moy ne faisoit sa demeureEn lieu dou cuer, dame, qui vous demeure.

B. Amis, dolens, maz et desconfortes partes de moyet voles que je croie

Que vos cuer m'est tous en tiers demores.Tres bien don guerredonner, et vous peusseA 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 lesgries que recevoir soloie, par vous sui horsde toutes orphentes,

Par vous ne puis riens sentir qui m'anoiePar vous m'e stuet esperer quanque loyausAmis puet desirer,En lieu dou cuer, dame, qui vous demeure.

129

3. Prepare a comprehensive comparative analysis of the preceding ballade and the balladeprovided in Example 9.2 in the text (Machaut's Dame, comment qu'amez de vous nesoie}. In your analysis and discussion, consider all items listed under assignment 2 aboveas 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 inthis chapter or an original). Include some use of canon or isorhythm and set the piece inArs Nova notation. Provide a modern transcription with the original. Set the piece in tem-pus imperfectum and major prolation.

5. Prepare comprehensive analyses of the caccia and madrigal that follow. Include allitems listed for assignment 2 above and any others that may be required for the specialfeatures 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


133

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 thepiece in the Ars Nova notation and provide a modern transcription. The piece should bein 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 anopportunity for musical imitation of extramusical events or effects. Set the piece in ArsNova 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). Withothers, prepare the pieces for performance and discuss the performance style that the in-dividual works and the period demand.

137


ciupteR 10 / the late Fourteenthcentimy

1. Compose a ballade in the style of Fuions de ci (Example 10.6 of the text). Use a textof your choice, setting it in three voice parts. Employ Ars Nova notation and submit witha 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 therhythmical demands of each line individually, but pitches should be aligned in score formto 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 yourchoice, setting it in three voice parts. Employ Ars Nova notation and submit the composi-tion with a modern transcription.

4. Prepare a comprehensive analysis of each of the following examples. Consider in yourdiscussion the items listed below:

a. Rhythmic conception and relationships between lines;b. Vertical relationships, including the apparent treatment of consonance and disso-

nance;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. Re-printed with permission from Gilbert Reaney, ed., Corpus Mensurabilis Musicae, Vol. I, Ameri-can Institute of Musicology, Dallas, Texas, 1955, p. 11. Armen Carapetyan is director of theInstitute, 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 approxi-mately 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 tech-niques from the period of strict organum to theMesse de Nostre Dame. Cite or composebrief examples to support your discussion.

3. Discuss each of the following including in your discussion the nature, function, and im-portance of each in composition and in the analytical process.

a. Motiveb. Repetitionc. Sequenced. Imitatione. Cross relationf. Musica fictag. Ritornelloh. Nota cambiata

4. With other members of the class, prepare a program of music selected from the pre-ceding chapters. Include a sampling of forms, styles, and original student compositions.These pieces should be learned in polished form for public presentation. Discreet use ofappropriate instruments (either replicas of early instruments or reasonable substitutes,e.g., guitar instead of lute) should be included.

143

144

All assignments from this chapter to the end of the workbook should be done in mod-ern notation only. They should be set in vocal score layout unless another format is speci-fied.

1. Select a cantus firmus from the monophonic literature. Using modern notation, arrangea score for four voice parts with the cantus firmus in the tenor having a three-to-one ratiometrically to the other three voice parts. Compose one-third of an Agnus Dei movementof a Mass using the final closing text: Agnus Dei, qui tollis peccata mundi: donna nobispacem.

2. Compose three short passages to the word Amen. At least one of these must be in fourvoice parts, with the balance in three. In the style of Dufay, as presented in the text, dem-onstrate in each of these examples the following cadential patterns (one for each ex-ample):

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 musicalstatement. Special attention should be paid to the vertical relationships approaching thecadence —especially to the use of typical dissonances in such positions.

145

chaptec 12 / eaRly fifteenth centuRy -

dufav

3. Prepare comprehensive analyses of each of the following examples. Consider all theitems listed in the summary to this chapter in the text and include all that are applicableto the examples provided. Your analyses may be shown on the examples themselves withclear and concise references (if abbreviations are used, a summary of these must be pro-vided so that misunderstanding can be avoided). In addition, prepare a supplementarystatement that presents a detailed consideration of all pertinent matters (outline formis acceptable). Four basic general areas must be in eluded:.

a. Rhythm (including that of each line and the total effect of the interaction of severallines);

b. Line (including consideration of the contour of each line, intervallic treatment, andthe principal tones of focus —how do they gain that identification);

c. Vertical relationships (including consideration of dissonance treatment and recurringpatterns of vertical combinations —chord progressions);

d. Contrapuntal practices (including discussion of contrapuntal devices such as imita-tion, isorhythm, canon, and hocket).

Include in your discussion consideration of phrasing within individual lines and betweenlines; musically created form-defining features; and all items of importance to an under-standing 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., CorpusMensurabilisMusicae, Guglielmi Dufay, Opera Omnia, Vol. Ill, Missarum pars altera, American Instituteof Musicology, Dallas, Texas, 1951, pp. 33-36. Armen Carapetyan is director of the Institute,which is now located in Rome.

149

150

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

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 deesseDe moy qui suy vo sains faillirEn volonte de revenirPensant 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 MensurabilisMusicae, Guglielmi Dufay, Opera Omnia, Vol. V, Compositiones Liturgicae Minores, AmericanInstitute of Musicology, Dallas, Texas, 1951, pp. 18-20. Armen Carapetyan is director of theInstitute, 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 textprovided and syllables of the hexachord system. Sing each voice part of each piece andwith others, prepare each composition for performance. In addition to gaining facility inreading the notes and rhythms, a conscious effort should continuously be made to per-form 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 onlythe Kyrie eleison text). The piece should be approximately twenty to thirty measures, infour voice parts, and may or may not use a cantus firmus. Include a moderate amount ofsyncopation 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 mustbe in canon at the interval of a fifth (the interval of the third voice is optional). The en-tries should be approximately two measures apart and should have distinctive openingmelodic designs. The total piece should be approximately fifteen to twenty measures, andthe canon should be broken (if necessary) at the end, to produce an effective Landini-type cadence.

3. Prepare a comprehensive, comparative stylistic analysis of the two Mass movementsthat follow. Your analysis may be done on the examples themselves (i.e., abbreviationsmust be clearly identified in a key that must accompany the analysis). Provide a state-ment that presents a detailed consideration of all pertinent matters (outline form is ac-ceptable). Four general areas must be included:

a. Rhythm: as it relates to each line; a comparison of the lines in the two works; andthe rhythmic effect of the totality of lines;

b. Line: the relative importance of individual lines, their contour and function in theforward motion of the piece, and similar or different attitudes toward line in thetwo works,

c. Vertical relationships: the nature of the treatment of chords and dissonances, thepresence 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, andtreatment of the text relative to the interplay of the lines.

Include in your discussion a consideration of phrasing within individual lines and betweenlines; the factors that contribute to the sense of phrasing; the musical components thatmay contribute to a sense of form definition; and all other items that may be appropriateto the particular works under consideration or appropriate to the comparative processes.

159

Missa L'homme arme. Reprinted with permission from Dragan Plamenac, ed., Johannes Ocke-ghem, 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 GreggInternational 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 composi-tional devices (e.g., repetitions, imitations, and sequences). Note how and where they areused, and try to determine if any significant aspect of the total design of the piece is as-sociated with them.

Prepare an analysis of the vertical relationships throughout the composition. Make specialnote of cadential treatment and the possible recurrence of any patterns of chords. In thisanalysis, consider the use of dissonances, their location and type, and the effect they haveon the music when they occur. Consider also the use of altered tones, their location, num-ber, and possible significance.

166

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

167

168Beata 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

172

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

5. Prepare a comprehensive analysis of the two movements of theMissa Prolationum thatfollow. Students should devote special attention to the ways in which canon and metricalproportions are used in this composition. All factors considered in earlier analyses shouldbe included in this one also. Note how the treatment of cadences is related to their posi-tion in the respective canons and what, if any, freedoms are taken at these points. Com-pare the materials of the two Kyrie sections and the materials of the Kyrie movementwith the Gloria movement.

6. Compose one-third of a Kyrie movement using proportional canon. The piece may bein three or four voice parts and should be short (about twelve measures). Attempt toclosely imitate the style represented in the analysis for assignment 5 above.

173

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

177

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

178

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

179


180


181

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

182

ctupteR 14 / Ute fifteenth and eaalysixteenth centuries -josquin des paes

1. Prepare a short essay that compares the compositional styles of at least two composersrepresented in the preceding two chapters with that of Josquin. Cite examples to supportyour contentions, or compose brief passages reflecting the techniques or attitudes re-vealed in your study of their compositions. Include in your discussion:

a. Special compositional devices or unique treatment of compositional devices thatcharacterize 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 yourdiscussion to those included herein) and the musical impact or effect they convey(possibly including remarks about how these works compare with recent music withwhich you are more familiar and the aesthetic compatibility or incompatibility withyour own tastes).

2. Prepare a comprehensive analysis of the Sanctus movement of theMz'ssa Pange Linguathat follows. Since there is a large amount of two-part writing in this movement, primaryattention should be paid to the detailed analysis of the relationship between the twovoice parts, the use of dissonance, the concept of line in this type of setting as comparedwith four-voice passages or the three- and four-part writing that has been considered tothis point, and to the clarity or obscurity of phrase divisions.

In addition to the points listed above, all items normally included in a comprehensiveanalysis 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 maybe divided into four sub assignments according to the four distinct sections in the exampleprovided. At least two substantial examples of paired imitation should be included in thiscomposition.

183

Missa Pange Lingua. Sanctus. Reprinted with permission from Friedrich Blume, ed., Das Chor-werk,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

186

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

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 otherand then consider how they are stylistically similar to and different from those of Josquinthat have been studied. In the Isaac works, pay particular attention to the variety of ca-dences that is used, the linear and the composite phrase structures, and the elements thatunify the broad structure of the compositions.

5. Compose a short piece in the style of Isaac as represented by the two examples provid-ed. The piece should be in three voice parts and should reveal the same techniques and at-titudes 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 aneutral syllable (e.g., la}. With others, prepare each of the works for performance withone voice on each part.

189

Greiner, zancker, schnopffitzer. Reprinted with permission from Johannes Wolf, Denkmdlerder Tonkunst in Osterreich, Heinrich Isaac, Weltliche Werke, Akademische Druck, U. Verlag-sanstalt, 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 derTonkunst in Osterreich, Heinrich Isaac, Weltliche Werke, Akademische Druck, U. Verlag-

7 ' t>

sanstalt, Graz, 1907, p. 23.

192

chaptec 15 / sixteenth-centimy

seculaa foams

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

Chanson Madrigal

193


2. Prepare a detailed analysis of Le chant des oyseaux of Janequin which follows. Con-sider 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 oflinear and composite phrasing as reflected in this work. Note the abundance of repeatednotes and comment on their use and effectiveness.

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

195

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

196


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198

Le chant des oyseaux: Recueillez vous. Merritt and Lesure, Clément Janequin, Chansons Poly-

phonique s, Vol. II, pp. 184-196.

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Le chant des oyseaux: Resvueillez vous. Merritt and Lesure, Clément Janequin, Chansons Poly-

phoniques, Vol. II, pp. 184-196.201

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

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

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3. Prepare a comprehensive analysis of Le chant des oyseaux by Nicolas Gombert whichfollows. Consider all the same points considered for the preceding example, modifyingyour discussion only because of the three, compared with four, voices and any special dif-ferences that may require a different approach.

4. Prepare a detailed comparison of the two versions of Le chant des oyseaux that havebeen 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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5. Prepare a comprehensive analysis of Adrian Willaert's Quanta piu m'arde which fol-lows. Include in your discussion all matters that were studied in the preceding two com-positions. Note the presence of a fifth voice and indicate whether such an additionchanges 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 thispoint). Include a harmonic analysis and a discussion of the use of dissonance. Comparethis piece with the two preceding works for style, form, emphasis on one technique overanother, treatment of text, and any other points that will contribute to an understandingof 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, AdrianWillaert, pp. 455-460.

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

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

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6. Prepare a detailed harmonic analysis of Qu'est devenu ce bel oeil by Claude Le Jeunewhich follows. Using D as your reference chord, identify all triads used. Note the chordquality (i.e., major, minor, augmented, or diminished) and the inversion (i.e., which mem-ber of the chord is the lowest sounding part —root, third or fifth). Note the use of alteredtones and comment on them comparing them with other compositions studied to thispoint.

7. Compose a short composition in the style of one of the composers discussed earlier inthis chapter. Identify the style you are trying to simulate and note the salient feature thatyou 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 neu-tral syllable (e.g., la}. With others, prepare each of these pieces for performance with onevoice 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 Carapetyanis 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 Lassowith 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 with-in the compositional practices of Palestrina, but use a text of your choice (one of the Las-so texts would be perfectly acceptable). The piece should be composed for two malevoices 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. 225

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Cantiones. Sancti mei.

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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228

Qui vult venire post me.

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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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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Serve bone.

Fulgebunt justi.

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3. Analyze each of the lines in the Palestrina madrigal that follows. Study them carefullyfrom the point of view of rhythm, contour, activity, and inactivity as related to each oth-er, linear phrasing, the degree of adherence to the guidelines for this style provided in thetext (note the nature of any departures that occur), the relationship of the text to theline, the use of musica ficta as a linear device, and the role of each of the lines at the ap-proaches to cadences.

4. Using a text of your choice (e.g., the example provided for study for assignment 3above), compose a two-voice madrigal that includes the stylistic traits revealed in theanalysis for assignment 3.

Madrigal: lo sento qui d'intorno. Reprinted with permission from Lino Bianchi, Le OpereComplete, 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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5. Sing all lines of all examples in this chapter using the text provided. With others, pre-pare each of these works for performance. Also, prepare all student compositions for per-formance in the same manner. Compare, in group discussion, the relative strengths andweaknesses of the student works and the degree of success achieved in simulating thestyle 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, treat-ment of lines, rhythm, dissonances, vertical relations, phrasing (both linear and compos-ite), and text, comparing the actual compositional practices with the guidelines providedin the text. Make special note of any departures from expected practice and considerwhat 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 (pos-sibly that of the example). The piece need not be as long as the example, but it shouldcontain the principal characteristics of that composition. The composition should be infour voice parts.

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

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

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

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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 SponsaChristi in the same manner as in assignment 1 above.

4. Prepare a comprehensive statement comparing theMissa: Veni Sponsa Christi and itssource, the madrigal of the same name. How literal was Palestrina in deriving his materialfrom his earlier work? Where do departures from the source occur? What happens at thesepoints? What reasons might be offered for the changes that were made in the later use ofthe 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: VeniSponsa Christi. Use either an early composition of your own as a source (submit a copyof it with the Kyrie version) or an example from earlier in this collection (excluding themadrigal Veni Sponsa Christi}. The Kyrie you compose should be clearly and firmly inthe style of Palestrina's Mass movement in the example provided. Adjustments that maybe 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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6. Sing all lines of all examples in this chapter using the text provided. With others, pre-pare each of the works for performance. Also, prepare all student compositions for per-formance in the same manner. Compare, in group discussion, the relative strengths andweaknesses of the student works and the degree of success achieved in simulating thestyle 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 evolu-tion 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 tothe first period and others to the second. Include in your discussion each of the followingspecific areas of interest as well as other general areas that you consider important in un-derstanding these two historical periods.

a. Notation;b. All matters related to line (e.g., range, contour, phrasing);c. Rhythm (of individual lines and of the composite effect of multiple lines);d. 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 en-

tity; 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 throughoutthe Middle Ages and the Renaissance. Include in your discussion consideration of mono-phonic and polyphonic cadences in various numbers of voice parts and relate the evolu-tionary process to a projection of what you believe the historical period that followsthose 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, artisticoutput, and detailed analyses of at least two different types of compositions (e.g., sacredand secular, or two different sacred or two different secular forms). This report should befully 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 theharmonic content. Write the chord names and inversions beneath each chord, and noteany dissonances that may relate to chordal interpretation above the note of the disso-nance. Note any recurring patterns of chords, and identify all cadences by harmonic con-tent or other nomenclature that may be appropriate.

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Canzon francese del Principe. Reprinted with permission from Glenn E. Watkins, GesualdoVenosa, 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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Versus from Feria Quinta, Resp. 2. Reprinted with permission from Glenn E. Watkins, Gesual-do di Venosa, Responsoria, Ugrino Verlag, Hamburg, 1959, p. 16.

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

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sources


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, 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, Gu-glielmi Dufay, Opéra Omnia, vol. III, Missarum pars al-téra. Dallas, Texas: American Institute of Musicology,1951.

Besseler, Heinricus. Corpus Mensurabilis Musicae, Gu-glielmi Dufay, Opéra Omnia, vol. V, Compositiones Li-turgicae Minores. Dallas, Texas: American Institute ofMusicology, 1951.

Bianchi, Lino. Le opéra complète, di Giovanni Pierluigida Palestrina, vols. XXV and XXXI. Rome: EdizioneFratelli Scalera, 1939-

Blume, Friedrich. Das Chorwerk, Josquin des Près, MissaPange Lingua. Wolfenbiittel: Môseler Verlag, 1938.

Bukofzer, Manfred F., éd. Musica Britannica, vol. VIII,John Dunstable, Complète Works. Dallas, Texas: Ameri-can Musicological Society, 1970.

Casimiri, Raffaele. Le opéra complète, di Giovanni Pier-luigi da Palestrina, vol. III. Rome: Edizione Fratelli Sca-lera, 1939

Chrysander, Friedrich, and Spitta, Phillip. Vierteljahrs-schrift fur Musikwissenschaft. Wiesbaden: Brietkopf undHàrtel, 1966.

Gùnther, Ursula. Corpus Mensurabilis Musicae, thé Mo-tets of thé Manuscripts: Chantilly, musée conde 564

(olim 1047) and Modena, Biblioteca estense, M.5.24(olim lat. 568). Dallas, Texas: American Institute of Mu-sicology, 1965.

Liber Usualis, edited by thé Bénédictines of Solesmes.New York: Desclee Co., 1963.

Ludwig, F., and H. Besseler, eds. Guillaume de MachautMusikalische Werke, vols. I and III. Wiesbaden: Briet-kopf and Hàrtel, 1954.

Merritt, A. Tillman, and Lesure, François. Clément Jane-quin. Chanson Polyphoniques, vol. II. Monaco: Editionsde L'Oiseau-Lyre, 1965.

Plamenac, Dragan, éd. Johannes Ockeghem, CollectedWorks, vols. I and II. Dallas, Texas: American Musico-logical Society, 1949.

Reaney, Gilbert, éd. Corpus Mensurabilis Musicae, EarlyFifteenth Century Music, vol. II. Dallas, Texas: Ameri-can Institute of Musicology, 1959.

Rehm, Wolfgang. Musikalische Denkmàler, vol. II, GillesBinchois—Chansons. Mainz: B. Schott's Sôhne, 1957.

Schrade, Léo. Polyphonie Music of thé Fourteenth Cen-tury, 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, Instrumental-werke, Psalmen, Canzonetten, vol. X. Hamburg: UgrinoVerlag, 1967.

Watkins, Glenn E. Gesualdo di Venosa, Responsoria.Hamburg: Ugrino Verlag, 1959.

Woledge, Brian. The Penguin Book of French Verse, tothé Fifteenth Century, vol. I. Middlesex, England: Pen-guin 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. Re-published by Gregg International Publishers, Ltd., Farn-borough Hants, England, 1968.

Zenck, Hermann, and Gerstenberg, Walter, eds. CorpusMensurablis Musicae, Adrian Willaert, Opéra Omnia. Dal-las, Texas: American Institute of Musicology, 1966.

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Documents

Ultan, Lloyd - Music Theory. Problems and Practices in the Middle Ages and Renaissance (University of Minnesota,