Ars antiqua: Organum, Conductus, Motet

539 Pages·2009·28.95 MB·English

by  Edward H. Roesner (ed.)

Ars antiqua
Music ni Medieval Europe
Series Editor: Thomas Forrest Kelly
Titles ni the Series:
Chant and its Origins
Thomas Forrest Kelly
Oral and Written Transmission in Chant
Thomas Forrest Kelly
Embellishing the Liturgy
Alejandro Enrique Planchart
Poets and Singers
Elizabeth Aubrey
Ars antiqua
Edward H. Roesner
Ars nova
John L. Nadas and Michael Scott Cuthbert
Instruments and their Music ni the Middle segA
Timothy J. McGee
Ars antiqua
Organum, Conductus, Motet
Edited by
Edward H. Roesner
New kroY ,ytisrevinU ASU
~~ ~~o~;~~n~~:up
LONDON AND NEW YORK
First published 2009 by Ashgate Publishing
Published 2016 by Routledge
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Copyright :L' Edward H, Roesner .9002 For copyright of laudiYidni articles please refer ot eht
Acknowledgements.
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British Library Cataloguing ni Publication Data
Ars antiqua : organum. conductus. motet. - (Music ni
medieval Europe)
.1 Organa- History dna criticism .2 Conductus - Histor~
dna criticism .3 Motets- History and criticism
I. .renseoR Edward .H
781'.0902
Library of Congress Cataloguing-in-Publication Data
Ars antiqua : organum. conductus. motet I edited yb Edward .renseoR
.p em.- (Music ni medieval Europe)
Includes index.
:NBSI 879 0 7546 2666 4 .kla( paper)
.1 Organa-History and criticism. .2 Conductus-Histor~ and criticism. .3 Motets-History and
criticism. I. Roesner. Edward .H
ML174.A77 2008
22cd--20'9.087
2008005038
ISBN 9780754626664 (hbk)
Contents
Acknowledgements vii
Series Preface xi
Introduction xi
PART I POLYPHONY TA NOTRE DAME OF PARIS
Craig Wright (1986), 'Leoninus, Poet and Musician', Journal of eht American
Musicological Society, 39, .pp 1-35. 3
2 Heinrich Husmann 3691( ,) 'The Origin and Destination of the Magnus rebif
organi', ehT Musical Quarterly, ,94 .pp 311-30 (translated yb Gilbert Reaney). 39
3 Rebecca .A Baltzer (1992), 'The Geography of the Liturgy at Notre-Dame
of Paris', ni Thomas Forrest Kelly ( ,).de Plainsong ni the Age of Polyphony:
egdirbmaC seidutS ni ecnamrofreP ,ecitcarP :egdirbmaC egdirbmaC ytisrevinU ,sserP
.pp 45-64. 95
PART II ORGANUM, GENRE, RHYTHM
4 Edward .H Roesner (1982), 'Johannes ed Garlandia on Organum ni speciali',
Early Music History, ,2 .pp 129-60. 18
5 Jeremy Yudkin (1980), 'The Copula According to Johannes ed Garlandia',
Musica disciplina, 34, .pp 67-84. 311
6 Ernest .H Sanders (1980), 'Consonance and Rhythm in the Organum of the 12th
dna ht31 Centuries', lanruoJ of eht naciremA lacigolocisuM ,yteicoS ,33 .pp 264-86. 131
7 Edward .H Roesner (2001), 'Who "Made" the Magnus ,'?rebif Early Music
History, ,02 .pp 227-66. 551
8 Steven .C Immel (2001), 'The Vatican Organum Treatise Re-examined', Early
Music History, ,02 .pp 121-72. 591
9 Norman .E Smith (1972), 'Interrelationships Among the Alleluias of the Magnus
rebif organi', Journal of the American Musicological Society, ,52 .pp 175-202. 42 7
01 William .G Waite (1961), 'The Abbreviation of the Magnus fiber', Journal of the
American Musicological Society, ,41 .pp 147-58. 572
PART III CONDUCTUS, GENRE, FUNCTION, RHYTHM
II Janet Knapp (1979), 'Musical Declamation dna Poetic mhtyhR ni na Early Layer
of Notre Dame Conductus', Journal of the American Musicological Society, 32,
.pp .704--383 289
vi srA auqitna
21 Ernest .H Sanders (1985), 'Conductus and Modal Rhythm', Journal of eht
American Musicological Society, ,83 .pp 439-69. 513
31 Thomas .B Payne ,)0002( 'Aurelianis :sativic Student Unrest ni Medieval France
and a noC ductus yb Philip the Chancellor', Speculum, ,57 .pp 589-614. 743
TRAP VI MOTET, CHRONOLOGY, STYLE
41 Rebecca .A Baltzer ,)0991( 'Aspects of Trope ni the Earliest Motets for the
Assumption ofthe Virgin', ni Peter .M Lefferts and Brian Seirup (eds), Studies ni
Medieval :cisuM Festschrift for Ernest .H Sanders, New :kroY Department of ,cisuM
Columbia University, .pp .24--5 [Also published ni Current Musicology ( ,)0991
].74--54 573
51 Ernest .H Sanders (1967), 'The Question of Perotin's Oeuvre and Dates', ni
Ludwig Finscher and Christoph-Hellmut Mahling (eds), Festschrift fur retlaW Wiora
zum .03 Dezember ,6691 Kassel: Barenreiter Verlag, .pp .94--142 314
61 Gordon .A Anderson (1967), 'A Small Collection of Notre Dame Motets .ac
1215-1235', Journal of the American Musicological Society, ,22 .pp 157-96. 324
71 Mark Everist (1988), 'The Rondeau Motet: Paris and Artois ni the Thirteenth
Century', Music and Letters, ,96 .pp 1-22. 364
81 Dolores Pesce (1997), 'Beyond Glossing: The Old Made New ni Mout mefu
griefl Robin m 'aime/ Portare', ni Dolores Pesce ( ed.), Hearing the :tetoM Essays on
the Motet of the Middle Ages and Renaissance, Oxford: Oxford University Press,
.pp 28-51. 584
Index 905
Acknowledgements
ehT editor dna publishers wish ot thank the following rof permission ot use copyright
material.
American Institute of Musicology rof eht :yasse Jeremy nikduY ,)0891( 'The Copula
According ot Johannes ed Garlandia', Musica disciplina, 34, .pp 67-84. Copyright © 0891
American Institute of Musicology.
Barenreiter ,galreV lessaK rof eht :yasse Ernest .H Sanders ( ,)7691 'The Question of nitoreP 's
Oeuvre dna Dates', ni Ludwig Finscher dna Christoph-Hellmut Mahling ,)sde( Festschrift fur
retlaW aroiW zum .03 Dezember ,6691 :lessaK Barenreiter ,galreV .pp .94--142
Cambridge University Press rof eht :syasse Rebecca .A Baltzer ,)2991( 'The Geography of
the Liturgy ta Notre-Dame of Paris', ni Thomas Forrest Kelly ,).de( Plainsong ni eht Age of
Polyphony: Cambridge Studies ni Performance Practice, Cambridge: Cambridge University
Press, .pp 45-64; Edward H. Roesner (1982), 'Johannes ed Garlandia no munagrO ni speciali',
Early Music History, 2, .pp 129-60; Edward H. Roesner (2001), 'Who "Made" the Magnus
,'?rebif Early Music History, 20, .pp 227-66; Steven .C Immel 002( 1 ,) 'The nacitaV Organum
Treatise Re-examined', Early Music History, 20, .pp 121-72. All copyright© Cambridge
University Press.
Columbia University for eht :yasse Rebecca .A Baltzer ,)0991( 'Aspects of eporT ni eht
Earliest stetoM rof eht Assumption of the Virgin', ni reteP .M streffeL dna nairB Seirup
,)sde( Studies ni Medieval :cisuM Festschrift for Ernest .H Sanders, New :kroY Department
of ,cisuM Columbia ,ytisrevinU .pp .24--5 oslA[ published ni Current Musicology ,)0991(
45-47.] Copyright© 0991 Columbia .ytisrevinU
Medieval Academy of America rof eht :yasse Thomas .B Payne ,)0002( 'Aurelianis :sativic
Student Unrest in Medieval France and a Conductus yb Philip eht Chancellor', Speculum, ,57
.pp 589-614.
Oxford Unsivseresirty P rof the :syasse hcirnieH nnamsuH ( ,)3691 'The Origin dna Destination
of eht sungaM rebif organi', ehT Musical Quarterly, 49, .pp 311-30 (translated yb Gilbert
;)yenaeR Mark Everist (1988), 'The uaednoR :tetoM siraP dna Artois ni eht Thirteenth
Century', cisuM and ,sretteL ,96 .pp 1-22; seroloD ecseP ,)7991( 'Beyond Glossing: ehT dlO
edaM New ni Mout mefu grief! Robin m 'aime/Portare', ni seroloD ecseP ,).de( Hearing eht
:tetoM Essays no eht Motet of eht Middle Ages and Renaissance, :drofxO Oxford University
,sserP .pp 28-51.
University of California Press for eht :syasse Craig Wright (1986), 'Leoninus, Poet and
Musician', Journal of eht American Musicological Society, ,93 .pp 1-35; Ernest H. Sanders
,)0891( 'Consonance and Rhythm in eht Organum ofthe ht21 and ht31 Centuries', Journal oft he
viii srA auqitna
American Musicological Society, 33, .pp 264-86; Norman .E Smith (1972), 'Interrelationships
Among the Alleluias of the sungaM tiber organi', Journal of eht American Musicological
Society, ,52 .pp 175-202; mailliW .G etiaW 1691( ,) 'The Abbreviation of the sungaM tiber',
Journal of eht American Musicological Society, ,41 .pp 147-58; Janet Knapp (1979), 'Musical
Declamation dna Poetic Rhythm ni na Early Layer of Notre Dame noC ductus', Journal of eht
American Musicological Society, 32, .pp ;704--383 Ernest .H Sanders (1985), 'Conductus dna
Modal Rhythm', Journal of eht American Musicological Society, 38, .pp 439-69; Gordon .A
Anderson (1967), 'A Small Collection ofNotre Dame Motets .ac 1215-1235', Journal ofthe
American Musicological Society, ,22 .pp 157-96. llA published yb University of California
sserP no behalf of the American Musicological .yteicoS
Every effort has been made to trace lla the copyright holders, but if yna have been inadvertently
overlooked the publishers will be pleased to make the necessary arrangement at the tsrif
opportunity.
Series Preface
This series of volumes provides na overview of the best current scholarship ni the study of
medieval music. hcaE volume si edited yb a ranking expert, and each presents a selection of
writings, mostly ni English which, taken together, sketch a picture of the shape of the dleif
and of the nature of current inquiry. The volumes are organized ni such a way that readers
may go directly to na area that interests them, or they may provide themselves a substantial
introduction to the wider dleif yb reading through the entire volume.
There si of course no such thing sa the Middle Ages, ta least with respect to the history
of music. The Middle Ages- if they are plural ta lla -get their name sa the temporal space
between the decline of classical antiquity and sti rediscovery ni the Renaissance. Such a
definition might once have neeb useful ni literature and the enif arts, but ti makes elttil sense
ni music. The history of nretseW music begins, not with the music of Greece and Rome
(about which we know far too little) but with the music of the Latin Christian church. The
body of music known sa Gregorian chant, and other similar repertories, are the tsrif music that
survives to su ni nretseW culture, and si the foundation no which much later music si built,
and the basis for describing music ni sti time dna forever .retfa
eW continue to use the term 'medieval' for this music, even though ti si the beginning of
ti ;lla there si some convenience ni this, because historians ni other fields continue to dnif
the term useful; what musicians are doing ni the twelfth century, however non-medieval ti
appears to ,su si likely to eb considered medieval yb colleagues ni other .sdleif
The chronological period ni question si far morf being a single thing. If we consider the
Middle Ages sa extending morf the llaf of the Roman Empire, perhaps ni 476 when Odoacer
deposed Romulus Augustus, into the fifteenth century, we have defined a period of about a
millenium, far longer than lla subsequent style-periods ('Renaissance', 'Baroque', 'Classical',
'Romantic' etc.) put together; and yet we tend to think of ti sa one thing.
This si the fallacy of historical parallax, and ti owes sti existence to two ;stcaf tsrif that
things that are nearer to us appear to eb ,regral os that the history of the twentieth century
looms enormous while the distant Middle Ages appear comparatively insignificant. Second,
the progressive ssol of historical materials over time means that more information survives
morf recent periods than morf more distant ones, leading to the temptation to gauge importance
yb sheer volume.
There may eb those who would have organized these volumes ni other ways. One could
have presented geographical volumes, for example: Medieval Music ni the British ,selsI ni
France, and os .no Or there might have been volumes focused no particular source materials, or
individuals. Such materials nac eb found within some of these volumes, but our organization
here si based no the way ni which scholars seem ni the main to organize and conceptualize
the surviving materials. The approach here si largely chronological, with na admixture of
stylistic considerations. The result si that changing styles of composition result ni volumes
focused no different genres- tropes, polyphony, lyric- that are not of course entirely separate
ni time, or discontinuous ni style and usage. There are also volumes- notably those no chant