THE DOfiEstCfiORDON AND 31's RELATQQN
TC) FIFI‘EEfiTH CENTURY: MOPQUTY

Thesis for five Day?“ of M. M.
MiCHI‘GAN STATE UNNERSITY

Janice Marvel Winkior
1960

 

LIBRARY

Michigan State
University

 

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by

AN ABSTRACT
submitted to
Kicnigvn State Univcwaity
of Agri'ulture aha Anvlied Science
as partial f Tfillmcnt of tum requirofirntc for
EC? 71‘7”? 27‘ "{Z'TTIC in ITUT' 311.7%}?

1960

Hi

he problem is: specif'callv what in the contribution
of G1 rrcnus ' Dofincccddrdfin to ctr present knowledge
of f1 ftccnth center modality?
The present author 33“T370103 tan problem tgrougn
nn n1c1""1“ of the Dodeccchmrdcn and of the Otramplcs
“numi ltacrein, w ”ta special attenti: n t: the vc.rficus
editions and trnnilatiznc .xtant. Same: ortlon was
c1 50 devote to tlc developm eat of ro<1cl theory up
to t 10 fiftc out 1 C9:‘.t‘.11°;,' 3.21:1 to 1.5.0 biogrcjtgjf of

~I..J

CWcrccwvc ' innelfo Furth r oxcmwlcc are jivon in Grier

a-

to more ensily determine tcc accuracy of bin idecc,

x. ' ‘ c n t I) --\ ‘IN \‘ ~ . '5 I
-crc tcclr signlxicnuce in m cicnl u;'t)r1.

. 4.1.. .
and UJOTC

 

by

Janice Max-7.1 Winner

A EHESIB
submitted to
Michigan State University
of Agriculture and Applied Science
as partial fulfillment. of the requirements for
MASTER OF MUSIC 1:: MUSIGOLOGX
1960

TA“? .543 OF CPV'I'WTTS

Title Page . . . . . . . . . . . 1
Tablc of Contents . . . . . . . . . 11

Chapter I g Q C 1
General Development of Modal Theory
Up to Hoinricuc Glarcannc

Chap tor I I g Q o g 16
Biography of Heinricuc Glarccnnc

Chapter III . . . . 24
Discussion of modal Theory in tho
Edegagggrdon ,

ChaPtOP 1V 0 o o c c o o c c 43

Madal Analycic 0 1c Mbvomcntc of
Fivc Firtocnth Cm F ,y Polyphonic fiancee

Chapter V o c c o o o c o c o c 76
Conclusion

Bibliography 0 c c Q o o c o o c c 81

Appendix..'...........87
Erie - ylaiomme arme Mass - Dufay
girls - ggfibmme arme mass - Joaquin

 

 

 

 

11

a

General Develnwmeht oi

J. "" .3 . 1 s
““r ." -..:r\ , .“77 \-‘,r*
L" ) L; .E ._ -_-_ ’1 \.7. . .

J
r" .1 {N '7 .v n \ i '|
\J ' ' -. 7 .171

 

Tao Gr7c t7: Syste:

t0 FPDViflCd

11‘.VO

ment of 519 es: la astical mode",

'T‘f the Greeks

the tfinml material for tho efitsb

1300*“:

.5

13h-

M"! A
r'fi 1'. n 1&1:

V~« "J\)"

0 them

today 19 basis fcnr txo Gre tor ?er;sct System 43
the tetrrcoord fwrm~fl by a tune, tzne, emitonc, such
as the notes, a-g-f-e. Greek scnlcm were formed in
descending orfiel. “y'joining toe OOvC m17cinved
totrmnmu- fir t c ijunétlj, wit; e’ r; the last

rte of tzn firht e ifiCiOFd and the first hate of
the sec 11d, next Llisjunot37 for the third totrachord,

onjunctly again for txe f7“rt1 an

of twr activer,

.rqm

System, .Ho It is as ffl

formed. mzs:

Nets hyperbolaion

Fartncte “"vFVKNFH
Trif 9 h-vr'vDI-n-flxp'f 9 ion

Note dic.3 vflficn7n
Par. ncte diezeugmenon
Trit e dicz e";:menon

Paramese

Ease

Lichanos meson

anhypate meson

Hypate meson

Lichanos hype -t3n

Far rhypnte hypnton

Hypote hyp"ton

Prosls m>uuoh1

l 31')

III-

IV.

>4flc::Ȣvoazmty

’108

(:1 :1. 119-1.} LI J‘Ctr

callefl the Grab

chord,

.tcr Perfect

Tetrachord
Hyperbolaion

Totrachord
Diezetgmenon

Tetrachord
Recon

Totrachord
Hypaton

Aristoxonus, (lived O. 350 8.0.) III tho
first to discuss music as c science of both tho
intellect and the car. He discussed intervals and
their relationships when arranged in various orders and
different sounds which arise from varieties in the
construction of musical instruments when they play
toaother. He maintained that the car must be the final
judge of what the theorists writo.1°

Ptolemy lived in the first half of the
second century, A.D. The names for the sight
ecclesiastical modes are derived from Ptolemy. though
later they wore not applied to the same modes as in his
theory. He kept the tetrsohord within the octave and
devised the number of octave species from the number
of notes in one diapason . seven. Because it suited
the seals and could fit as far as voice range and
range of one string of the kithara, ho arranged the
scales on E of the Greater Perfect System. By using
E as the center, going up and/or down from there,
and rearranging the semitones with the implication of

accidentals, he arrived at seven scales. The ancient

 

1. Strunk, Oliver, Source Readings in Music Histogz,
New Xork: Norton an 0.. J a PD. 2- o

names, Dorian, Hypodorian. Lydian, Lypolydian,
Phrysian, HypOphrysien and Kixolydian were retained.
An eighth mode was mentioned but was not approved.
This eyeten began th thinking in octave series, which
has prevailed throughout the discussion of modes.
Ptoleny'e eyeton ie no follows:
Mixolydien -- on
Phrygian.--- on
Doriall cm... on
Hypolydian CC. on

HypOPhrygian . on
Hypodorian --~ on A.

meuow

The tonal material of the Greater Perfect
System was eventually grouped into a series of seven,
then eight. octave scales Which were the early church
modes. It is likely that the modes were not actually
eyetemized until the eighth century ea an attempt to
codify the large repertory of chants which had acou-
mulated. It is thought that many of these chante
were modified to conform more closely with the theo-
retical system.

During the deveIOpment of model theory, leek
of uniformityend agreement of nomenclature was evident.
The terms tonne, Egggg and tropne, all referring to the
model system, were used differently by different

theorists. which accounts for much of the ambiguity
which deve10ped from such interchange of terms
without clear definition.

Aurelienuc Reomeneis, or Aurelian do Reome;
was a ninth century French theorist. He wrote a tree-
tise on music which contains the earliest information
about the melodic peculiarities of the eight church
modes and influence of the rhythmic structure of the
text upon construction of the melody.2’

At this time attempts were made to enlarge
the eight-mode system to accomcdete entiphone which
did not fit into the system. Charlemagne suggested
four more modes to Aurelian for use with Psalm Tones,
but the letter shows through transposition thAt they
could be eocomcdsted by the eight which were already
recognized. 3‘ These attempts for new classifications
concerned only the antiphone; other music of the time
could fit into the eight modes.

Ode of Cluny ( 7 - 942 ) complains about

the use of transposition by unskilled musicians. At

 

2. Aurelian do Réomé, Musica Discipline. Gerbert
Seriptores. I. p. 27;

3. IBID.

this time the F-shurp and C-sherp, as well as the
E—flat, were implied in compositions. They were
avoided in notation through the use of transposition,
so no to use the B-flat and B-natural instead. The
following chart illustrates how the B-flat and B-
naturel may be substituted for the Ehflat and F-

ehsrp through transposition: 4'
9.3:EBF_3-a-th-d-transposed up a 5th bh’ d f a
b
F-6-e-b-c-d-éEJEI-tranSpa89d up a 5th o-d-e-f-g-a-fltfilo

G-a-b-cud-e-fo-g-trenSposod up a 4th
Though the B-flat and B-neturel occurred in the
same composition, they were not found in immediate
succession; thus chromaticiem does not refer to
chromatic progressions such as B-flat-Bunstural. but
to alterations of the natural gamut. Odo also
traces the relations between the B-flat and other tones
by showing that the ideal tetrachord, d-e-f—g, is
like that of g-e-b-flat-c. and the perfect 4th and
5th relationship that exists between f-bnfletaf.

These alterations through transposition

were in some cases, used as substitutes for the

4

4. Reese, Gustave. Music in the middle Aces,

New York: Norton 853 53.. i§35. Do 193.

addition of an accidental to avoid the tritone.

Odo also seems to have been the first to
apply the letters framed to G, to the double octave
series ( using,! for the uppermost A ) and to extend

the series downward by adding the low called

Gammaeut. Odo presents this chartxs‘
t‘ A s c D E r c
I II III IV V

VI VII

b o d e t g 3

3111 1x 1x . x xx ,XII x111 xiv xv
Guido d'Arezzo ( o. 995 - 1050 ) states
that it one does not wish to use the fist he may trans-
pose the sections in question: 0.3., F-G-A-B—{lat to

G—A-B-natural-C: D-Ebg to A-B—natugal-G;
QgfihF-G-A-B-flat to A-B-natural-C-D-EQF; and

2.0.3—{1a3 to A-G-F.6’
He also gave an additional sot of names to

pitches through his application of the syllables

gt,§9.gi,§a,§gl, and lg, to the following hexachords:
Shane “Head. We). V103 " (6-253

«9-1L

    

km“ “was: Duncan (Wand) and mew, C5¢%*\'

 

502m. 0 P0 1490

6.Guigo d'Arezzo, Hicrologue, Gerbert Scriptores, I.
P. o

Guido obtained these syllables from the Hymn of

Saint John the Baptist which begins on the tonic of

the chant with the syllable ut. Each of the six phrases
which follow begin a step above the previous phrase

and by extracting the syllable found at the beginning
or each successive phrase. Guido arrived at the six
syllables. Mutation could be applied for a melody which
went beyond the range or“six notes, by passing from

one hexachord to another. Particular notice should

be given to the fact that in order to pass from the
first to the second. or from the second to the third
hexaohord. without pausing, the semitone mi-fa should
be used as the pivot point. The singer changed the
names of the syllables to conform to the new hexachord
in which he was singing. In a letter to a fellow

monk he states that by associating these syllables with
each of the six successive degrees. his choirboye

could learn ”in a few days what formerly required

many weeks to master."7' The practical application

of these syllables remained in use with the addition

of 31 for the seventh degree about the year 1600.

 

7. Reese, Gustave, Music in the Middle A~es,
New York: Norton an 0.. . p. .

 
 

This system was quite sufficient. since many early
chants did not exceed this range. The tetrachord
still played an important role in theoretical
conceptions, as can be seen by the fact that each
successive hexachord begins a perfect fourth higher
than the last.
medieval modal classification fell into a

system of tour naneriaeg‘gggtgg, which comprises nodes
I and II: Deuterus, III and 1V3‘ggiggg. v and VI; and
gbtrardus. VII and VIII. The modes with the same
finals tell in pairs:

Protus a-uaauthentic and plagal - finals on D

Deuterus a-authentic and plagal - finals cn‘R

Tritus aooosuthentic and plagal - finals on F

Tetrardue -authentic and plagal - finals on G

The reciting tone, or dominant. descending

to the tonic formed the upper pentachord in all
cases, except the Phryaian. The rest of the scale
comprised a tetrachord which occurred above or below
the pentachord, depending on whether the scale was
authentic or plagal. In case the range extended
beyond the notes available in the scale formed by
combining the pentachord and tetrachord, the term

tonus mixtus or mixed mode was applied. The final

and dominant may imply Dorian, but the range may go
beyond that of the Dorian. implying Hypodorian. This
was called a mixed mode and was classified in one of
the four Maneriae. ( In the above case, the fisheries
would be 252335. )

The system, which was Just presented, was
applied to the analysis of previously existing melodic
flrmulas in plainsong for the first time in a tenth
century treatise, fills Musics - long ascribed to Husbald.8'
This work is most probably a composite work of four or
possibly five authors. By confusing the tonci
( transposed scales ) for nodes, a turning point
in medieval modal theory was reached.

Because of the limited range of singers. or
possibly that of the kithara, the octave species .
were used in transposition into the e' - e octave of
the Greater Perfect System.i The author assigned the
old Greek names of these scales to his own scales.
Mixolydian.was the highest and Hypodorian the lowest.
The Greeks formed their note series in a descending

 

8. Hucbald's authorship was disproved by Wilhelm
Mfihlmann, Die Alia musics, (Gerbert Scriptores, I)
Quellenfrage, Ufifang. IEEalt und Stammbaun. 1914.

eulo-

nannar rather than ascending, the confusion of which

accounts for the difference in the application of the

names between ancient Greek and fiedleval theory.

Thus, the
the Greek

from a'-a,
s'-s.
f":.
O'c-O.
d'-d,

octave species were formed from reversing

forms on the disdiapason:

Hypodorian
HypOphrygian
Hypolydian
Dorian
Phrygian
Lydian
Rixolydian

Hypodcrian
Hypophrygian
Hypolydian
Dorian
Ihrygian
Lydian
Eixolydian

In the eleventh century, Hernannus Contractus

applied the name Hypomixolydian to mode VIII. which

substituted for the name Hypermixolydian, which had

been used inaccurately before this time.

In the twelfth century the range of each mode

was restricted to ten notes through a misunderstanding

of a passage in Psalm CKIII

( CXLIV )3 ”upon a

psaltery .... of ten strings will I sing praises unto

Thee."

This was part of the Cistercian Reform which

was organized by the Cisteroian Order. a strict branch

- 11 -

of the Benedictine Order that woe established in

1098 at diteaux, France. Previous to this restriction.
the limits of range wore not agreed upon by the
theorists. The Cietcrcian Reform brought about innu-
merable transpositions to avoid chromatic alterations
and phraeeucloses on degrees other than the final of
the prevailing mode ( which in many canoe was a matter
or conjecture ), or to bring within the permitted range
those passages which extended beyond the new limit of
ten notes.

Two ascertctionc have been made concerning old
chant melodies. One is that they are bacicly pentc-
tonic.9' The other ascertation concerns the addition
or filling in of the remaining minor third and states
that this occurred through the use of the quiliemA.

Two ways are possible, 6.3.. from A to C could be
performed either A—B—natural-C, or, A-Buflat-c. This
practice may have been the factor which ccuccd the change
of the dominant in the Phrygian mode from B to C, a
change which occurred between the tenth and eleventh

centuries.

 

9. Reese, Gustave, fincic in the riddle A cc,
mew Xork: Norton a‘ ‘ 161.

 

The B—flat may have been an equal of the
B-natural wince it appears in many cases to the
exclueion of the B—natural. This importance carries
over easily to the question of the Lydian mode without,
but more important here, §3§§,the B—flat. and the major
mode ( Ionian ) and their ceaexletence under the same
name, Lydian; and the Dorian mode in its two forms,
Dorian and minor ( Aeolian ) without or with the
Burlat. under the same name, Dorian. "Though these
modes, Aeolian and Ionian were not recognized by
theorists, and so are anachromiens, they were in use

. 10
long before the theoriete accepted tuem." '

The writings of Kerchette 6a Paéua pertain
to the mueical knowleége in Italy at the beginning of
the fourteenth.centuny. Regarding classification of

moflee according to their range, he gives these nemee:

 

Perfeetue : ~ ueuthentio modes which fill the
octave, including one ton. below.

Iggerreotua --.....authentio or plagnl which.do
not fill the range

Flusguamgerfegtus -a mode Which exceeds the perfect
limits by a tone

10. Sony, Virginia, A Contribution to the Problem
of node in fiediaevil—luslc, Eamllne StuflIeB'Ih
Hucicolcgy,’EIEfi§E§6IIH"E1nn., Burgess Pub.
118111131360” 1945. p. 55 footnote.

 

 

T121: Eixtus -_---whsn authentic extsnis below
to its plagal more than one tone

...--when plagal ascends above a sixth
from its final into the notes of
its authentic

Conmixtug ----irregular which cannot be Judged
' because of its for the reason
of a brevity ( of range )
b those which are authentic
only at the beginning

He also states that accidentsls do not change the

mode because with transposition the mode can fit into

one of the existing formulas.11'

Jean de Earls ( b. before 1300 - c. 1351 ) was
an acquaintance of Philippe de Vitry. He mentioned the
appearance of the F.sharp and G—sharp in instrumental
music, but did not recognize them in vocal music because
transposition could make them unnecessary. He does
suggest the possibility of a hexaohord of D - at, with
an F-shsrp as_mi and G as {3. 12'

In regard to musics riots, Philippe de Vitry
stated that, ”musics riots oocurrs whenever we change
a tone to a semitono. or vice versa. For every tone

ll. fierbert Scriptores.III, pp. 101, 139.
12. £3.12" Pp. 305*3070

- 14 -

is divisible into two semitones and consequently

the sign for the semitone may be applied to all tones.
Whenever there is a flat we must soy £5, whenever there
is a sharp we must say 2;!"13.

At this time reference was made to there
being not only two but three possible alterations for
each tone, e.g., D-rlat, D-natural and D-sherp.14‘

Adam von Fulda stated that at least one voice
should appear in one of the eig t church modes but
also that a composer should be well acquainted with
all twelve of the possible tones in the scale.15'

The Medieval and Renaissance theorists pre-
sented elaborate rules for the uses of accidentals,
transposition and contrapuntal procedure; however.
they seemed unable to cape with the mode in poly-
phonic music. The individual voices were discussed
and classified modelly, but no over-all mode, re-

garding the voices as they sounded simultaneously,

 

13. Rigsby, Lee, Studies in Music Histor and
Theor , Tallahassee, F or a: ‘ ate
University Press, 1955, p. 61.

14. Andrews, Frederick Sturges, iéediaeval Hodal

TheorV, Cornell University, sectoral Disser-
Law (in. 1935' p. 88‘.

    

15. Adam von Fulda, Musics, Gerbert Scriptores,
III, p. 124.

was discussed. The mode of the cozpaeition was
generally determined by that of the centue firhue,
found most often in the tenor.

Tinctoris ( o. 1445 - 1511 ) felt that the
general mode was found in the tenor (cantue firmue),
the particular mode in each separate voice.16‘

Glareanue ( 1488 - 1563 ) agreed that the
centua fireue determined the mode but he did recognize
irregularities and allowed freedome on the basis of
the composer's individuality.17'

Because Glareanue lived at the end of the era
of thinking in terms of eight modes, and wrote hie
Dodeoechordon as an addition to the theory that pre-
ceded him regarding modal usage, an examination of his
life and the above-mentioned work, the Dodecechordgg,
will follow. Special note shall be given to the light

it caste on modal theory and its significance.

 

l6. Tinctorie, Johannes, Tractatue de musica,
Coueeemaker, Scriptorem de’EnsIoa,‘Farie,
1864, Chapter 24.

17. Glareanue, Heinrioue, Dodeeechordon, English
translation by Clement A. tiller, Doctoral
Diseertation, Ann Arbor, hichigan, Univereity
of Kichigen, 1950. Pa-455.

v “7‘5 II
CLIIPLP Jul

7‘4. ‘n ‘- ‘--'1vr ta".
1.0171. 3.33.4; 1,31.

1,1»... 1-. '1
heihriouw Giireonuo

 

Heinrich Loriti, bet

born June, 1488 in the

of Glo s,
with forests and meadows,
in 1352. The inlaoit ante
at present are of the

The canitol of t

in Switzerland.

“Ca th'fl-‘I " 4’
-40 ‘1~-‘..'1-1..n4

1...,..
nil-ll

ter wn ea Gleree. nus, was

villnfio of Rollie in the Canton

:Cyr‘fi
'ULQ-o-

Glorue, ch is picturesque

Joined the Swiss Confederation

are primnrily Germnn speakin3,

em

out...

ith and number

' . 4- , .‘.
no Cf-n 1, on with a

I,
.1,

current populotion of 5,266.
In 1511, Loriti as sumed the name G_nrrrnL after

his birthplace, as was e
and called himself b; thi

down

Gleree us kept henna

.4

until he no twelve years

+

' ‘ ’1 u ‘.' o
ommon pr etioe no

the time,

{'3

23

hr

.me throughout his life.

and tended herd in the Alps

S

He no ea3er to be3in

-

0111 0

school r did so at a newly ferrod privnte 501311 in
Bern, Switzerland under Kiel e1 Ruscl‘rs. 313 first
"ubjeooe v e intin on‘ the elenonto of music. Gi‘rcanuo
rd :1er microfilm e. {:I’Cfl.t deol 3,111 1.112e151111ellus3 Ifoved to
Rottwcil in 1581, Glrr onu" follovoo him there and
remained working under him for five rorc yearn, until
June of 1506.

His nert residence tag at the Univcrzi.g of
Coloqne, wxore he “roiobly studied nueie wit; J21nnnos
Dobnek, 111 is otter En vn by his gsoudonym of

- 17 '

Johannes Cochlaeue. ( He also used the pseudonym
Wendelatein. ) Cochlaeue became a magieter‘ggtygg
at Cologne around l507. Some time after this he
received a degree in theology at Ferraro and became
rector of the school or St. Lorenz. He in the author
or two musical treatises. Glareanue speak: of
Johannes Coohlaeua in the Dodecac c as

“011:: in meioic Praeoeptor noeter."

Glarcanna received his Baccalaureate in
1508. his liocntiato two years later and by 151‘
completed his Doctor offiLiberal Arte..

During a visit to Basel in 1510. Giuroannc
net Ulrich Zwingli. who was a parish priest in Glarus
from 1506 until 1516. They became friends particularly
through their mutual interest in music until their
disagreemente regarding the Reformation drew than
apart. Glareanue was extremely pious. conservative and
very much cppoeed to the Reformation and those who
were involved with it. In a letter at the library
or the University of munich, he speaks out against
Zwingli on the particular subject of church eon3.1o

 

1. Gearing, Arnold, Die Vokalmueik in der Schweiz.
Aarau. 1933. P. 5 c

"'18 -

When Kaiser Eaximillian came to Cologne in
1512, Glereanue composed a poem of praise in the
Dorian mode which he sang at a special parlimentary
meeting of German princes. The Emperor was I0 pleaeed
that he presented Glareanue with a diamond ring and
crowned him poet laureate.

At the completion or his Doctor of Liberal
Arte degree at Cologne in 1514. Glareanue accepted
the regency or a hall at Basel. He was not on the
public payroll there, but rather gave private
instruction in mathematics and music as well as Latin
classics and the elements or Greek. He established a
scholarship for students who lived together under his
supervision. Instruction from him was much sought
after. and the second year his students numbered thirty.
it this time, he became well acquainted with Erasmus
of Rotterdam whom he admired a great deal. Erasmus
was a great admirer of Glareanue' also and in a letter
dated March 7. 1516 to Urbanus Regine of the University
or Ingelstadt. he had this to say. “Glareanue
possesses extreme skill in all mathematics. His
Aristotelian philosophy matches the highest. He has
mastered much of theology. In geography and history

- l9 -

he is perfect. He has acquired a fair amount of
Greek and could complete it with some industry. He
is cheerful. lively. an excellent teacher, truly a
man for all hours."2'

In a comment on the Renaissance by Erasmus
written in 1517. he mentions Henry of Glaris,
( French for Glarus) as being an exceptional man or
letters and mathematics; one worthy of imitation.3'

The importance of the city of Basel and the
.University warrants some attention here. The city
founded by the Romans and was governed by bishOps.
Between the seventh and eleventh centuries it passed
to the Alenanni. Franks. and Burgundians. In the
eleventh century it was a free imperial city ruled by
a prince. The initial impulse for the founding of a
university probably cane from intellectual currents
fostered by the Council of Basel. 1431-1448. At the
petition of the Town Council to line 11 ( Aeneas
Silvius Piccolonini, who had lived in Basel during
the Council ), a foundation bull ( decree from the
Pope ) was granted in l#59 with privileges similar to

 

2. Bohn. Peter, Introductiqn to his German trans-
lation of the Dodecachordon. Gesellshafthfflr
hueikfcrschung. EeIszg. Breitkopf and Hartel. 1888.

3. EcLauahlin. fiery and James Bruce Ross. editors
The Portable Renaissance Header. New York: Viking
31‘683' I9“. p. 81.

~ 20 -

those of the University of Bologna; the new University
was officially Opened the following year. The first
set of statutes, drawn up in 1e55, were based largely
upon those of the University of Erfurt and established
a curriculum usually found at this time which
consisted primarily of the reading and discussion of
Aristotle. In the new statutes of 1492. music is
mentioned among the required "Loctionss Pro Magisteric."
At first music was required as a branch of mathematics.
It assumed the place of a practical art after the
Reformation. The University maintained as its organist
a musician whose duty included training students to
sing. Through such men as Glaresnus, music was combined
with Greek literature and had a place in humanistic
studies. 8

During the Reformation Basel became a Protestant
town. Consequsnt reorganization of the University
followed. Music held a regular place in the Arts
Faculty, though Zeingli had prohibited music in church
services and ordered the removal of.church organs.
Liturgical music was restored in the service at Basel
after the Reformation.

There was a strong emphasis upon choral music

as a part of the academic activities from the early days

-21-

of the University. In the fifteenth century and during
the last years or the sixteenth. eaverdl treatises
witness the teaching of choral music in the University.
Instrumental music was used at ceremonies such as the
processional for candidates for the doctoral examination.
After tn Reformation the ceremony of promotion was
accompanied in part with music. During the sixteenth
century many plays were presented which used musical
instruments and choral music and sometimes included

the presentation of discourses on music.

Basel was one of the key centers of printing.
which facilitated the incorporation of music into the
lectures, ceremonies, school dramas and private lives
of the professors and students at the University.

Lnny collections of musical works, both instrumental
and choral, as well as theoretical works on music.
were published in Basel.

Glarecnus traveled in Italy during the early
part of 1517. Beginning in key of that year, he
taught in Paris on a stipend of one hunflred and fifty
francs yearly free Franz I. In 1518 he was offered the
chair of rhetJric at the University of Paris, which he

declined in favor of maintaining his stipend.

r 22 -

He conducted an canoetionnl institute in Paris
similar to the one at Basel. Jean Ionton, the composer.
and Peter Stapulensis ( also kncaz es Jacques LeFevre
d'Esteples ),t he was the teacher of man non who
became dietingniehed for their humanistic learning.
were among those who knew Glareerrs du:*in3 he time
he was in Perle.

Upon his retni to Basel in finrch of 1522
he was a private tutor in humanities. He :arried a girl
from Basel, who died in 15 39 after a c Mild ess marriage.
is a councilr - ember of the arts feC° lty in 1524, he
initiated Open lectures and recitele for students which
were extraordinw ily well attend Bezel was
becoming an active center or the Reforme+ ion, and When
the Uniw Msity of Freiburg in Breis3eu offered
Glcrcenus the chair of rhetoric, hec accepted it
tentatively in 1529 and definitely in 1530. He broke
his friendships with almost everyone in Basel who was
connected with the new movement, - the great majority
of his ecqu.eintences. His move to Frcibur3 was to sever
his connections with thie movement and those involved.
The great amount of publishing at Basel provided

inspiration throughout the Continent. clcrecnus

0-23-

worked under this inspiration and even after he had
left Basel, was able to have his books published there.
His works include books and treatises on mathematics,
poetry, geography, as well as editions of works by
Tacitus, Horace, Boethius and others.

In Freiburg he read Openly and privately for
his students from works by Livy, Homer, Ovid, and
Virgil. His public readings drew such enthusiastic
crowds that the great hall had to be put in order
repeatedly. Little seems to be recorded about his
life from the time he came to Freiburg, other than
the fact that he remained teaching there. His eyesight
began to fail and by the time of his death on the
night of march 27th, 1563 in Freiburg, he was completely
blind. He was buried in the monastery according to his
wishes. He had already sold his capicus library to
the Bishcpry or Johannes Angolph von KnBrinsen
in Ausburg, which presented it to the University of
Insclstadt and from there it went to anich.

- 2A -

CufifiT“ III

F- A 0 " ‘a :-' - “fl ‘ ' ' .
Di cussiun 0- H0331 Taecrz_1n tue 3?DCVACSFRDTN

G11? eanus‘ sicentific investigati1ns, including
his mueic rercfirch, evidently we‘rnM from A1” years 1%
Basel, r13re ma ny of his works incl“ 1“" t121 on music,

"0110 printed. The first of those, the 1311-119 in

J._A. LA

F-J

Tucicen, W? .3 printed in 1515. His next published musical

 

work was a revision of Beet in 3' tr1uLises De Arithmetica
and De ”r"ica, waiCu form a part of the complete edition
of Boethius' works published at Basel in 1546. The

gpdocacnordon, printed in 1547, wit:1 unich.we wi 11 Do

 

concerned here, in Glarcanus‘ most important musical
work and is refiarded as cne 3f tae m0"t important
txeoretical 1:131 of air time. In £9110 fermnt (
p9,;1: on a sheet ), tgis work contains a title page,
tun epiifile pm 313, seven pafios of table of cantents

faur hundred and seventy pvgen of dircus1inn and musical

examnles in tzi1ree b1ck: of fivc sect11.s c"ca- Because

the 1211011 in Ftsifion makes up the first bodk of the

Dacecao 1orrnn and ocean e Gl1r .:nua is the ec litor of
two of 23091311 123' works, it. would, inlay opinion, be most
accurate to say he wrote only one mvrical trwatieo, the

D1fiecacho.ion.

At one time, copies of this work were owned
by many European libraries, including be University
Library in Freiburg, the German Rubens in Ngrnberg,
the secondary school library in Heilbronn, the city
library in LflneberQ, the Ratschnl library in Zeicksu,
the royal library in Berlin and the city library in
Elbing. An exact description in print is in the
Ebnatschefte rfir sueikgeeohiohte, I, 67; In 1557
J. L. Wonegger made an abridgement of the diecechordon.
entitled msieee mums a; glare-uni figéebseheréfl,
which was published by Petri. In 1559 a second edition
of this work was published by Esnfredus Barbarimus
or Coreggio. In 1888 a German translation of the
entire Dodececherdon was done by Peter Bohn, which
can be round in many libraries throughout the world.
For his Doctoral Dissertation at the University of
Michigan in 1950, Clement A. Miller, present Dean of
the Cleveland Institute of Music, translated the
diecsehordon from the original Latin text into English
and transcribed the polyphonic musical examples into
modern notation. The edition from which.Dr. Muller
made his translation is one of the original yrintings
tron Basel and is owned by the University of Michigan.

The first of the three books of the Dodeoaohgrdon

is taken directly from the Isseore ig_Musicen,

with only the title omitted. The chapter headings

and sub-titles are the same. It discusses the origins
of music, its genera, musical intervals, division of
tones, division of scales, the monochord in.relation
to the diatonio species, solmisntion and the eight
musical modes - in preparation for the following books.
The first book is based principally on the works or
Boethius and Gerurius. The letter was s distinguished
theorist and composer of the late fifteenth and early
sixteenth centuries '( 1451 — 1522 ). Glareenue
states that he is "Ashamed of certain men writing pro-
fessedly on music who could not identify the sounds
they write of." l." "he writers of ( music ) theory
except Franchinus ( Gafurius ) can be quoted here

by music.” 2- Thus the Justification for the numerous
times he refers to Gsfurius. This book ( consistent
in this way with the other two ) includes many
disgrens accompanied b greatly detailed discussions,

1. Glereanus, Heinrious, Do ecsrbordor English
translation by Clementfill Elller, Doctoral
Dissertation, Ann Arbor, .ichi'nn- University
of hiohi3en, 1950. P. 46.

2‘. IFID.’ P. 3730

-27..

uith.interruptions for careful qualifications, which
go into even greater detail, and insertions of quotations
from literary sources, chiefly from the Greek classioiats,
by men such as Plato, Aristotle, Ptolemy and Arie-
tozenus. All of these are interesting, especially
when one keeps in mind the period in which Glaresnnl
lived. However, the complex manner of delivery makes
the points or he discussion rather difficult to find
at times - a comparatively tedious task for the average
twentieth century efficienoyuconscious mind.
The second book contains the following:
a) a general discussion of the modes;
b) musical theories of ancients;

0) analysis and discussion, with pleinsong
examples for each mode;

6) connections of the various nodes;

9) examples of modes which do not till the
octave;

f) comparison of nonsphonic and polyphonic
compositions; and

g) monophonic settings of the Horatian Odes.
( This last represents the preveiling desire
to revive Greek theory. )
This book includes a discussion, "What our times
seem to have changed in these modes ( the eight )
and to what extent this is lawful. ” "It is evident,'

he says, “that every age has correctly used those

- 28 -

modes 1n‘gg13 way, even if it is not immediately
7
apparent." J. He £993 on to any that many theorists
maintain that altering semitonua 6093 not change the
mods - Glareanus Opposes this by asserting that the
mode itself is changed. 4-
Iha third book contains the following:
a) mutation, mennuration, taotua, preportions,
with examples based primarily on the works
of (iai‘uriu :3;
b) polyphenlc examples of the node»;

a) connactions of modes;

d examples of modes that do not fill the
octave, and

e) ( acme ) biographical material on the composers
whose works ara uaed as well as comment of their
style and skill.

Hinety quotations are made from actual
polyphonic compositions written by many distinguished
composers, among them the Netherland campoaers such
as Joaquin, Brumel, Ockeghem, Cbrecht, Knuton, Isaac
and others, and by some Swiss and German composers .

Ebnfl, Slxt Dietrich, and Gregorlue Keyer. Some of the

4. EL?" :9. 185.

-29..

compositions were personally requested by Glareanus
for the express purpose of illustrating a point.
Though many of these examples are fragments of larger
works, the preservation of these compositions by
their inclusion in the Dodecachordon in enough in
itself to notablish the importance of this book. The
many citations from Greek and Latin poets reflects the
author's humanistic and philologiccl interests.
Glarcanus classifies these examples according
to periods!

1. those written seventy years before his time
which he calls old and simple;

II. those from forty years before which he calls
adolescent. and ,

III. those no more than twenty-five years old oh
constitute perfect art according to him. o

Glareanus docs question those of the last category in
general by saying he is ashamed of the distortion of
correct model usage and that such a lack of restraint

has caused learned men to weary of the style. Ho adds

 

5. It might be of interest here to note the author‘s
speculation that the Dodecachordon was written'
much earlier than its puSIIEEIng Hate would indi-
cate. The composers whose works he has used were.
for the most part, deceased by 1520. The first
book was already cited as having been written in
1516. Glaresnus mentions no theoretical works or
musical works beyond the early part or the six-
teenth century.

that polyphony for more than four voices is "not so
much for aural pleasure as for the ostentation or the
talented. For it could scarcely be possible that the
human intellect distracted by so many and so varied
sounds could follow carefully all voices simultaneously.
In my Opinion a distinguished composer can show his

I60

vigor of talent in two or three voicefi. many

or his examples are for two or three voices.

specific Approach and medal Discussion .
Glaresnus' general approach to nodes is by
their range in the octave species. He discusses the
same octave species rather than the authentic and
plsgel grouping, i.e.. Hypodorien and Aeolian together,
since they are both in the octave of A, rather then the
usual grouping together of Dorian and Hypodorisn.
Because there are only seven octave species,
he maintains that there are only seven modes. He
recognizes two divisions within them, the harmonic.
( authentic ) by 5th and 4th, and arithmetic ( plogcl )
by 4th and 5th. By putting these together in all

possible combinations he arrives at twenty-four

 

6. IEIDQ. p. 418-419.

- 31 -

different species, but discards twelve of those as
non-diatonic. The six modes retained in the harmonic
division are Dorian, Phrygian, Lydian, Hixolydian.
Aeolian and Ionian. which, together with the six
arithmetic or plagal model - Hypcdorian, Hypophrygian,
Hypolydian, Hypomixolydian, Hypoaeolian and Hypoionion,
make up the twelve modes that he defends. Under the
authentic group he names the Hyperaeolian ( Locrian )
as spurious, along with the plagal Hyperphrygian
( Hypolocrian ). because they may not be divided
harmonically or arithmetically. not having the
necessary perfect 4th or 5th for this division.
Glareanus' main concern is for the four new
modes which result from the addition of the B-flet
to the Dorian and Lydian. Earlier the Dorian with the
B-flat was classified in the grotus Maneria and the
Lydian with the B-flet in the Tritue Maneria. He
maintains that consistent use of e B-flat in.the
Dorian Mode is equal to a different octave arrangement -
that of the Aeolian from A to a, and likewise consis-
tent use of a B-flat in the Lydian Rode is equal to
a different octave arrangement - that of the Ionian
from C to 0. Therefore the Dorian Mode with a B-flat

should be referred to as transposed Aeolian and the

-32-

Lydian Rode with a B-flat should be referred to as
tranSposed Ionian. He stresses that this is not a
radical innovation, but rather a logical continuation
and expansion of previous practices.

Another of his goals is to establish consis-
tent nomenclature. Rather than using the terms tongs,
22333 and tropus interchangeably as Gafurius does,7¢
among others, he makes it quite clear at the beginning
that‘ggggg will refer to the church modes, while tongs
will refer to the interval of a whole tone. This
desire for consistent nomenclature also pertains to
the modes themselves. Strong advocation for proper
use of the modes and consistent nomenclature probably
reflects part of the influence of the Greek revival

which prevailed at the time of Glareanus.

The first octave species and its two modes
extend from A to a. The Hypodorian is divided
arithmetically on D, the Aeolian is divided harmoni-
cally on A. In both, a minor third may be added above

and in the Dorian mode a whole tone may be added below.

 

7. Gafuriue, Franchinus, Practice Eusicae, Ellen,

-33-

The second octave species and its two modes
extend from B to b. The hypophrygian is divided
arithmetically on E and usually uses the range from
B-natural to 0. Though the range is similar to the
Ionian. the sound is characteristic of Hypophrygian
because of the style and the pitch of the final and
the approach to the final. The Hyperaeolian or Loorian
has no perfect fourth or perfect fifth. cannot be
divided arithmetically or harmonically and therefore
is not usable. except by adding a semitone to the
tap and a whole tone to the bottom, thereby perfecting
it and making its use possible.

The Hypolydian is divided arithmetically on
F. with a range from G to c. The lower semitcne B
is often added, making it similar to the Mixolydian.
The Ionian is divided harmonically on C and has much
in common with the Lydian. It could be called old
Mode VI. Occasionally a B-flat is added. making it
also similar to the Mixolydian. The semitone below
is rarely used. It is the most common of all the
modes. though it is rarely found in older church
music.

The Hypomixolydian is divided arithmetically
on G. with a range from D to d. The Dorian is divided

harmonioally on D. Both of these modes have been used

to a great extent throughout their existence, A whole
tone is often added below and a third above the Dorian,
as is the case with the Aeolian.

The Hypoaeolian is divided arithmetically on
a, the Phrygian harmonicslly B. These modes have a
range from E to e. The first of these is infrequently
used, probably through inability of singers to use it
accurately. They usually change it to Hypodorian as
do choral directors. A whole tone below and a semitone
above may be added. The Phrygian has a very shares-
teristic sound and cannot be easily confused with any
other of the modes. When it is used it is for this
sound. which has made it very distinctive and conse-
quently famous.

The sixth octave series has a range from F to f.
( Note the confusion of names here regarding what we
know as the Hypolocrian. ) The Hyperphrygian, plagal
of the Hyperaeolisn or HypOphrygian should be called
the Hypohyperaeolian. It is sometimes wrongly called
the Hyperlydian. It is rarely used in its complete
system and then only from the renal center, B. down
to F. The Lydian divided harmonically on F is rarely
found in its pure form without the addition or B-flat.

even in the early church. A polyphonic example of this

I
bl
U1

I

modu fov the Dodecachnrflon had to bc espacially commie-
Blamed since Glareanua could find none that was
without the addition of a 3—flat. This is also true,
but 1383 surprisingly no, with the Lacrlan and its
plagal.

The seventh and last of he octave series is
fro: G to 3. The F pclonlan is divificd abithmetioally
on C and is rarely 11:36:61. With the mlfii'tlfin Of 8 B-flat
it was known as node VI and has been usad as such for
over five hundred years, especially in songs of the
Celtic and Germanic languages. The HiXOZVdian, which
is divificd harmonically an d, is mixed with the Lydltn
mode, but has been lhrgely replaced by the Ionian mode.
Tha gamut of each of these octave series 13 described
in terms of the Greater Perfect System of the Greeks;
an illustration 0! each scala is given on a staff as
well as verbally. The arrangement of tones and semi-
tones is also included is carefully explained.

Glareanus doea define characteristics for
each mode such as Joyous, lamenting, war-like. aweet.
and barbaric. but eliminates thulr importance on the
basis that a prepitious talent can alter them com-
pletely, thereby turning a somber node to a any one

and likewise a gay one to a somber one, e.5., ”A mode

which in light in chant-r can bc and for uric!"
mecctc. contruivicc. c ccricuc node an be uccd '
for light “bacon." 80

Ho clcc cpcckc or mun or melodic formula,
toncc ct coconut? cuphccic and characteristic chip-
cr inter-vain which point to certain nodcc.

Honcphcnic cud polyphonic cnmplu of can
ccdc m given. Gin-canon diccuucc tho 1:11ch of
node. in polyphonic companion. and mcludcc that '
the relation-hip ic noun]; bctwocn an ant-hath and
its own plcgcl. Hc senor-.11: don not denim“ th-
ncdc in c1]. voices or c polyphonic composition. How-
cvcr. in those whorc ho dccc describc the combination
it is usually cn authentic and it: plus“. ihcrc
an approximately 1: dozen pclymodcl ccnbincticnc
involving different modal names. which we. tor tho
most part, mixtures of Aeolian and Phrygicn. Lydia:
and Ionian ( Hypolydian ) and Hixolydilm and Dorian.
( One of the latter is trcnapcccd dam c major new
to F and c, with Bo-tlct added in tho key cisnc‘hn'c
and 3.212.: written in tho parts when it occur”; )

 

8 Glarccnuc Hoinricuc %dooa€th rdon Ehglich
. translation by Clement . lIor, Eoo‘mral

Dissertation. Ann Arbor Michigan: Univcrcity
of achigan, 1950. p. 2’17.

 

_-37-

Most usually hero, tho cantuc provides the thematic
thread; tho banana forms tho harmonic base, tho‘glggg
lion an octave above tho hassua and tho discontnc

an octavo above the cantua. Glarcanuc found that
gonorally if the authentic mode is in tho baooua, tho
plagal is in the 253333, tho plagal of the name modc
will be in the canton and oontrariwiao, if the plagal
is in tho bosons, the authentic of the same mode will
be in the contus, or tenor.

There are seven examples of the Hypodoricn
mode. With a Hypodorian tenor, the bacon: in often
in Dorian with a minor third added above the “Incl
range. When the tenor is Phrygian tho banana and
_giopmntuo are often Aeolian. Tho Hypophrygian.may
roaonblo Aoolian, since if it does doccond to tho 8
it will most usually oxtond down one note further to
A. However, it moot oftan stays within the range
C to o though another variety can be round occasionn
ally with a rango from D to d which can oasily‘bo con»
fused with Phrygian. With either a Dorian or Phrygicn
tenor, the bosons will often be Aeolian.

There are two examples of the Hyperacolian,
or Loorian mode, both in four voices. It lo hinted
that one of those by Pierre do la Ros was cont to

~38.

Glareenue by requent beeeuee he could find no ecuplete
example. The other ie by Sixtue Dietrich. The full
name from B to b ie used with the addition or e whole
tone below the final. It in 151‘qu an an authentic
node.

There ere three examples or the Hypolydien.
This mode is usually changed into the Hypcicnien by
. adding (I 341313 end in need with its authentic. Lydian.
which in Cleo usually provided with :1 8-11“ end then
beoonee transposed Ionian.

Glereenue cites the W W Dolomee by
Joaquin en a perfect example or the Ionian mode, but
onite it. However, two of the tour exemplec eheun
for this mode are by Joaquin.

The Dorian mode ie cited ae' being used very
often because or its majesty and venerable dignity:
there ere rm illustretione or it here.

is in the cone or the Ionian node. Gmeenne
citee a well-known composition en en emnple of the
Hypomixolydien. Thie time, it in the m; m
by J can Imton, a work not included in the W.
The similarity or this mode to the very populer Dorian

may account for ite neglect - only one example in given.

-39...

Hardly any two modoe are as distinctive from
the rest and no ecneietently cemented no the Phrygian
and the Hypophrygien. Their connection, on well ee
theirrelationchip to the Aeolian and Hypoeeolien
and Dorian. hoe been mentioned earlier. There ere
two exanplee of the Phrygian and three of the Hype--
W331“.

The Hypceeolian in its pure torn dininiehed
in use becauee it we often modified to Hypcderien
or Phrygian, as mentioned previously. However, tour
examples are given.

The Lydian is the not corrupted of the model,
owing primarily to lock of education Ind/or elreleee-
neee by choir directcre and their eingere. it hoe
been almost entirely replaced by the Ionian. Four
examples are shown without the Harlot in the "old'I
form: the lost end firth noon the 3-11“.

The Ryperphrygian ie eomctince approximated
by the Lydian, but in the theoretical eon-e it ie
rejected because it cannot be divided erithmeticolly
or harmonicelly. having no perfect fourth or fifth above
or below the final . however. two examples are given.

The Mixelydian node has, for the molt part.
been replaced by the lmian. though it in often

imitated in the Ionian by the addition of a B-flat -
three examples are given.

The four examplee of the Hypoionian are among
the many compositions of the time which could serve
as examples. Though this and the Ionian node were
beniehed among early church musicians they were very
popular in secular music. ( By the use of the secular
m m in the sacred composition, which became
popular in the fifteenth century. the Ionian node was
brought into equal popularity in sacred music. )

Further discussion follows regarding,authentic
and plagal modes as they appear in pairs. with examples.

Following the analysis of music in the last
book of the Dodecach don. one finds biographical data
on many of the compoeere whose examples were used, as
well as criticisms of their styles and the styles
which existed than in general. Many statements which
were made previously ( sometimes more often than once )
are repeated and defended again. This makes tedious
reading of what is interesting material. These repe-
titions could have been omitted. for the most part.
without Jeopardizing the clarity of what Glareanue was
trying to defend. He does have a sound, logical.

pedagogical way of writing and makes profuse use of

-41-

examples, 9.5.. in his discussion of octaves, he
defines each interval step by step to the octave.
gives their relation to current practice. and illus~
trates them on a staff. He uses the same method of
discussion throughout - including those parts which
cover the modes.

His numerous references to classical writers,
and the detailed discussion of the use of modes previous
to his time. the discussions evaluating the musical
practices of musicians and theoreticisns up to and
including his time. and the eloquent style of writing
he uses certainly Justifies the praise of Gleresnus
and the diecechordon. The fact that the terminology
he applied is still used today further Justifies his
significance as well so the preservation of the excel-
lent polyphonic music he used as examples.

however. I feel that some very glaring emissions
were made.owing somewhat to the era in Which he lived
and somewhat to his lack of ability to examine that
are from the standpoint of thoroughness. The latter
is quite surprising when one considers the phenomenal
personalities he know well. and the amount of intole
lectuelisn that surrounded him during his lifetime as
a professor ( s most successful one ) as well as. of

course, his own ability.

The writer cannot help but feel that Glareanuo
missed the cardinal point in hie diooueeion of the
modes - treatment regarding the complexities that had
devaloyod in modal manage and the possibility of a
prevailing moae or over-all mode which would include
consideration of all the voice parts as they were sung
simultaneously. For as long as one voice part could
be classified as Dorian and the piece began or ended
in Dorian, Glareanue was content to call it Dorian.l
It seemed unimportant to him to analyze what went on
within he bounflarieo of the Opening and close and the
frequent modal complexity or he voices individually
and no they sounded together. He could have formed
acme perception of an over-all mode - or at least
made some reference to the need for new terminology to
identify the innovations resulting from polyphonic
procedure.

From the modal standpoint, much of the music
Glareanua used is very complex. He ignores this in
the analyoca and even fails to mention it. The author
would like to show some illustrations of this complexity
in the following section by diacuseing the Kyrio .
movooente of five polyphonic £35883 composed around the

time of Glareanuo.

-nm*“

CH iii IV

1-70."? 0.1

A s
Fifteent1 Cel.tury

In too

 

noly is - Kyriee of Five

Foljgnonic Masses

2-9111

I will ii ino five

 

 

no‘"wuwric La uses of ti“ fifteenta co;tpry - all of
U416") 12.? c tm M3110 no? 0-5:; {7.3 toe crow" f . :3 - tile
famous L'II)*1'“G "we. Bfore tile 0.13.1350: introd‘uotom
mote 131 71? act the rtafie for 330 analyse: tit."c veB.
The pr ma 3 feature of t;c contvr fir no .n"c no
its none suggeS‘s, is iL: 1N‘niu tion based on o sifigle

pro—existent me 196 y. Tlig

. -en 1,- ' a - J-
mont oi lo "33, hoot gcno

in longer time va uos.

bot“oo;1 toe canto

1 1 £1 '~'\ \
cancernoo ) Vsrluw
W

cortus fir"vo itself:

fifj'fl

UM.) ,

9* f!

tunes. The 301 at v.22}

molofiy

( A oiLilar

n-an

oppemia in every move-

on P}

L’;

1137 in the tenor port, nd

8333

pvqlficqulifl or

"u
41')

on for the

cagnsozs, "pooular

‘ '6', f1
~i kw ‘.-

.
onscfi V9-

 

 

*9 ~--\ an s». ,- ' ' 0 .r 1 r- r ' ~ '1' -1 .C‘
strictl; Uyun tie Local in “any on 03, bJu woo also iro-
—c- v - fl- 0- . ~ I ‘.
QUcntZ greatly alt cred iroo t¢0 original.
In Aron'o T?“~tioo I} T1roo.ncllv in Euaioa,
m *
t‘ . 9‘ . r- -’ u a ‘ ‘ 1.. s
( lgCZ ), JaSH»is was roiorre:1 L0 as u38 c mpaoer
” ~ , 9- 1 ‘w W‘ .1
of tie L' momma firnc melod". ° Tl“ :oiody apporrs

 

 

1- Il

0:10. pter

iron, Poitro,

Book I.

3o.

-44-

in the Kellen Chansonnier 2‘ divided between the
tenor and contratenor, in the Mixolydian Mode, as
shown. The composer is anonymous, but the style of
the setting places it in the period with Dufsy

( o. 1400 - 1474 ) and Binohois ( c. 1400 - 1&60 ).
It is unlikely that this is the original. Uncor-

tainty concerning its source prevails at this time.

m

k L'Homms (Lt-m}: mane);
‘ J

    
     
       
  

.......' -_._-

   

—_~__ . _. __- ‘.__..

’..-_

-.——. my

   

 

 

 

 

 

2,' Mellon Ohansonnior, Yale University, New Haven,
Connecticut, See. 9,1wa 3: Abode,

3. Reese, Gustave, Essie in the Renaissance, New
York: Norton and 0., , p. .

Through the period which begins here with
Dufsy and ends with Joaquin, epochol doveIOpments
were being made. Through Dufsy's association with
Dunstabis ( their relationship with each other has
been compared to that or Haydn and Hozsrt ), an
analgssstion of English and French styles took
place. The cyclic tenor Mass, developed by the English
on the Continent. was for three voices with the
gentus in the lowest part. Dufey adopted this form
of composition and ended a fourth voice beneath the
part bearing the oantus firmus, thereby giving the
composer greater harmonic freedom. Designation for
the four voices produced the terms site and 2253,
which we use today. The contrstenor‘gltgghcnd
contrsteno; bosons became the §_l_t_._g_ and M.
Another addition by Dutay is a feature which is
treqnsntly encountered after him in centus tigggs
finesse, and often connected to them musically. 1.0.,
the use of a motto, which is called the hagg_motive
here. It usually appears in the upper two parts and
begins each movement; this may involve anticipatory
imitation of the cantus firmus.

There was a tendency to expand the ranges of

the parts, first downward, then upward also. This

eXpaneion in the use of voice ranges was directly
relative to the increased use of imitation; the more
range available, the more elaborate the imitation
cauld be. Each helped the other to grow.

The greater use or rauxbourdon technique
( which is most often found in the tenor-lees sections
of the centue firmue Haas ) in itself gave rise to new
'harmenie concepts, especially regaraing the importance
of the dissonant intervals, or better less consonant,
thirfie and eixthe.

The Landini, or "unéer-third" cadence was a
popular manner of closing at the time of Dufey and,
te a leeeer extent after him. Eensuration changes
which occurred, as we shall see, create balance of
the movements. ( This naturally adéed further
variation to the cantue fireus melofly. )

The following textures are predominant in
this period: First is the canon at the varying
tie-interval. Secondly there is the use of
imitation, which was gradually breaking away from
being Juet a part or another form, and deveIOping a
form of its own. Third is the treble-dominated

style, which was adopted from the Italian bellata

0-2;?“

myle for three voice 3; melody in the tap Iert

supported by the two lower veicee ( which were
usually imitetive in style ). Fourth ie the duct
style. Again the number of voices is three. fhe
tap two voices were usually imitative of eech other.
The bottom voice was in free imitatien, with longer
note vein es and functioned as a eque rt for the
other tee ( after the Italian ceccie etyle ). The
firtha an1 lest texture is the ”poh «tee; inst-point”
writing called the confluotue style which anticipated
the It: lien ffil 2o im15»3 he writing - three upper
voicee in a second inversion tried, the lower
voice ecundir5 ‘e root of t}.16 cflzzrd Ehie was used
prifierily for the harmonized eettin; of Psalm Tone:
and is a very important step in the approach to
cherdal writ n5. 4'

The present writer wishes to ehow deviations
in model uea 5e .'hich occurred throu5h develOpment
er the potential of the tried by triadic outlining
bv crpe55ietion, movement in leaps of thirds, fourths
and fifthe, parallel thirds, and Bixthe, and other
factors which were part of the tendency away from

4. FUR. pp. 91. 16%.} 8.316. Example nufllbdr 1141p. 492.

modal conception toward functional harmony. The
inoroaring mix_uroo of nodes which arose partly
as a component of the polyphonic style or compo-
sition ,hot dofiinatod thio period, will be noted.
The cofijooors whose worka are uood proceed
chrono105ically and otylintically from Data

( o. 1403 - 1&74 ) to Joaquin ( c. 1550 - 1521 ).

.49-

o-‘mma maiac.Gu am to 1’

Duray, (o. 1400 - 147k ) had oovortl period:
where his 3‘51. variod. Hi- oariy works reflect
the earlier atylo or Enchant. A' mutton period.
which in not diatinotivo in itself. 1nd: $0
mother sync. more characteristic of the 1n»
rim-mu 0mm. ( m. is similar to Bentham“
open of th. 6130.13 and.Ronuntlo oral. ) Amine
than. amour-nuc- of his later works on flat
nor. diacroofi use of ducts. tho groator inparflnnoo
sivun.to tho toner und bans .- part.ot on. poly.-
phonlc structure, and tho elaboration of the
gaggggugggggg itself; in gonoral. n harmoniou-
oquilibrium of all four voices and oanaoquont
fullness of sound.

Duray’a g'yommo arm! mass was probably
written in the later years, between 1450 tnd
1460. It is in {our parts and has the partial
signature or one flat in each or the lower three
parts. Thorn in no signature in tho uppermost
part. Cross rolations oocurr often no a result

or the superius using a Bonatural when ascending

0 mu '3.
pp. 33-25.

 

  
   

1. Dufoy 1$014.1].IaurnoI M1333 L'Ho mo arm
1%“: org ler,
“Ens: ca 953, Tomas III,

I) D
12-h. F13! .e “\wgmoa‘:

- 50 -

and a B-tlat when daocending. The head motive

ie as follows;
gum/M0“ E ' ' a I

 

The girat‘gzgig in ternary rhythm begins in
three voices with the head motive in the bass and

augcrius, the Elggg,in free writing. In every other
movement the head motive begins in the two upper
voices. The lowest part of the head motive rhythp
micelly anticipates the cantuc firmuc. The upper part
may be said to recall the ascending leap of a fourth
round at the beginning or the W M-

The angering begins on second line G. It is
Hyponixolydian ( without the Burlat ) at the beginn
hing. By the tenth measure it has extended downward
to D and arrivee at a mediant cadence in Dorian on D.
( measure fifteen ). It reaches upward again, centers
around.G, has many B-flate added, and finally ends

on G in transposed Dorian.

-51-

The w, in transposed Dorian on G ( with
B-flat ). begine in the upper tetreohord with emphasis
en the interval of the fourth. The part ends by
outlining a G minor triad - B-flat. G and D.

The page outlines the G minor triad three times
and oirclee around the D minor and G minor triads
throughout. Thin part in in transposed Hypodorian
on G. It becomes more elaborate on it proceeds and
plays an important role imitatively an well as pro-
viding a harmonic base. it the end the M outlines
a G minor triad.

the gm m in the tenor is in tranepceed
Dorian.on G and stays within the pentachord of G to D.
Only the first nine measures of the model are need
for the firetlgxgig, but broken by rests, after Which

there are a fee measures of elaboration to the cadence.

The Chrietg in in binary rhythm and begins with
canonio treatment'between the upper two voices. The
melody is very similar to the upper part of the head
motive. Though the voicec sound together, the lower
part waits two measurea before beginning the actual
imitation of the upper voice. Parallel sixth: occur

almost exclusively in the tenor-lees sentiens. such
as this beginning pert. Both voices are in Hypodorien
on G.

irter fifteen measures rest. the‘lggggp
begins with measure ten of the osntus firmue model
and continues as far as the 53 m.

The g§£g_pert begins Just after the gantue
£$£EE§~ Scale movement and leaps or thirds and fourth:
prevail. Ehe pert ends divioi. in first inversion.

( £33153.mey indicate doubling of instruments and
vcioe parts. )

The node consists of a mixture of the authentic
and plegel Dorian, transposed. on G, though the finel
cedenee is v ( with Fasherp ) i on G with a 4-3
suspension in the eugerige.

The upper voice or the head motive as it
appears in the §§£l31° Opens the second‘gzgig at
the time interval of e half note with the order .
mp eriue, w. and page. The rhythm in ternary. as
in the first me. After two measures the M
states the head motive ae it was in the first fizzig.
The B—flet is added consistently in the superius.

the Egon outlinee G minor and D minor triads

throughout. ‘The final cadence is V ( with F-aharp )
i in G minor.

Again after fifteen measures rest the 3m
resumes the m m at the g; m Just as it
appeared in the first EELS but without interruptions.
This is repeated in diminution.

Dufay gives his voice parts freedom from strict
modal adherence by outlining triads and both augmenting
and diminishing the ranges of the different parts.
However. he is at an early point in the development
of this period. and variations within his work.
nodally in particular, are not no apparent so later
composers discussed here whose works are most often

cited by Glareanus.

mie- Vises L'Honne are! - JohW 2

 

Johannes Ockeghem ( c. 11020 .- 1495 ) was
the most varied of the Mass composers of his tile.
By his works alone. five types of thee composition

can be illustrated: mm ( W
gag ); paraphrase ( Rgguieg and gm of m
”Cine 21033193 )3 beginning of parody ( W
Senior-rant ); canon ( s. )s and
free writing ( Miss: 33-43; ). Ockeghell in lilo
credited with having written e thirty-six voice
canon, 933 Grating. 3% No more thenieishteen
voices are said to sound et moo. ) lie
pomlarity among fellow msiciens is evident by the
fact that his name was mentioned Monti: in
compositions by such concurs as music, Ocnpere
end Joaquin. A lament on his death was written by

 

 

Menus.
2.‘ 'Ochewxen Jon-mes » ' _. .-. _‘.._,.;._M_ ,
3 . vs ~~ a .2 .; "1 "mm 1mm
' I‘WMVJ";AVJ‘IT e

aeriee 1. issue I heoieulue VI. Also. a?
.- - . “xi... me ‘0 M)”.: W
’ GO. 1952. We 1’3e (uh.

701. II.

 

 

g.)

Booznso of the type of notation in the

original noiIioritu, the r1933 L'Eommg'arfio by

Ooko3he on may have boon written before that of

Dufay ; however, an onset date f0? tki? work is unknown.
T39 first movovont is in tornaLY r1qt‘n.n and

is for four pr mzt . All four voiooa begin and and

each section simultaneously.

In the first 21.319 the 33333133 and bass are

p.

n the Pypozixolydian modo on G. Tho altgg romaine

y..-

b

tho up3:>r tetrac? 9rd or the IIixoiydia on G and

6

g
{'3

rwe bios the lower totraohord of the Hypomizolydian.
The ggntjs £13333 procoeda up to measure nine of the
moioi with only slight interruptions ( otherwise

uroflba‘11tnad ) in the flixolydian mode on G.

Th- Chriqte begins on G, mixolydian mofle. The
first statement of Christa ends in C major; the
second goes to F major, with a B-rlot added; the third
endfi with a Hixolydian cadence on G - F major in first
inversion to G major in root position. The entire
Chrinto is chordol, concise and without elaboration.
Though the section is only fifteen measures long, the
changes in tonal structure are clearly audible and very

significant. ,

m n... - , ‘. .s - ~ ‘1 -_ , , .
ng sn,e:in: in two esoonc Fv‘ie begins on
W and...”

7‘.
J..-

erian wit. a B—flat, changes to Hypodorian without
the B-rlat, both on D, and ends in Hypomixolydian
on G. The 22223. remains in the upper tetrachord
of Eixolydisn on G as it has previously. It gives
a short emphasis of Phrygisn on A (when the angerin-
is in Dorian with the B-flat) and a second emphasil
of Aeolian on A. It ends in the Mixolydian mode
as it was before. The 2233 mixes Hypomixolydian
on G and Dorian on D, depending on its relationship
with the dominant.

With even less interruption than in the
first gigig, the tang; completes the cantus gigggg
model in the Hixolydian mode on 6 four measures before

the final cadence and continues to the end in free

writing.

The cantus firmus is presented in a straight-
forward. rigid manner without embellishment. When
the other three voices continue past the presentation
of the oantus firsue. the tang; presents the centus
firsus and then is freely written to the final

cadence. This occurs at the end of every movement.

The w m is in the I’lixclydisn node except
in the 92222 where it is in Ionian, and the m
whcrc it in transposed Dorian. It is in the 299;;
part throughout but lies below the range of the 29.2!
in the 91251.9. and m. Imitation of the 9321.!
m melody. does not appear in other voices,
except in one part or the M23 generally Ockoghcn
uses less imitation than Busnois. whose L'Homme agnc’
M follows. were is a. limited amount of melodic
importance given to the £229.}; and 293 lines;
however, the outer voiccc do appear occasionally in
contrary motion. One or the most interesting "pect-
cf his work is at the cadences where he reaches a
climax with. the use of atrctto effects and by using
c dotted rhythm and/or shorter time values. thumb:
increasing the drive and motion toward the cadence.
He also adds to this climactic effect by changing
the tenure through alternating the scoring near tho
final cadence. In the W. on voice. appear
in various combinations of two. then all four Join
for the cadence. The “under-third” cadence is

found for less than in May or Busnoic and most
usually within. rather than at the end of c compo-
citicn. Generally the authentic V-I appear: in the

-53..

M with 8 -- 35’? «- 8 in the wearing. Extension of
the range downward in apparent at this time. Earphone
is on the sound or triads on strong beats, in root
position and first inversion. There is moh chordsl

vri ting thrnghout.

-59...

e-Miuc ’ mm.

 

In opmxintcly the your 1475. Bunni-
(2.1492,)comuchbcuduthc
mm mm. ‘° cum-«m. ( c. 1450 -

1505 ) pox-odiod mmic' cutting around 1‘90. when
the two comma were together it Bras». Humi-
ct the man of mint avicur. abrocht ct the
church of Hunt Donation. the mount. an
m 5' been III «on: remains ”lotion '
to the Bounci- 53;; and 3pm! to be directly
inspired by it. perhaps giving W bui- for
the minority or Bounci- u originator of the
melody ultimo. act-liar. m tor-Ii structure or
Obrccht'c M in dependent on hmic'c. Utrecht
mice" the original omn- vith now can. 51ch
s new harmonic scheme. Ind nun mitotic: mo '
mun-1: m mm“. '

‘. mm:.. ““1”. W- -14.. ,.ii.""’*- .. “‘J.‘.L..‘...i.i;: '

.i: you: c 8-0 _. L :.

   

no: so she Verne“ co co.
Series 1. Tom:- I. Pucciculuc II.

 

Q. . ’- . a .
y... .‘ ‘ A, ~ ' . I ‘l|‘ .
mm s ' . , ‘.u-. f .
A1
. v Q.

-60..

The oedenoee in the Bunnoie are for the meet
part or the “under-third” type. In Obreeht the: are
more etrengly euggeetive or It later period. with e.
etrong tonal reeling resulting from the nee of e
reieod leading tone in the anger; as end dominmt-to-
tonic movement in the M. The eeoending portion
of the oedenoe changed from the lower voioe to the
upper Voice. often the voice immediately above. end
wee repleoed by v - I in the M. Movement in the
uppermost voioe changed from 7 - 6 . 8 ( prmlent
in menoie) to 7 - 8 . Which eppeore to eome extent
in Mamie end ooneietently in Utrecht. m the
cadences or Buenoie the M often romaine silent.
The harmony ie completed by other porte end. while
theee hold the final note, the 333.53. begine new
imitation. Obreoht, like Jeequin, nakee neeaor
pedal tonee at oedenoee. He often breake up the
themee into eegznente end thine out the texture. then
oombinee the eegmente end thickens the texture toward
e. olinootio end. He neee higher voice rangee for
tension. In much or the Buenoie M... canonie _
treatment ooneiete or long meal pueegee in two
upper voioee, repeated in e formula. two or three time.

-61..

Invereion of the eubjeot material is present as

well ee the beginning of etretto. In Obreoht'e

there seems to be more forethought regarding thie.
Imitation ie often in all voioee rather than Juet

in two, and is enewered not only at the unison and
octave but also at the mg... The musical subject ie
often a shorter, more etriking eentenoe and can
appear in more than one relation to its answer.
Obreoht shows a more definite feeling for chord
construction and harmonic function. The little fugal
passages and oadenoee of both man show the trend
toward etmoturel unity that took place with the
approach to Jo equin.

Like Runnels, Ohreeht uses a head motive.
However. Buenoie begins the five major movements! of
the M with his head motive, whereas the firet
£332 is the only maJOr movement that Obreoht begine
with hie heed motive. From there on it is need within
the movements; at the 33; Egg, 433332;, W end
W and LI}. Bumoie shares anay'e Predileotien
for opening with the head motive in an upper voice
duo. Obreeht presents it in both duple and triple
meter and it ie found in all due poeeibilitiu of the

W, algae, and been. The L'Hgm and melody ie

-62..

imitated in other parts more extensively by
Obrecht than by Buenoie.

 

 

 

 

 

 

 

 

 

 

aim-\tm' _ z / u
A 1‘ f
._ __, 1 (no A L I . __
m; ‘1- ; A Va AA 1 1 rlii
T V VV r
n T l _ 7 “
y I l l \ \ \
2 _ 1 A :11: j ‘__1_
flea‘afisvlfiio
{t9 _ £3 9 3:3; 1‘ r’ "v
g a WITH

 

 

The prevailing mode of Bumie ie Dorien

beginning on G, except for the Credo which ie
Hypodorian beginning on D, both nedee being trenepoeed.

Obrecht treats the melody in Hypeaeelian beginning an,

E, except for the gaggg, which in Aeolian en.l. Here

a Phrygian character is given to the 25931.! M;

by the occasional innertion er a. B-flat. An interesting
feature in the appearance of the gang; an octave lever

in the Omeirixue.

Egie ; of each work begins with the respective
head motives. The interruption of the weantue m
in at. the end of the first statement of the high-lying

motif at measure fifteen of the model.

The Christa sections are in canon with anemia:
of the W m. Beth begin with two mbjeetn
and end with free writing. it one point. Obreeht
divides the aeeond subject and presents half in the
33. Bergen and halt in the 953.21. He establishes a strong
tonal reeling, exchanges fragments; of imitated
material in all veiees and uses rhythmic and melodie
eequenee to a greater extent than Mannie, both here

and threugheut the fines.

The second Miss 01' both works begin with all
four parts aimlteneenaiy and present the complete

~64.

 

melody except for the falling fifth:

at the and.

In.0breeht, more so than in Buenoie, the linear
eeunterpaint shows the graiual change to clearer texture
with a well-defined.harmenie base. it the same time.
this manipulation of the voice lines carries the voieee

further away from any strict nodal concept, such

as Glareanne outlines.

   

ieuflisea "Homno c »e - Joe

Joaquin Depree ( o. 1440 - 1521 ), a very

famoue musician during his lifetime, was received with
honor by many princes and was a court musician to

Leuis XII. the Podeeachordon contains a far greater

    

number of examples from Joaquin than any other single
composer and he is the only composer to whom the
faunas talian printer, Petruoei, devoted three
elumee.

Two m m 5.3.3.3?- based on the L'flgmm:
gggfi melody were composed.by him: the Mieee L'fiemng
Erme ea“ 3 tea; and the Mines E'Homme figmé'ggnqgggggg
mueiea;ee.6'1 heve chosen to tuae the Kyrie section
of the latter, since it is considered the more bril-
liant or the we and more representative of Joaqufln'l
genius. Firet printed in 1502, itlreceived tho'nnme
e’ca‘ee from the feet that in each of the six
eeetione of the.§ggg the melody cpene on a different

V {3923 T11

   

 

degree of the natural hexeohord. beginning on 0 and
6. Degree, Joaquin, fileea L'H mme arme an an

   
 

nggieelee ‘geegl e ‘ r‘r x orac.unx,

Peyuun sealeéht anihobgrfi hither, 9&ifbre,
Leipzig: BreitkOpf and Hertel. 1877. pp. 1-5.

Ska We. Em («02:9 ‘mmE'W\¢«‘-’¢.

proceeding in order to A. ( Each ends on the not.

on which 1t. begins except. in the Ame . ) Since

the m game name: melody change: its node with each
rice in pitch. no accidental: are involved. As the
pltch rises in the mm ( 311321; ) 1t. crouu
the voices above until finally in the Agug £11, tho
w w appear: in the august-133 greatly cus-
nonted. the modal area. of each successive precon-
tatlon are Ionian, Dorian, Phryalcn, ladlan. Mino-
lydlan and Aconan. The 3233 according to Glmumc'
reasoning however, would be considered in Dorian through-
out by several means: The m m and: «veal
measures before the finnl cadence, which provides time
for the remaining three voices, in tree writing. to
modulate to the Dorian mcdo for the cadence. Where

the W 1: 1n Dorian (m ), the last
note: or the 193133; con-o four manure: before the final
close to preserve the structural balance. ( In all hit
worke, structure 1- or primary importance. ) The
W gym; continues through the last measure in

the loot m. The following examplc in the head noun
which appears at tho beginning of the m, m and

-57-

gig" E I.

ivko/Mph S:
H.604, Ma‘hog- \“W’Sg LVc-‘mmi amt 8x932 DQLL} mg\(L\LS- SQON

 

_-_O _

All volooo m “pork“ in oho worn or Joaquin.
m- lo nodo obviouo by tho toot mt tho mm
to lutotod trooly in all vclooo. no oooblnoo tho
mole and tho om with snot ooro. Tho oononlc trim
to yory 1.th ond nmlly oppooro to pound luau»
nthor than on. oorllor duo otylo. Ono an no noo of
mmouon comm. ou‘otto. romaodo, ond riddle
oonono. In tho loom. only on port to notatod. m
othor pox-to. two or throo, dorlvo choir pom tron tho
cm which to nontod. by putting ooch port. to a. cum-
out “no voluo. Pour omloo of mo torn oro 31m
by Gloroomo in tho Dodocochordon. Ono 1o from tho
m 2.9. of th- W
W by Jcoquln, two are by Pierre do In No and
tho fourth 1o by mdvig Sontl. 7'

 

 

 

 

 

 

 

 

 

.2:

7o Miller, 22o may mo 119 ”o 3‘8 . 353o

-CB-

Though the texture is changed through varying
“no number of voices which are used, this 31633 is
basically for four voices. A form or cocticnallzntlcn
occurs by varying the scoring. C‘rmlns of caremlly
matched and balanced segments are characteristic of
Joaquin'a work. 33:3 movements alternate between
imitatinre grit-ins and harwonlc support in leap: of
fourths. firms and third-.3: 9.130 bofiwoon contrary
( umclly by ocalonlilze motion-ant. ) and parallel
motion ( thirdo, sixth-s and tenths ) with tho upper
volcoo. Repeated notes and pedal town may occur
in all voices. n23 canitonal rise and tall ( which
is associated with anguish J and the use of disco--
nancoo. such as major gov-onthc and minor seconds, on

_ tach‘mml moans ho is said to have used for exprooalon.

me first. erio la in ternary rhytdm. Tho
Imporius begins in the Doric-.21 mode on D, with anti-
in not" half

the Valuo of those in tho nonor. Long melodic llnoo

cipa'bory imitation of the 93‘ 3mm from:

   

are ra-paated 1n the same voice as well as in othor
volcoo. The 211ng begins in the Dorian node on D
with the vapor port of the head motive. ( Tho lower
part in in the M. ) Thin part remains in tho

tetraohord from the firth-line A, P 6161', to the D above.
In all but tho lost two measures the notes are repeated
in various rhythms and order.

The lower line of the head motive which imitates
the m m appearo here in the base voice,
primarily in the Hypodorian mode on D. The 3:29.933.
begin- the m m in the oovonth measure and
completes the model up to measure nine with slight
elaboration ot the cadence. The node is Ionian on C.

The 9.9.9.5. port is often in century motion or
parallel motion in thirds, sixth: and tenths with the
upper voiooe. Leaps are moot often in riftho. fourths
and oeuveo reopeotivoly. One measure before the loot,
themhoo o pedal tone oniduringvhioh there io
chords]. writing in the upper parts.

The Chrigtg in in binary rhythm. The M3
proceeds in Phrysion. It begins on E. centers around
E, ond ends on E. There are 9. tour section: in Mixe-
lydian on G. ( The mellow in the first ”M”
of this part in extremely similar to the beginning or

the Dufay Christa or the yfiomme arm! Mane.- )
The onus, which also begin: on E, he: o

-70..

HypOphrygicn range. primarily the lower tetrachcrd.

The'bgggIbegins on.A ( there in o feeling of

Aeolian at the beginning. ) then proceeds down to E,
where it etcye. occasionally descending to the A .
below. Before the m; m entere in Ionian on
G. the voicoo are very characteristically Phrygicn.
The final cadence is o plegcl cadence on E: iv . i.
( Taken out or o polyphonic texture. the Phrygian
bears a dominctn relationship to the Hypcoeolian
and lo often found in Aeolian end/or Hypcseclicn
writing. )

The 93333 Lime is identified to transposed
Ionian on G since only the pentcchcrd above the final
in used, which is the same as the corresponding pen-
techord or Ionian on G which appears in the m and
22.2923 m. ( It is interesting that the modes
of both the centus firms and the section itself nave
up a fifth respectively in the mists, and down 0.
fifth again for the £39239. m. ) The m
m melody is varied somewhat rhythmically and
proceeds as far so the 93 9339, or the model. There is
frequent chordsl writing in this section. on one voice
moves independently While the other voices move

harnenicelly with each other.

- 71 -

rho second 51.122 is in ternary rhythm. as was the
first. The snperius begins in Aeolian on A, proceeds
to Ionian on c. then Dorian on D. occasionally extending
to the Hypodorian range, 1d ending on D with a raised
leading tone: 8 - #7 - 8. Parallel thirds, sixths and
tenths, usually with the page voice. occur often here.

The 2.3.3.3.”: begins with oanonic imitation of the
superius and proceeds with alternation between sequential
imitation of many rhythmic and melodic phrases and
scale passages. The mode in this voice is not clear
since centers of concentration very. The range is
within the octave of D.

The page begins with the w m in the
Aeolian mode cn A. and continues up to measure nine
of the model. It then changes to hixclydian on G
with many octave leaps and scales on G. The part ends
in Hypodcrian with Burlat in a V - I cadence.

The 3e§25,cantus firmue completes the model in
Ionian on C ( down a fifth from that in the Christa )
with the note values greatly extended. It ends three
measures before the end of the section to enable the
remaining three voices to cadence on the Dorian mode

on D.

The harmonic schemes of the movements are very
interesting and contract greatly with those of the
earlier works diceucced here. Only because at the
cadences can it be said that Dorian ie the over~a11
mode. The ggggg,ic in the Ionian mace and tried: are
harmonically Very important. The first ane begins
on Dorian, D. The first cadence in Aeelian — V ( E
ncJer with a Gueharp ) - i ( A.m1ncr ). With the
addition of a B-flat the movement proceeds in Lydian
on B—flat. Triade that are need include B-rlat major,
F major and 0 major. Then there in a descent from
B—flat major through the tried at A miner to G major:
then up by scale to C major and D minor where there
in a half cadence in D minor which anticipates the

Opening of the Christa.

The Chrietc, ( ea hinted in the final cadence
of theigzgig )‘begina in Aeolian on A, changes briefly
to Phrygian on E, with a cadence on A: 8 - #7 - 8,
V - 1. After alternating between the triads C major.
D minor and F major, it 6093 to E minor which acts as
the dominant to A minor, which in turn note as the
aubdcmincnt to E miner. The final cadence in pineal

in E: iv -‘1. Consequently we have a mixture of

- 73 -

Aeolian on.A, anfi £hrysian on E with an Ionian tenor

on G.

The second.g;§;3 begins in Aeolian on A. There
are sections Which are in F major, B-flat major and
G major; Bmflat major with F major, D minor with
G majcr. and A major with D minor. The last measure

ie chordal, as all the final cadence points are.

Voice parts, especially the tenor and algae,
cross Quite Irequently. However. each voice in easily
distinguishable by its general range. Quite often
short phrases in rhytlmio cue/or melodic succession
are passed czang the parts in a fashion resembling
strettc. There is a careful unity and balance main-
tained between those shorter and more rhythmic sections
and these with broad melodic lines. These melodic
llnee alternate among he voice parts in the cane as
well as different sections of he work. The harmonic
element plays a most important part in movement and
units. There are tensions arising from harmonic
progressions which build toward resolution. Authentic

cadences are the most frequent; 8 - #7 - 8 or

-74...

2 .. 1'7 - 8-, with none of the earlier 3 .- 7 - 5 .- 8
appearing.

The stmctzml balance aha fem-22.1 1mm:
emphasize: by the use or fine 116313311 hereon: chew the
atylistia aimnce mas by Joaquin and provide Justi-
rice-biog: for the place may have given him at the peak
of the Renaissance,- as J. S. 31311 is placei at the
peak at the Baroque. At the gem um m extend or
model «iietortion within this pelypiony raises some
(me stirm regarding the incifiat used in the preparation
or the fitmmhorficn by GIL. “$321113. With regard to
same "during,” practices of Joaquin in his motet,

2.3. £33“t‘11$. which in. particular refers to mediation:
between the Iberian and I-‘hrygieh mode-e, Gin-emu: doe-
“? 9
”Her is he alone indeed in the imdercto
love of novelty and the excessive zeal to

match a little alery by being; um 21131, a.

failing with which the more talented pro-

fess-sore of discipline; are almost alway-
ctnioud. However much this in chat-Muril-
tie of composers, they still have it in

common with many other..." 8.

This do“ not explain however. the W
or thin “novclty' u o. trend toward tho general break-
down or the mode: by the and or the sixteenth «nun-y.

A...

80 Miller, 22. Mo. PI A5.5. '-

;:?;.:,:i..;.l pm‘ity in liturgical music, which had
new: axis-bad entirely in practice, but which was
constantly being str-osaad in theory, became even 10"
posalbla with tha high davelomwnt of polyphonic writing,
Email exiutsd at $21.: timer) of Glamaanua. The departure.
from modality, which led eventually to 22.2101" and minor
tonalitiaa, were 1333021133 quita no tumble at this
tine) .. a £424' mum: so, I believe. Mam Glareauua dared
to admit in his ngeoaghordon. Ema addition of tour
mm mica, whisk Glareama prepoaed in the More-
mentionfl. r12, ( Aeolian, Ianiaa and flair respect”.
plat-513.3 ) was: only a parual answer to him new pro-
Mair-3. 33* 1.11939 ample: we have bean able to we
tha always in modal usage Waugh using the voices
immuvaly as wall as relating than: harmonioa'lly.

In they example by Dufay nearly all the sires was

Hifisin 21m Dex-'13:. and/or Ifi'podoriml modes. By the

time of: Jag-4am, we saw stares; upon Ionian, ( major ).
1:33.113, tiaolian, ( minor ). Lydian and Phrygian within
the ass-ma movement or a piece) and oosaaionally mixture!
of $11636 sunnfmd simultaneously. 211339 changes warrantod
recognition, 21:: well as speculatien concerning a new
tonal syntax, rather than simply l. detailed explana-
tion and illustration of the tavern model and their

meals structure.

-75...

C3301u310n

fitter: ti3n to tae b33 nnin3 of the DOaCCECETfiufin

 

may help to explain Glaycnnus' conce 3tive approach.
After a lengthy deaication, ho 333ino wi 3 an account
of 3 Grook decree w: are 3 certain Timon eus was expelled
from his city Decalso he arrefl to add another string
to his mndrdis. After toio Glare3nus soya,
"WEI“t 3. I tot think is 33133 t3 hspfion to
me, 333 13331 333 four mode: to tho air at nodes
y c at

of 3331031 33:33 w;ica far so m3; uries n3w
haVe been celo-r3tefl 333n3,311?"

Becaufo of tie Eff 32m3tion and consoqu out unrort
and upheaval in t 3 Ch11337.1, revoluti3n3 ry ifie3s, including
tn

those ro3aruiL3 oxuoio of tge Clurch, were considered
6

t
l

.33~3:3 33d 1.33131 This W3tld be especially true
to such 3 con: ch3tiJo and pious 33: no Glaroanul. On
p333 four of tao sectien on Glareanus’ life there is
quotation from a letter written by Ers.smuo ab3 2t 1113.
Erem 3.3u3 3333 onto any tuat Glarcanus'.
"char3 3oter i: b rm for integrit"; he shrinks
from tango tipsg revels, 33 31 is so adverse from

"nfiblin“, f3v.1 1333i L333 3 (1 ir3ucit tz3t t13"very
mention of Sue; taini o is di i.reohale to him.' '1-

5")

4..

lo Bohn, on. cit., 3 so found in ,31.3t103 of V33smu3,
tr33313t13n 3.:1d c "Tn“t ry 0* Frz.nois Eor3an Eicnols,
London: 19 Or, Vol. II, p. 245.

1;": my hava thought that @133 beyond the addition
of four naw modes by 3133332133 over-all modes would.bo
Ova”-Bah‘3i his bound3rlea. This aaama particulaz 1y
avialexzh when 0119 031181213333 the extra--13 care, lea-343:1,

( faJLu‘ 313311.95. 21115, 3937927133} pa r33 } and v3 1;.)hasia on 1.03.10
found in the rala*u “val: simple $333 0.: psaaen1ug
123339 1103‘ 2:05.03.

It 33.9133 to tins pregnant miter, as if a new
dimension in the use of modes had arrived with polyphony.
Eran if each vaioa part in in a distinguishable mode.
varying 2233..433 in the uses of 09330nwnoo and
«1130331133 33;; chart»!!! ’o‘m OVar-all mafia]. flavor to
sometEL “* quits dif foraat from that of any of the parts
can: nil; rel individually. Within var3ous auctions of
one oaapoaltion.slamonta of airfarantrmcésa may be
mixed so that the modal flavor in not canstant. There
my not. be: a. 30.3.9.1 teamwork though one usually does
privall.

Ema main.problam seams to 09 a lazak of tarmunclogy
far 33 ova r—all or prevailiag made. How dees ens
ifiantlfy an ovaruall mafia? ggn.mi;;3 pgrféatug and

5232:». flirt!!! impértmma mentianfiad e? T"13:33." in 1.119

 

first “a. - tar of this wcrk, are an attazrpt, but

21:1..377‘;:7.:7'2 , 2.33 3723.3" cc::.‘-..inr.:2.i:2:'a .7222 paasibls
12:12:52.3 2.327239 2.22 711.3. In 2227... 32:22 2.2 ha granitic, each
v2.1.2.7: :n=.I...-It 17:32:12.3 12913-3. 12.2.2127 3.2.2; 1.3;. as 2.211 as: by
the eff-.222. 2752.12.21 2.722212 contain-.33. “3:12.32. ‘ :3 0:12.32 22.32.22.322.
2.. ”In 2123.2, 2.}: a o2I2r~iAll 3.222222. 21.237 2.23.2737 gangldarnbly.
122.13 is 37.222.312.315? "Lin-3 22:73.". 2:72.191). 51.2.27'r2..a 6.3.23 not
cave-.227 1:2. 12.23 5.132.222.1012; of 22021.21 2.27.2393, In the
swig-7.33.3 of his 22.221031! 32:.12p2..2~:., 213 1.5. .1709. the

piece. as a I. 122212 and centers 22.1.3 :2.-'5.2I=s.n;2.nt on one

75.... 3, or 2.120 291.392: 1:211:23 3:522:33 22:12.12 121.3 2.21.2313.

[2.3 a 172322.212, 2116 272.121.; a: .22. 53132.3 13 not analyzed
“2:3. his 37.2 3.1.3::{2t-1'2’f. 3.33.1 liar we 1233232323 3.21:1 (12212.6
unr: 21v: .323, 3.2. 2:221: 1227.23 2.22.2.2: :2 mma

2232727 “3.2.3, 422131572273: and "Ines-shy warm-.3215 argument
12' 22-73 had. :22) .. 22.2.3 3 2922 131.223.2153 21-7210,...221'11 111ns.2.22a210na.
22.13 a:- 2.1:. 2.2 no 222“. 2”}...27022 or 21.3 3022;322:123. .23 13 over-
10035235. I2. 13 as 11‘ h.) 2.2.23 21132-532 examine. "2.22.021 or the
9:73 which 23.2.7522! m a alas-.2 gamma 22.23 2.1213 only throughr
a. vary 3 2.23.1 2222220333323 a: 2:222. 02:.” .3: p.222. 02‘ the
2213231732 that. 2.72.3 :7... :21. 23 307.116.2223 33:21.1 by 17.1.72. The 32.1.9.
of 2.223 ”273:2 8:37.712 "7"" by Jaaqnln M21. 92 2:3 emIned
ham 3.2221132 .23 a 1.2122. Mimi-'1" 072223113212 angle at
2.27.22. (23.12.27. ......23 2:07.23 .222 2227.327“? 12.32.72 classified as

Dorian became of the Open and 01022.9 01‘ the movement»

-79..

The Ionian £323.23 of the m, the modulations, the
strong harmonic function or the man; triado, M
briefly be mentioned in passing. However. any spoon-
lotion toward s. new concept. ( not only the oppliootion
or torminolca to an old practice ), new terminology
or eimplo "coalition of cone new practice is not
found. Glarecnue and his colleagues who have carried
on studies and analyses or fifteenth century modality.
have missed the heart of the subject. development or
new. accurate terminolog. Such 1. development and con-
sequent reclassification of polyphonic nnsie whole
framework is based on the eight creince Gimme,

we may at leeet say twelve, nodes would enable one the
formulation of e. mental picture of the eound that was
occurring. How can 1 person picture I. sound which

has four voices fluctuating within and without of
sometimes so now on four different nodal sounds «-

and in some oasoe bordering on one or another tonality?
Out of the many articles the present writer has read
on polyphonic nodal usage, only one mentions the need
for new terminolog and gives additional weight to

the idea. or an over-ell mode. It is written by

-80-

Virginia Seay, edited. by mu none]: and may be
round in the Hamlin. Studios in Musicology. Volume
1. W. 46 - 68. This in a challenge for than in
the future who denim the responsibility of forming
new tor-minnow thereby making clear the problem of
£9.93.— in polyphonio main or the fifteenth century.

- 81 -

§IBLIOGRAPHY

Anderson. W. R., Music Histcr - The Evolution of
an Art, New Iork: ImerIcan 5305 Company. I557.
Andrews. Frederick Sturges, Mediaeval Modal Theo .
Ph. D. dissertation. Cornell UnIversIEy, I535.

Apel, Willi. Gro orian Chant, Bloomington. Indiana:
Indiana UniversIfiy Frees, I§58.

Apel, Willi, Harvard Dictionarz %£ Musig. Cambridge,

Massachusetts: var n vers y see. 1947.

Apel. Willi. The Notagion of golxphonic Mueig -

£00 to 1500. an r so massac use as e aeval
ca any 0 America, 1945.

Aurelian do Rooms, Mus§ca Qioi¥lina, Gerbert
Soriptoree ooclesias o e mus ca, Vol. I. p. 27.

Baker's Bio; ashl‘fll D oti-na - of ‘zsio and Musi~aans,
5 so as s on ms.y, e6 or, ‘ew 'or.: '. ‘ rmer, "3.

Rinse. Friedrich. Music in Gesohéohte 2E5 Cogenwart.
Kassel and Basel: enre er, .

Boethius - see Paul. Oscar.

Bohn. Peter. translator. Glareanus . Dodecachordon.
Gesellscharg fflr Musikforschggg. Leipzig; EFeIEEOpT

C11 ‘1 9 . 0

Brooks, Catherine, ”Antoine Busncis. Chanson Composer,"

The Journal 2: the American Musicological Societz,
0 o 0 30¢ 0 DP. ° 0

Bukofzer. Manfred. ”Changing Aspects of Medieval and
Renaissance Music.” Musical guagterlz. Vol. 44. no. 1.
pp. 1 . 13.

Bukorzer, Manfred, Séudios %n Medieval and Ronnie.
sance Music, ‘New for x or on an 0.. . .
Burnsy, Charles, A General Historz of £3319, New York:
Harcourt, Brace an 0., .

a 82 -

Busnois, Antoine, Missa L'Honne arms, Zinnunenta

Pol honiae Li ur icae Sanctae cc esiae manae
Roms: SooIeEEe UnIversaIIs Ranctae CeoIIIae, I§£8,

Series I, Tomus I, Fasoiculus II.

 

Cousssmeker, Edmond do, So to om de Musics medii
nevi Paris, 1864, Vol. . a see no res,
Johannes, .

Despres, Joaquin, Missa L'Homme arms auger voces

usicales, 30.18. r “:us - cranium , R'ofirt
EIEEer and . ors, pzig:

Fm
Breitkop! and Bartel, 1377,.pp. 1-5,
Dufay, Guillaume, Hissa E' gonna arms, 2¥2£2_¥EE%§0
Heinricus Besseler,e r, one: mer can ns tute
of Musicology, 1951, Towns III. pp. 33-65.

Eitner, Robert,
Musikgelehrten.

Eleon, Louis 0., Elsen'e figsio Digtgggagz, New York:
Oliver Diteon 00,, , .

Epistles of Erasmus, Translation and commentary by
Francis Hergan Nichols, London, 1914,Vo1. 11, p, 245.

Finney, Theodore M., A gistgrz 9! finale, New York:
EPEOO and 00.. 1947.

Mlda, Adan van, Musica, Gerber; Sorigtores ecclesias-
2121 d“ gueica, V01. :11. p.

Garurius, Franchinus, greetica musicae, Milan:
1496, Chapter 7.

Cesring,Arnold, Die Vokalmusik in der Schweiz, Aarau,
1933. p. 50.

Gerbert, Martin, Sori tores ecclesiastioi de musica,
sdlan: Vol. I - III. I§5I. see: KureIIan He Rooms,

Fulda, Adam van, and Guido d'Arezzo.

          

 

-33..

Gleason, Harold, Huei.c Literature Outlines, finals
in the Viddle Aves and‘Renajseance Requester, New
York: Unisersity of’nochester,‘I”£9 Series I.

Gomboai, Otto, ”Key, Mode, Species," The Journal
or the American musical ical Societ , VoI. IV, no. 1,

Groves Dictionar or Musi and Musicia s, H. C. Cellos,

     

Guido d'Arezzo, Mi role s, Gerber; Scriptgres,

Vol, I. p. 8.

Harman, Alec Fediaeva; and Earl; Renaissance Music,
London: Miei ess, ,

Hawkins, Sir John, A General Histcgf cf the Science
and Practice 9! Husic, London: eve 0, war a 0.,

{by 0 c “ s

 

 

Hoppin, Richard H. ”Conflicting Signatures Reviewed:
The Journal of the American musicelogica; Societz,
v5;- 2;. no. , PP. ‘- I

 

Happin Richard H., ”Partial Signatures and musics
Flats in Scrne EarlyF Fifteenth Century Sources, '

Journal of the American Musicglogical Societz, VoI. 9V1,
no. 0 Pp. ' 0

Eu ghee, Don.Anselm, The New Oxford Histcgz of Music,
London, Oxford Univers y ass, 0 . .

Hughes, Rupert, see: music Lover's Encxclogedia.

 
 
    

International C c .
Cesar sncmscn - so as s>on.ms y,e rs, ev York:
Dodd, I‘;ead and 00., 1946,

Kerr, Russel, see: music Lover's Ens c edia,
Lang, Paul Henry, Music in Westggn Civilization.
New York: Norton a ., .

‘Liber Usual;§,- 1742,

Lewinsky, Edward 1.. 'Conflicting Views on Conflicting
Signatures," J 1 A .
Societ , Vol.

Lewinsky, sums E” "The Function of Conflicting
Signatures in Early Po honic lucid," m1
Quarterly, Vbl. 31,” 27 o 270.

Lewinsky, Edward E... "lhtthias Greiter's Formal:
An Experiment in Chromaticism and in Iconcsrd ardpbgi;
I

Fueled? agggéh Part 1, Val. 42. PP. 500
'ar' . 0 o ' Pp. 68 . 850

Lewinsky, Bayard E. as t - antic Ar
Netherland ~. t or or : olun a vars
ass,

 

      

5W new Haven, Connecticut, tale
U vars," 0

9111163.. Glennt A. Ph. D. “SBOMIJM. H .
Glare%nsg W University 0

gen, Ar r, “

Maser, a. J., W Berlin: In: Bosses urns,
19J5c
surrey, Bain, ”In Light on Jacob abrecht's Develop-

ment .. A biographical Study,” W
Vol. 43. pp. 500 - 516.

ngsig Loved Smlflfim" Expert wishes“ Duns
ay or, an ass err, caloric: Garden City

 

 

BOOKS, ’19.;4.

Obrecht, Jacob, arms at Vi,,.~..ev;_- :

door 5.213.213.1925 If»! as e -+: , m: or, .' , c . 6.

Ocksghezn, Johannes r - ., ssa __ 'L-me L}: 3.22.

n:.lt_~:.:xg - Swes . . < ’3 ere,

'“8 3 'M‘ ‘1' a ’ 00:, 1952, VOL. I. pp. ri’}.

for complete work see: as Li ur c
scioulus VI.

0111, John F... see: Parrish. Carl, W

Music EQIQPO 3252'

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Jams madame)
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. _.'¢~ ‘vz' -? y 'm' .. “£m

“as #W women as”:

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- 35 _

 

 

no.3 Voldrldstg 3. E. __

Parrish, curl. John P. 0121.. W
W Now York: Horton ‘ . ., '.
P8111, 030”. translator. E: .' 1 ‘. 1‘ 1 .1 '

2.1.1.. 1.. .- .. “m “1.1m YI‘rT .
" '8"~":\' mm c - no no p3: ,. .

Plume Drum. “Punt-mm to Yum I! o! m
o.11..1.& works or thannoa Ookoshom,

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1:! nuns. ‘

 

Run, aunt". In an:
Barton and 00.. '
Run. ammo. . a j. .' In an:

 

Narmada».
81mm. u. M Ma. M0310...

1959.
Lu mu.» In In” m-
an: Wynn“: ”mm-w.
1955.
mm curt. w M M: mun-
Hall ina.,193).

echelon, Pm: 1., u. .L. .. ..

Sohrndo, 100 ”mm In 31min .. mum“
mm" W m. 82. p. 330 :54.

 

$3,. Vita”. A 3.“ ’2. L - *1. '3! '..‘.',.. 11-15 ‘. 15. _ "11.
8.13181; n; . I? imiW-‘(IIEIJDUWTJ
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