Workbook/Anthology for Music Theory: Problems and Practices in the Middle Ages and Renaissance

278 Pages·1977·8.8 MB·English

by  Lloyd Ultan

woRkBOOk/antholoqy
FOB
music theory;
pROBlems and practices
in the middle ages
and Renaissance
This page intentionally left blank
workbook anthology
FOR
music theory:
problems and practices
in the middle ages
and Renaissance
BY
lloyd ult an
UNIVERSITY OF MINNESOTA PRESS D MINNEAPOLIS
Copyright ©1977
by the University of Minnesota.
All rights reserved.
Printed in the United States of America
at the University of Minnesota
Printing Department, Minneapolis.
Published by the University of Minnesota Press,
2037 University Avenue Southeast, Minneapolis, Minnesota 55455,
and published in Canada by Burns & MacEachern
Limited, Don Mills, Ontario
ISBN 8166-0803-2
preface
This volume was prepared as a companion to the author's textbook Music Theory:
Problems and Practices in the Middle Ages and the Renaissance. The chapters were de-
signed to parallel those of the textbook and the assignments to complement the materials
presented in the respective chapters of the text.
Many more problems are posed in each of the chapters than one would normally ex-
pect a student to cover in the period of time for which the study was designed (i.e., one
academic semester for each of the two historical periods). This gives instructors the op-
portunity to select the types of problems that most closely meet the specific needs of
each class and the special areas of emphasis they may choose to follow.
Usually when assignments suggest "each of the following," instructors will wish to be
selective, for to undertake all examples would, in many instances, prove to be an unduly
large project to impose on students. It is possible that instructors may wish to distribute
the several possibilities among members of the class for discussion and comparison. Some
of the more rewarding activities for which the materials of this volume may be used will
prove to be the comparative discussions that may result from the careful study of the
examples provided.
It is suggested that instructors extensively supplement the examples given here with
analysis and discussion of student compositions, as well as with other examples that
may be brought to class.
It will quickly be recognized that because the size of compositions gradually increases
throughout the historical periods, the demands of a single assignment become greater as
students progress through this volume. Therefore it is suggested that some assignments
be subdivided or spread over a longer period of time.
It should be noted that some liberties have been taken in a number of pieces presented
as diplomatic facsimiles. I was not concerned that the retranscriptions be exact replicas
of the original manuscripts but that the notations used be accurate representations of
what transpired in the pieces, as represented by the modern sources, and that the nota-
tions be compatible with the original notations. To this extent, I have compromised
strict scholarly practice for pedagogical purposes. However, I firmly believe that the
foundation provided in this study will contribute to students' fundamental and accurate
knowledge of a complicated subject upon which they may build, should their interests
lead them toward a more scholarly pursuit of the subject.
One very important attitude that has greatly influenced the assignments provided and
that should be carried into the activities of the classroom is that the music with which we
are concerned is an exciting and beautiful literature that demands life. This music should
v
be heard and performed by students with every means available and at every opportunity.
Student performances of their own works and class discussion of them, as well as com-
parison with student performances of the literature provided, can produce the most re-
warding and pleasurable dimension of the entire study. This facet should not be ignored
but should be made the central focus for all other aspects of the technical theoretical
work.
A special word of appreciation must be expressed to Dr. George C. Schuetze whose
advice and assistance throughout the preparation of this volume provided an invaluable
contribution to the final results. Also, this opportunity must be taken to thank the many
students who have contributed through their labors and their constructive suggestions
toward the improvement and refinement of this volume.
L.U.
VI
contents
Preface v
Chapter 1 Notation 3
Chapter 2 Plainsong 31
Chapter 3 Monophonic Forms 51
Chapter 4 Early Polyphony 61
Chapter 5 Ars Nova Notation 85
Chapter 6 Early Contrapuntal Concepts and Devices 99
Chapter 7 Late Contrapuntal Concepts and Devices 105
Chapter 8 Sacred Polyphonic Forms 115
Chapter 9 Secular Polyphonic Forms 127
Chapter 10 The Late Fourteenth Century 139
Chapter 11 Transition 143
Chapter 12 Early Fifteenth Century —Dufay 145
Chapter 13 Middle and Late Fifteenth Century —Ockeghem 159
Chapter 14 Late Fifteenth and Early Sixteenth Centuries 183
Chapter 15 Sixteenth-Century Secular Forms 193
Chapter 16 Palestrina: Part One 225
Chapter 17 Palestrina: Part Two 237
Chapter 18 Summary, Conclusions, and New Directions 247
Sources 269
list of musical examples
Chapter 1 Se valours—Bien me—Hie factus est 17
Excerpt from Lauda, Jerusalem Dominum 3 In mari miserie 20
Eight Alleluias 5 Chaconnete — A la chemmes -Veritatum 22
Asperges me Domine 6 Amours et ma dame aussi 27
Depositum Creditum— Adsolitum — Regnat 10 Or est Baiars en la pasture 28
Bien me 13 Helas! tant vi de male cure 29
Chapter 2 Chapter 10
Kyrie XI (Orbis factor] 3 3 Tout par compas suy composes 139
Sanctus XI 34 A I'aventure va Gauvain 141
Agnus Dei XI 35
Chapter 11
Veni sancte 36
No examples provided.
Chapter 3
Chapter 12
Victimae Paschali Laudes 54
Veni Sancte Spiritus (Dunstable) 146
Exsultet Orbis Gaudis 55
Missa L'homme arme (Dufay) 149
De bone amour 56
Adieum'amour 154
De ma dame souvenir 57
Veni sancte Spiritus (Dufay) 155
A sas figuras 58
Chapter 13
Chapter 4
Missa L'homme arme (Ockeghem) 160
Sanctus VII 61
Missa Je ne demande 162
Principes sacerdotum 66
Beata es, Maria 167
Kyrie Salve 72
Missa Prolationum
Credo VI (excerpt) 76
Kyrie 174
Free Organum (from Wolfenbiittel 1206) 81
Gloria in excelsis Deo 177
Viderunt Omnes 82
Chapter 14
Chapter 5
Missa Pange Lingua 184
He! dame de vaillance 85
Greiner, zancker, schnopffitzer 190
Quant je sui 86
Suesser vatter, herre Gott 192
Adiu, Adiu, do us dame 87
C 'est force 91 Chapter 15
Cine, un, treze, wit, neuf, d'amour fine 96
Le chant des oyseaux:
N'en fait n'en dit 97
Resvueillez vous (Janequin) 195
Chapter 6 Le chant des oyseaux (Gombert) 208
Quanta piu m 'arde 216
Ma fin est mon commencement 99
Qu'est devenu ce bel ceil 222
Sumer is icumen in 102
Chapter 16
Chapter 7
Selected two-voice Cantiones (di Lasso) 225
Martyrum gemma—Diligenter—A Christo 106
lo sento (Palestrina) 232
Tant a souttille —
Bien pert—Cuius pulcritudinem 109 Chapter 17
Veni Sponsa Christe (motet) 238
Chapter 8
VeniSponsa Christe (missa) 242
Res nova mirabilis — Virgo —Alleluia 116
Alleluia 120 Chapter 18
Agnus Dei (from Messe de Nostre Dame} 122 Canzon francese del Principe 248
Versus from Feria Quinta, Resp. 2 253
Chapter 9
Sanz cuer—Amis,
dolens—Dame, par vous 127
ChosiPensoso 131
Somma felicita 135
woRkBOOky/Antholoqy
FOR
music theory;
pROBlems and practices
in the middle ages
and Renaissance