Wiley

Proportion and Form in the Continental Isorhythmic Motet c.
1385-1450
Author(s): Charles Turner
Source: Music Analysis, Vol. 10, No. 1/2 (Mar. - Jul., 1991), pp. 89-124
Published by: Wiley
Stable URL: http://www.jstor.org/stable/854000
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CHARLES TURNER
PROPORTION AND FORM IN THE

CONTINENTAL ISORHYTHMIC MOTET
c.1385-1450
The isorhythmic
motetwas one of the musicalgloriesof the Ars Nova and
one of the most celebratedgenres passed on to composers of the early
Renaissance. Several otherwise well-known composers of the late
fourteenth
and earlyfifteenth
centuries,however,have leftus no motetsat
all, isorhythmicor otherwise,and, in general, motet compositionthen
became farless popular than before,if we are to judge fromthe surviving
manuscripts.Only a fewcomposersfromthe periodc. 1385-1450 have left
more than a handfulof motets,and many of these are not isorhythmic.
The isorhythmic
motetin thisperiod came to be considereda traditional
and conservativevehiclesuitableforeventsof state(weddings,dedications,
treaties, funerals,etc.) rather than a genre of currentcompositional
practice. It remained for Guillaume Dufay to sum up the era of the
motet,at least as practisedon the continent,withno fewer
isorhythmic
than thirteencompositions.In Dufay's isorhythmic
motets,and to some
it is possible to tracecertainaspects
degreein those of his contemporaries,
of isorhythmic
procedureemployedin the closing decades of this genre's
effective
and sometimessymbolicmusicallife.
It is duringthis finalperiod of interestin isorhythmthat some of the
most remarkableexamples were created. Several usefulcommentarieson
isorhythmicconstructionhave previouslybeen restrictedto individual
composers(Mixter1969, Bent 1981, Bent 1985). In general,thesestudies,
while admirable,have not shown relationshipsamong isorhythmic
motets
a
number
of
a
notable
see
Fallows
by
composers. (For
exception,
1982.)
The subject is both abstract and analyticalbut has wider applications
motethas an importantand
nonetheless,as proportionin the isorhythmic
inherentrelationshipto performancepractice.And because thisis an area
which has been neglected and occasionally misunderstoodentirely,it
seems to me that a clarificationof the matterwould be beneficialto both
scholarsand performers.
The discussionthatfollowswill attemptto do the
following:
MUSIC
ANALYSIS
10:1-2,1991
89
CHARLES
TURNER
1) review the analyticaltechniques of isorhythmicanalysis employed in

musicologicalliterature;
2) definethe typesofproportionwhichmustbe takenintoaccount in both
analysisand performance;
3) introducea new methodforanalysis,employinga linearrepresentation
ofmusicaltimeand space;
4) examine specificproblematicalmotets previouslyanalysed with only
limitedsuccess;
5) summarize isorhythmic structure and procedure in thirty-four
worksfromcontinentalmanuscripts.
representative
The motetsconsideredare cited in Table 1, whichalso providesreference
to individual manuscriptsources and scholarlyeditions. Some of the
fromtheviewsofpreviouseditors.
findingsofferedhere,however,differ
Table 1 CompositionsConsideredin This Study
Composer
Title
No. of
voices/
texts*
Sources
(fols.)
Edition
Dufay
Apostologlorioso
Cum tua doctrina
5 (4)
BL 241'-242
Besseler 1966: 33-8
BL 191'-192
Besseler 1966: 54-8
[AndreasChristi]
Dufay
Balsamus et munda
41
BL 192'-193
[Istisuntagnm]
Dufay
Ecclesiemilitantis
Sanctorumarbitrio
Bella canuntgentes
53
Tr87 95'-96
Tr87 85'-86
Besseler 1966: 46-53
[Gabriel]
Domini]
[Eccenomen
Dufay
Fulgensiubar
Puerperapura parens
[ Virgopostpartum]
42
ModB 121'-123
Besseler 1966: 80-8
Dufay
Magnanime gentis
Nexus amicitiemusa
32
ModB 63'-64
[Hec estvera]
* The numberof textsis givenin superscript.An alternativenumberofvoices is givenin parenthesesifthe motetis

providedwith a solus tenor. This does not affectthe numberof texts.Cantus firmusincipits,when present,are
enclosed withinbrackets.
90
MUSIC ANALYSIS
10:1-2, 1991
PROPORTION
Dufay
AND
FORM
Moribusetgenere
42
IN THE
ISORHYTHMIC
MOTET
ModB 74'-76
ModB 67'-68'
Besseler 1966: 70-5
Virgovirgavirens
[ Virgoestelectus]
Dufay
Dufay
Nuper rosarum
flores
estlocus]
[Terribilis
4'
0 sancteSebastiane
0 martyrSebastiane
O quam mirarefulsit
43
BL 218'-220
Ox 31'-32
Besseler 1966: 24-9
Tr92 21'-23
Cop
[Gloria et honore]
Dufay
O gemmalux
Sacer pastor
[Beatus Nicolaus]
42
BL 263'-264
Ox 130'-131
Dufay
Rite maiorem
Artibussummis
4(3)2
BL 196'-197
42
ModB 64'-65
Besseler 1966: 64-9
[Orapronobis]
Dufay
Salve flos Tusce

Vos nuncEtruscorum
[ Virimendaces]
Dufay
Supremumest
3'
BL 190'-191
BU 56-57
ModB 66'-67
Tr92 32'-33
Mu0 107'-108
Dufay
Vasilissaergo
[Concupivitrex]
41
BL 247'-248
Besseler 1966: 21-4
Ciconia
Albane missecelitus
Albane doctormaxime
42
BL 271'-272
Bent 1985: 85-8
Ciconia
Doctorumprincipem
Melodia suavissima
42
BL 270'-271
Bent 1985: 89-93
42
BL 248'-249
Bent 1985: 94-102
Ox 132'-133
Tr87 57'-58
[ Virmitis]
Ciconia
PetrumMarcello
Petreantiste
MUSIC ANALYSIS
10:1-2, 1991
91
CHARLES
TURNER
Ciconia
Ut teper omnes
Ingensalumnus
42
BL 260'-261
Ox 119'-120
Bent 1985: 103-7
Brassart
Ave Maria
0 Maria
42
BL 234'-235
Tr87 51
Mixter 1971: 13-15
Brassart
Magne decus
Genus regale
42
BL 253'-254
Mixter 1971: 24-6
Brassart
0 rexFridrice
[In tuo adventu]
41
Ao 262'-264
Mixter 1971: 27-31
Brassart
Romanorumrex
41
Ao 267'-268
Mixter 1971: 44-7
[Requiem]
Grenon
Ad honorem
Celorumregnum
42
Ox 127'-128
BL 216'-218
Borren 1932: 203-4
Grenon
Ave virtusvirtutum
42
Ox 120'-121
Borren 1932: 194-202
fulti
Prophetarum
[Infelix]
Grenon
Nova vobisgaudia
31
BL 198'-199
Marix 1937: 233-6
Grenon
Plasmatorishumani
mater
Verbigine
42
BL 230'-231
Turner 1986: 197-210
Carmen
Pontificidecori
41
Ox 26'-27
Reaney 1955: 54-61
Carmen
Salve patercreator
Felix et beata
42
BL 249'-250
Reaney 1955: 48-54
Carmen
Veniteadoremus
Salve sancta eterna
4(3)2
BL 224'-225
BL 311'-312
Ox 138'-139
Reaney 1955: 39-48
Cesaris
A virtutisignitio
Ergo beata nascio
42
Ox 116'-117
Reaney 1955: 32-9
[Benedictafilio]
Tapissier
Eya dulcis
Vale placens
42
Ox 139'-140
Reaney 1955: 72-8
Franchois
Ave virgolux
5(4)'
BL 240'-241
Ficker 1933: 19-21
92
MUSIC ANALYSIS
10:1-2, 1991
PROPORTION
AND
FORM
IN THE
ISORHYTHMIC
MOTET
Anonymous
0 Maria virgo
4'
Ao 169'-170
de Van 1948: 60-5
Anonymous
Argivices
Cum Pilemon
42
Ao 4'-7
Turner 1986: 211-20
Anonymous
Cuiusfructus
Te Maria
42
Ao 186'-187
BL 235'-236
Turner 1986: 221-5
[Antethronum]
Dij 4'
Manuscript Sigla Cited in Table 1

Ao
BL
BU
Cop
Dij
ModB
MuO
Ox
Tr87
Tr92
Aosta, Biblioteca del Seminario, MS Al D19

Bologna, Civico Museo BibliograficoMusicale, Codex Q 15
Bologna, Biblioteca Universitaria,MS 2216
Copenhagen, Koneglige Bibliothek,Fragment 598
Dijon, Bibliotheque publique, MS 2837
Modena, Biblioteca Estense, MS XX. 1.11
Munich, Bayerische Staatsbibliothek,MS 3232a (olim lat. 14274)
Oxford,Bodleian Library,Canonici Misc. 213
Trent, Castello del Buon Consiglio, MS 87
Trent, Castello del Buon Consiglio, MS 92
Let us firstturn to a few specificexamples of isorhythmicanalysis.

Diagram 1 reproducesGilbert Reaney's analysis (Reaney 1955: xviii) of
Carmen's Salve pater. Reaney's method was originated by Heinrich
Besseler (Besseler 1925) and is a technique for analysis that has been
adopted by several scholars (see de Van 1947, GUinther1965, among
others).In thissystem,the symbols< and > are used to show increasedor
decreased temporaldimensionsof the taleae. The sign + indicates that
those precedingand followingit are equal in length.The denominatorof
each fractionrepresentsa statementof the tenortalea, withthe mensural
characteristicsgiven in the followingorder: number of longa, level of
modus (M = perfect;N = imperfect)and mensurationsign.The numerator
of each fractiongives the isorhythmic
configurationof the upper voices
(relativeto the tenor), with a separate letterassigned to each distinct
repetitivepattern.In this case, fourpatternsare present,representedby
lettersA-D. It is clear fromReaney's analysisthatthe firsttenortalea (see
Diagram 1, denominatorof fraction1) correspondsto two identicaltaleae
(2A) in the upper voices (Diagram 1, numeratorof fraction1), and that
thisrelationshipof 2 taleae in the upper voices to 1 in the tenorrecursin
the thirdof the tenortaleae (see Diagram 1, fraction3). Reaney's analysis
also revealsa remarkable,perhapsunique, aspect of the structure,
the fact
that the two statementsof talea B and of talea D in the upper voices are
not consecutive,but interspersed(see Diagram 1, numeratorsof fractions
2, 4, 5 and 6).
MUSIC
ANALYSIS
10:1-2,1991
93
CHARLES
TURNER
analysisby Reaney
Diagram 1 Carmen,Salve pater:Isorhythmic
2A
6NO
B
5Mo
2C
M
6Mc
7Nc
>Mo
5Mo
>
7Nc
7Nc
There are several shortcomingsto this analysis,however.Althoughit

shows increased or decreased durationof the isorhythmic
taleae, it does
not revealthe extentto whichtheyare augmentedor diminished.That is,
the systemdoes not allow forthe indicationof the specificproportionsto
which the values are subjected. Reaney's analysisreveals the number of
taleae (rhythmicrepetitions)but not the number of statementsof the
cantus firmusitself(colores). It does not show the relationshipbetween
color and talea, and, finally,the systemdoes not allow forprovidingany
of voices otherthan
informationconcerningthe mensuralconfigurations
thetenor.'
Besseler's original idea, to make isorhythmicstructureclear 'at a
glance', was sound in principle,but in actual practiceconsiderablymore
than a glance is requiredto make meaningfuluse of thisanalyticalsystem.
It is unlikelythatthereadercan profitfromsuch analyseswithoutaccess to
of the works (if not facsimilesof the primarysources) and
transcriptions
considerablecalculationofhis own. WilliApel (1959: 142) noted the need
fora simplerand clearermethodmanyyearsago, when,in addressingan
international
colloquiumin W6gimont,he said:
withthesymbolsthathavebeen
Most ofyou are,no doubt,familiar
used by Besselerand, morerecently
by de Van in his editionof the
motetsbyDufay.Theyarerather
complexand forbidding
isorhythmic
willprobablyrefuseto tryto deciphertheir
and mostmusicologists
and I am fullyaware
meaning...I havegrownup as a mathematician,
of the importance,and susceptibleto the charm, of a good
in orderto
formula.
mathematical
formula,
However,a mathematical
and itseemsto me thatBesseler
be good,has to be clearand essential,
to includetoo manydetails,have
and evenmorede Van, by trying
theirpurpose.
defeated
This scholar's observations are characteristicallyastute, and Apel
proposed a systemof analysiswhichsummarizesthe structurein termsof
the tenor only, indicatingthe relationshipbetween talea and color and
stating the number of times the tenor is given. Apel's method is
exceedinglypracticaland easy to interpret.A statementof a tenorcantus
firmus,or color, is representedby the letterc; a talea by the lettert. A
tenor, if repeated, is followed by a multiplicationsign and a number
the totalnumberof statements.Proportionaltreatmentof the
representing
tenor statements,when present, is represented by numbers within
94
MUSIC
ANALYSIS
10:1-2,1991
PROPORTION
AND
FORM
IN THE
ISORHYTHMIC
MOTET
parentheses. When applicable, non-isorhythmicpreludes and postludes are

represented by the letters V and F, respectively. Apel's system of
isorhythmic analysis was adopted by Samuel E. Brown, who analysed
Dufay's Fulgens iubar as follows: c/2t x 3 (3:2:1) + F (Brown 1962: 277).
This means that a single statement of the color (c) corresponds to two
taleae (2t), that this pattern (c/2t) is repeated twice, and that the resulting
proportions of the three tenor statements are 3:2:1. Thus we are given, in
clear and succinct form,some, but not all, essential informationabout this
isorhythmicmotet.
Although Apel's method calculates the specific proportions involved (at
least those of the tenor), it does not analyse mensural usage (not even that
of the tenor), account for the activityof the upper voices (even if they too
are isorhythmic) or, most importantly, show the details which led the
analyst to the proportions he cites. In short, a truly interested reader of
such an analysis will still have considerable research to do if he or she
desires an accurate, albeit summary, understanding of the form and
structureof the composition.
To cite one further example: Gustave Reese (1959: 22) describes
Grenon's isorhythmicmotet Ave virtusas follows:
The isorhythmic
principleis applied in variousways. Thus, the three
upper parts of Grenon's four-partAve virtus-Prophetarum-Infelix
begin by each singinga long talea and repeatingit once. They thengo
throughthisprocedurethreemoretimes,each timewithnew material.
Meanwhile,the lowestpart,or tenor,whichis entrustedwiththe final
fragmentof the popular medievalsequence Laetabundus,performsits
melody once duringthe two appearances of talea-groupA; then it
repeats the melody once, in halved time-values,during the two
appearances of talea-groupB; then it repeatsthe melody twice,with
the valuesfurther
halved,once duringeach appearance of talea-group
C; finally,with the values stillfurther
halved,it does the same thing
has six
duringeach appearanceof talea-groupD. The tenor,therefore,
colores (melodic repetitions);as is normal, there is no color in the
upper parts.The piece ends witha briefcoda. The way in whichthe
whichis writtenout
completetenoris to be evolvedfromthefragment,
but once in the MS, is indicated by means of a verbal canon [my
emphases].
Reese's accounting of events, in which the tenor is progressively
diminished by half, would yield the tacet proportions 8:4:2:2:1:1. In fact,
the specific reduction Reese describes (half the tenor's previous duration)
occurs only once, not three times, for the correct proportions are 8:6(not
4):2:2:1:1. If one wishes to describe the structureas Reese does, in terms
of the temporal relationship each tenor statement has to the previous, the
actual levels of reduction are 1/4,2/3 and /2 (these are fractionsof the whole
MUSIC
ANALYSIS
10:1-2, 1991
95
CHARLES
TURNER
removesfromtheone immediately
thateach tenorstatement
preceding).
Thisis an odd wayto proceed,however.
The verbalcanondoesnotspecify
of the taleaeto each other,but ratherthe
the proportional
relationships
betweenthe notatedvalues of the tenor(integer
valor)and
proportions
of
thosevaluesrealizedinperformance
(thatis,thedegreeofaugmentation
relativeto integer
each tenorstatement,
valorratherthanto a previous
The soundingproportions
betweenthetaleaeresultfromthe
statement).
of
to
the
values of the tenor.Thus the
notated
application proportions
are
of
the
taleae
a consequenceof the verbal
isorhythmic
proportions
fromReese's
canon and not the contentof it, as mightbe inferred
as No. 13 of
entire
canon
is
transcribed
and
translated
(The
description.
theAppendix).
ofthemotetmightread:
A moreaccuratenarrative
description
ofinteger
The first
tenorstatement
occupieseighttimestheduration
six
in octuplo');thesecondstatement
valor(canon:'crescit
requires
eachofthe
ofinteger
valor(canon:'facinsextuplo');
times
theduration
valor
statements
thirdand fourth
occupiestwicethetimeofinteger
induplo');and,finally,
eachofthelasttwostatements
(canon:'canitur
or 'as itrests
inthemanuscript,
as notated
ofthetenoris performed
of
The application
veluthic requiescit').
here'(canon:'concinitur
valorcauses the
smallerproportions
to the integer
successively
suchthatthe
of thetenorto be diminished,
statements
successive
are
ofthecantusfirmus
dimensions
ofthesixstatements
'real-time'
8:6:2:2:1:1.
those
ofproportions,
betweentwovarieties
This description
distinguishes
and the
of the soundingtemporaldimensionsof the tenorstatements,
andwhatsounds.Thisrathercomplex
betweenwhatis written
relationship
a
semantic
situationdemonstrates
problemwhich will be addressed
remarkable
Another
aspect of the structureReese does not
shortly.
twoin
havetwotaleaeforeach ofthefirst
voices
the
since
mention:
upper
thetenor,theymaybe describedin termsofthenumbers4:4:3:3:2:2:1:1,
terms.Perhapsthe
in Pythagorean
numbersof considerable
importance
of a motetsuch as thisis by more
the structure
clearestwayto illustrate
graphicmeans:
ofproportions
Summary
Diagram2 Grenon,Avevirtus:
voices:
Other
Tenor:
8
*
96
3 12
2 1111
2 11111
integervalor
MUSIC ANALYSIS
1991
10:1-2,
AND
PROPORTION
IN THE
FORM
ISORHYTHMIC
MOTET
The preceding examples of isorhythmicanalysis representvarious

structurein logical, clear and
disparateattemptsto representisorhythmic
reduced form. They also demonstratethe difficultiesinherentin the
subject. Certainly, it is hard to convey isorhythmicstructurein a
meaningfulway by means of narrativedescriptionalone, since such
descriptionstend by natureto be excessivelydense or abstract.Thus the
presentstudywill attemptto avoid verbaldescriptionsof individualpieces
altogether,reservingthe textformattersof comparisonand synthesis.This
necessitatesa methodof analysiswhichis clearerand more easilygrasped
than the formulaic and mathematically-derived
system introduced by
Besselerand one thatis moregraphicand more comprehensivein its detail
than thatproposed by Apel. Beforearrivingat such a system,however,we
mustconsidertheverynatureofproportionsin isorhythmic
motets.
One type of proportion,whichI designateType 1, measuresthe ratio
between contiguous isorhythmictaleae. In addition to the proportions
formed by contiguous taleae in one and the same voice, additional
proportionsare sometimesrevealed by close analysis.These resultfrom
severalinstancesin whichtwo non-coincidingpatternsof repetitioncome
into play. Dufay's Ecclesie militantisand Brassart's Romanorumrex, two of
the most complex motetsof this type,may serve as examples. In Dufay's

Ecclesie,the contratenoris divided into three taleae governed by the
relationship3:2:3, while the tenorshave two taleae withthe ratio 2:1 for
each talea of the contratenor.Thus three2:1 proportionsare governedby
the overall ratio of 3:2:3. In Diagram 3 we may readily observe the
proportionalrelationships3:2 and 2:1, but it is also clear thatthe second
2:1 proportion(labelled B) is not equivalentin durationto the firstand
third(A, C).
Diagram 3 Dufay,Ecclesiemilitantis:
Summaryofproportions
Contratenor:
Tenor land 2:
I
I
A
3
2
I 1 I
B
2
2
3
2
C
I
I 1 I
We may also observe that the number 2 is used in the contratenor

(3:2:3) to representthe totalityof the second 2:1 proportion(B). In order
to determinethe true proportionsthatresultfromthe superimposition
of
the patterns,we must convertthis complex set of relationshipsto ratios
that employ a common and compatiblesystemof measurement.Let us
again examinea line drawingof the isorhythmic
proportionsof thismotet.
We findthatDiagram 4 revealsthe truenumberof proportionspresentto
be not two but seven:
MUSIC ANALYSIS10:1-2,1991
97
CHARLES
TURNER
Furthersummaryofproportions
Diagram 4 Dufay,Ecclesiemilitantis:
Contratenor:
'1 6
Tenor 1 and 2:
6~-3--
2----
The resultingproportionsare the following:1:2 (3:6, 2:4), 1:3 (2:6), 2:3

(6:9), 3:4, *1:1 (6:6), *2:9, *4:9. Note thatthe last threeratios(markedby
asterisks) result from a combination of taleae from each of the two
individual patternsof repetition.They are neverthelesscontiguous and
structurally
significant.
A similarset of conditionspresentsitselfin Brassart'smotetRomanorum
rex(See Diagram 5). In this case the firsttenorstatement(letterA in the
diagram)is dividedinto fourtaleae withthe proportions4:3:2:1, whilethe
second statement(B) has the same patternin retrograde,1:2:3:4. The
thirdstatement(C) has fourtaleae of equal length(each is labelledz in the
diagram); in termsof durationtheyare equivalentnot onlyto each other
but also to the finaltalea of tenorstatementone and the second talea of
tenor statementtwo (each is also labelled z). The isorhythmicconfigurationof the other voices, representedby proportionsand symbols
above the line, dividesthe temporaldurationof each tenorstatement(the
totalityofitsfourtaleae) intoequal halves,such thata = b, c = d and e = f.
The diagram reveals that the two distinctisorhythmic
patternscoincide
onlyat the beginningof each tenorstatementand midwaythroughthe last
ofthem(A, B, C, f), thatis, wheretheverticalstrokesdissectthe line:
rex:Summaryofproportions
Diagram 5 Brassart,Romanorum
b
a
Tenor
only:
1 2 111112131 4 111 1 11
z z z z
z z
B
C
The proportions represented by the numerical series 4:3:2:1

(sesquitertia, sesquialtera and dupla) are of symbolic importance in
Pythagoreanterms.Here the proportionsare giventwice,withthe second
presentationin simultaneousdiminutionand retrograde.However, the
proportionsbetweenthe two tenorstatements(the distancefromA to B,
and fromB to C) is 2:1, and thus the proportionsof the taleae may be
more accuratelyrepresentedin the firstcase (A) as 8:6:4:2 and in the
second (B) as 1:2:3:4. In the same manner as with Dufay's Ecclesie
we may assignnumbersto each talea thatrepresentits duration
militantis,
relativeboth to its own isorhythmicpatternand to that of the other,
98
MUSIC
ANALYSIS
10:1-2,1991
AND
PROPORTION
FORM
IN THE
ISORHYTHMIC
MOTET
noncoinciding, isorhythmicvoices:
Diagram 6 Brassart, Romanorumrex: Further summary of proportions
10
Tenor
only:
,
6
10
4
5-
2 1 2---3---?-4
4
2
I I
2
Thus we have in this remarkable motet the following sounding

proportions: 1:1 (10:10, 5:5, 4:4, 2:2), 1:2 (5:10, 2:4), 2:3 (4:6), 3:4 (6:8),
4:5, *2:5, *1:10.
As in the previous example, the occasional coincidence of the two
independent patterns produces contiguous proportional relationships that
are not immediately apparent. In Table 2 (see pp.108-110 below), proportions thus produced by a combination of isorhythmic voices are
distinguished by asterisks from those found within a single voice.
Determination of proportions such as those disclosed above is essential to a
complete understanding of isorhythmic motet structure. Given the
numerical basis of musical consonance, the long and continuing influence
of Pythagoreanism in the fifteenthcentury and the general medieval
fascination with proportional relationships, there can be little doubt that
such considerations were consciously taken into account during the
compositional process. According to Sandresky (1979: 108),
A basic functionof the new quattrocentohumanisticspiritconsistedof
a transformation
of Platonic-Pythagoreanism
froma purelyspeculative
concept into an activepracticalsystem.The harmoniousratiosof the
musical intervalsbecame the basis for a new idea of beauty. They
symbolized for Renaissance man the artistic truth of nature as
representedby natural law, and they provided artistsa means for
solvingtheproblemofproportionand perspective.
The architecture historian and scholar Rudolf Wittkower (1971: 110)
architectLeon Battista Alberti as follows:
quotes the fifteenth-century
The numbersby means of whichthe agreementof sounds affectsour
ears withdelight,are the same whichplease our eyes and our minds.
We shalltherefore
borrowall our rulesforharmonicrelationsfromthe
musiciansto whomthiskindof numbersis extremely
well known.
In a well-known and controversial article (Warren 1973), Charles Warren
speculates that the proportions of Dufay's motet Nuper rosarum were
deliberately intended to reflect the specific proportions of Brunelleschi's
duomo for the Florentine cathedral Santa Maria del Fiore. The motet was
MUSIC ANALYSIS
10:1-2, 1991
99
CHARLES
TURNER
composedin 1436 forthededicationoftheduomo,at which

specifically
The evidencewouldbe moreconvincing
waspresent.
Pope Eugenehimself
ifboththecathedraland themotethad correspondingly
uniquefeatures,
the
whichtheydo not.The presenceoftwotenorsmayindeedsymbolize
innerand outerdomes,butthatoftwotenorsin severalofDufay'sother
ofthe
motetstendsto softenthisargument.
The proportions
isorhythmic
to thoseofthe
taleaethemselves
(6:4:2:3), whilecorresponding
generally
are different
fromthoseof Dufay'sMagnanimeonly
nave and transept,
of valuesin the firsttalea (12:4:2:3). The
because of the augmentation
areessentially
2:3 (at twolevels)and 1:2,the
ofNuperrosarum
proportions
in
under
most common proportionsemployed the motet repertory
in
motets
are
several
other
examination.
by
They
isorhythmic
present
whichincludesthe same
Dufay.Salveflos,forexample,has a structure
but in invertedorder and with each
proportionsas Nuper rosarum,
In
the
6:6:3:3:4:4:2:2.
musices,
prefaceto his Proportionale
repeated:
of the chapel of King Ferdinandoof
Tinctorispraisesthe proportions
Sicily,to whom his treatiseis dedicated,writing:'... tandemquead
honoremtueproportionatissimae
capellaecui similemin orbenonfaciliter
esse crediderim'(quoted in Coussemaker1876: 153b-155a).3 This
viewthat,becauseoftheparallels
commentseemsto supportthegrowing
in structure
betweenmusicaland architectural
form,correspondences
inevitable.
wouldseemto be virtually
of
to thenumerical
In contrast
justexamined,
proportions
relationships
whichI designate
a secondcategory,
Type2, pertainonlyto certaintenors.
In theseworks,a verbalcanon prescribesthatthe temporalvalues in
to the actualvalues
musthave a proportional
relationship
performance
the
valor.Consequently,
the so-calledinteger
in the manuscripts,
written
durationof the tenorin performance
may be thoughtof as havinga
valor.
at integer
to a hypothetical
performance
relationship
proportional
the
reflect
values
and soundingnote
betweenwritten
These proportions
in
for
unaccounted
and are often
dimensionsof the taleae indirectly,
to
values
of
inaudible
(thosenotated)
analysisbecausetheratiosare those
were quite
audible ones (thoseperformed).
However,theseproportions
who
to
the
musicians
and
motets
of
the
composers isorhythmic
tangibleto
canon
indicated
a
in
verbal
them.
by
form, proportion
Although
performed
arithmetical
encountered
as anyofthemorecommonly
has thesameeffect
into
be translated
namein thecanonmustfirst
ones.The Latinproportion
valor.
to
the
and
then
numerical
form,
integer
applied
of a proportion
the effect
by verbalcanon in
prescribed
Representing
the
7
below
linearanalysisis sometimes
represents
Diagram
problematical.
themannerby whichits
notationof a tenorof 30 breves,and illustrates
temporaldimensionsmay be modifiedin performanceby verbalcanon. If
the canon calls in one instance for dupla proportion,the ratio between
the speed, or tempo, of the soundingnote values (C-D) and that of the
writtenintegervalor (A-B) will be 2:1. If, for the next statement,tripla
100
MUSIC ANALYSIS
10:1-2, 1991
PROPORTION
AND
FORM
IN THE
ISORHYTHMIC
MOTET
Diagram 7 Temporal relationshipsbetween integervalor, dupla proportioneand triplaproportione

A
integervalor
30
C
I
15
:
D
I
dupla
10
E
tripla I
proportionis prescribed,a 3:1 relationshipbetween the tempo of the

sounding values (D-E) and that of the writtenvalues (A-B) will result.
Such proportionnames as these deal, in termsof numericalratios,with
relativespeed (tempo) ratherthan duration. The relationshipbetween
speed and durationis an inverseone. Thus the two performancesof the
notated tenor (C-D, D-E) will have a 3:2 (15:10) proportion.The first
statementof the tenor will occupy the same amount of time as only 15
breves of the music as it is notated;the second statementwill occupy the
equivalent of 10 breves. However, both statementsof the tenor are
complete;the numbers in Diagram 7 representonly the total duration
relativeto integervalor,not the part of the tenor they actuallyperform.
Analysismust avoid the erroneousimplicationthatthe two performances
of the tenorare incomplete.Since the entiretenoris performedtwice,the
number of breves in each section must be 30, and the temporal
relationshipshownin the abstract,as in Diagram 8:
Diagram 8 Temporal relationshipbetweensoundingstatementsof tenorat
dupla and tripla proportione(integervalor not shown, since it is not
performed)
3:2
30
30
Obviously,the proportionswhich the performers

apply to the written
values (2:1 and 3:1) mustbe describedin different
termsfromthose of the
resultingmusic (3:2). Hence the distinctionbetweenproportionsofType 2
(inaudibleproportionsprescribedby canon) and those of Type 1 (audible
dimensionsof contiguoustaleae) is essential.The canons to all isorhythmic
motets considered in this study,with translationsand commentary,are
given in the Appendix below. These canons demonstratethat musicians
MUSIC ANALYSIS10:1-2, 1991
101
CHARLES
TURNER
indeed distinguished
betweenthevarietiesofproportionwe have observed.
When a composerwishedto expressthe tenor'sdurationrelativetoa previous
statement
of it (proportionsof Type 1), he eitherused a fractionname,
usually'semi' or 'tercium'(see Appendix,Nos 1, 2, 3, 9, 12), or prescribed
a patternof mensurationsin whichthe relationshipwould be implicit(see
Appendix,Nos 4, 6, 7, 14, 15, 16). When a composerwished to express
the tenor'sduration,relativeto thewritten
valor(proportionsof Type
integer
he
used
a
name
in' (see Appendix,Nos
'crescit
2),
proportion
precededby
less
'diminuintur'
4, 13) or,
often,
(see Appendix,No. 8). The composer
used proportionnames onlywhenhe wishedto expressthe speedofthenote
valuesinperformance,
relativetotheinteger
valor(see Appendix,Nos 10, 11).
Reese's narrativedescriptionof the proportionsin Grenon's Ave virtus,
cited previously,makes referencesto proportionsof Type 1, contiguous
taleae in actual sound. The verbal canon, however,clearlyprescribesthe
degree to which the tenor is to be augmented in each statement(see
Appendix,No. 13). These are proportionsof Type 2, measuringactual
sound againstinteger
valor,an inaudiblerelationship.
Only fourcanons in the presentrepertorydescribethe second typeof
valorto actual sound): Grenon'sAve
proportion(inaudibleratioof integer
virtus, Brassart's O rex Fridrice and Romanorumrex, and Dufay's
Magnanime. In the case of Magnanime,the canon (Appendix, No. 4)
prescribesthatthe firsttenorstatementgrowin duple proportion('crescit
in duplo') relativeto whatis notated.This ratiois one of duration.In order
forthe tenorto last twiceas long as notated,the soundingvalues mustbe
half as fast. Because of the inverse relationshipbetween speed and
duration,anotherway to expressthe same relationshipwould be forthe
canon to prescribedthe speedof the tenorstatement,whichwould have to
be given in the inverted form of the proportion name, 'subdupla
proportione'.In factBrassartdoes preciselythisin both O rexFridriceand
rex(see Appendix,Nos 10, 11).
Romanorum
1-4
are linear analyses of the Grenon, Dufay, Carmen and
Figures
Brassartmotetswe have previouslydiscussed in some detail. Because of
taleae in the variousvoices,
the non-coincidingnatureof the isorhythmic
motetsfromthe period c.
these are among the most complex isorhythmic
1385-1450. We shallreturnto Carmen's Salve pater.
Table 2 (pp.108-110) summarizesall proportionsof contiguoustaleae
motets examined. The proportions are
(Type 1) in the thirty-four
in
order
of
frequencyof occurrence,and in each case all other
presented
proportionsof the same type are also cited for each motet. Clearly,
proportionsformedby manipulationof the Pythagoreanseries (2:1, 3:2,
4:3, 3:1) predominate,withall othersrepresentedby a singleexample.
The subject of systematic, often symbolic, use of contiguous
proportions in extended compositions has received considerable attention
in recent years. (For a fascinating hypothesis involving proportional
treatment of the sections of an entire Mass ordinary, see Taruskin 1986.)
102
PROPORTION
FORM
AND
IN THE
ISORHYTHMIC
MOTET
There can be no doubt that composers strove to apply to larger musical

forms the same rational, that is, numerical, relationships that governed the
basic working materials of their craft, musical intervals themselves. The
generation of specific temporal durations is, of course, dependent upon the
application of specific proportions to individual notes, most often at clearly
articulated points of structural division, and usually indicated by a
mensural/proportional sign. The proportions in Table 2 have been
calculated with consideration given to the valuable work of Alejandro
Enrique Planchart (Planchart 1981), Eunice Schroeder (Schroeder 1982)
and Anna Maria Busse Berger (Busse Berger 1990), who has also provided
a virtuoso analysis of the historyof proportion signs (Busse Berger 1988).
onp. 110)
(textcontinued
KEY TO FIGS 1-4

Proportionsbetweenthe taleae are measured in real time and are representedin
the diagramsby therelativedimensionsofthe sections.
ISORHYTHMIC AND NON-ISORHYTHMIC
SECTIONS: Solid horizontal
lines define the isorhythmicsections, dotted lines the non-isorhythmic
ones.
Within the isorhythmicsection (solid line) the dimensions of the taleae are
bounded by verticallines, which may eitherdissect the line (in which case the
taleae applyto all isorhythmic
voices) or formtangentswithit (indicatingthatthe
taleae thusbounded are restricted
to certainvoices).
COLORES, TALEAE: Statementsof a repeated melody are representedby
capitalletters,withsuccessivelettersassignedto each repetitionofthe pitchseries.
Statementsof a talea (recurringpatternof durationalvalues), when occurringin
tandem with a color (repeated melody), are enumeratedwithRoman numerals.
Unlike the cantus-firmusbearing tenors, the upper voices of motets in this
repertorydo not employ melodic repetitionand normallyemploy a series of
distinctivetalea patterns. Talea repetitionsin these voices are thereforenot
letterassignedto
enumerated,but indicatedby lowercase letters,witha different
each distinctivepattern.The lengthsof all taleae, as measured in breves (p =
perfect;i = imperfect),are given in combinationwith the mensurationsigns
employed in theirrespectivevoices. Mensural usage of each voice is analysed,
whetherit is isorhythmic
or not. Signs in bracketsare absentfromone or moreof
the manuscriptsources.
MUSIC
ANALYSIS
10:1-2,
1991
103
Fig. 1 Isorhythmicanalysis
Grenon,Ave virtusvirtutum
(4 vv)
Prophetarum
fulti
[Infelix]
Isorhythmicvoices: all
CI
C1/C2
36i
36i
C.
18i
18i
O 12p
Ct
36i
36i
18i
18i
O 12p
[C]
C1/C2/Ct:
6i
??
Tenoronly: AI
6i
to
d
V)
4
O
6i
6
B.II
C.III
0
C3
v,
7"
??
to
Fig. 2 Isorhythmic
analysis
Dufay, Ecclesie militantes(5 vv)
Sanctorumarbitrio
Bella canuntgentes
[Gabriel]
[Ecce nomendominm]
voices: Tenors 1 and 2, Contratenor

Isorhythmic
Tr/Mo []
48p
72i
72p
Ct
72p
Tl /T2
Ct:
A.I
T1 /T2:
A.I
03
24i
24i
72i
24i
B.II
99
B.II
C.III
d24i
C.III
D.IV E.V
N.B. Symbolsand dimensionsabove theline applyto the contratenor,

thosebelow to Tenor 1 and Tenor 2.
o
oS
analysis
Fig. 3 Isorhythmic
Carmen,Salve patercreator(4 vv)
Felix etbeata
voices: all
Isorhythmic
Tr /Mo 0
T/Ct
Tr /Mo:
T /Ct:
A.I
5:
9i
9i C 14i
15p
12p
15p
[c]
18i
6p
6p
1 3
6
II
5
5
B.III
[C]14i
1 3
6
IV
7"
??
to
3
3
15p
[O]
15p
C.V
5
5
d
n
Fig. 4 Isorhythmic
analysis
Brassart, Romanorumrex (4 vv)
[Requiem]
voices: all
Isorhythmic
> ?
o9
oo
to?
[O]
30p
30p
30i
30i
[O]
30p
30p
30i
30i
TO
6p
6p
90p
10
8
A.I
6p
16p
6pl
1 6
II
6p
60i
90p
6p
10
6p
60i
6p
03
1 4 12112 31 4 2
III
IV
BV VI VII
VIII
C IX
N.B. Symbolsand dimensionsbelow the line applyto the tenoronly; those above it,to all othervoices.
o
CHARLES
TURNER
Table 2 Proportions
ofType 1 (Contiguous
Taleae)
Proportion
Composer/Motet
Otherproportions
present
1:1
Dufay Apostolo
Dufay Balsamus
*Dufay Ecclesie
Dufay Fulgens
Dufay Moribus
Dufay 0 sancteSebastiane
1:3
1:2
Dufay O gemma
Dufay Rite maiorem
Dufay Salve
Dufay Supremum
Dufay Vasilissa
Ciconia Albane
Ciconia Doctorum
CiconiaPetrum
Ciconia Utte
BrassartAve Maria
BrassartMagne decus
BrassartRomanorumrex
Grenon Ad honorem
Grenon Ave virtus
Grenon Nova vobis
Grenon Plasmatoris
Carmen Pontifici
Carmen Salve pater
Carmen Venite
Cesaris A virtutis
Tapissier Eya dulcis
Franchois Ave virgo
Anonymous O Maria
Anonymous Argi vices
Anonymous Cuiusfructus
2:3
DufayEcclesie
Dufay Fulgens
Dufay Magnanime
Dufay Moribus
Dufay Nuper rosarum
Dufay O gemma
Dufay Supremum
1:2, 1:3, 2:3, 3:4, *2:9, *4:9

2:3, 3:4
1:2, 2:3
1:3
2:3
10:11
1:2, 3:4
2:3
2:3
1:3,*1:4, *3:4
1:3
1:2, 2:3, 3:4, *2:5, 4:5, *1:10
1:2
1:2, 1:3, 2:3, 3:4, *3:8
1:3
1:2, 3:5, 5:6
2:3
2:3
*1:1, 1:2, 1:3, 3:4, *2:9, *4:9

1:1, 3:4
1:2, 1:3
1:1, 1:2
1:2
1:1
1:1
* indicates
voices
proportionsformedby a combinationofisorhythmic
108
MUSIC ANALYSIS
10:1-2, 1991
PROPORTION
AND
FORM
Ciconia Doctorum
Brassart 0 rex
Brassart Romanorum
Grenon Ave virtus
Carmen Venite
Franchois Ave virgo
1:2
Dufay Balsamus
Dufay Ecclesie
Dufay Magnanime
Dufay Moribus
Dufay Nuper rosarum
Dufay Salve flos
Brassart 0 rex
Brassart Romanorum
Grenon Ad honorem
Grenon Ave virtus
Carmen Salve pater
1:3
Dufay Apostolo
Dufay Ecclesie
Dufay Magnanime
Dufay 0 sancteSebastiane
Ciconia Petrum
BrassartMagne decus
Grenon Ave virtus
Grenon Plasmatoris
3:4
Dufay Ecclesie
Dufay Fulgens
Dufay Salve flos
*Ciconia Petrun
Brassart Romanorum
Grenon Ave virtus
IN THE
ISORHYTHMIC
MOTET
1:1
1:2
1:1, 1:2, 3:4, *2:5, 4:5, *1:10
1:1, 1:2, 1:3, 3:4, *3:8
1:1
1:1
1:1
*1:1, 1:3, 2:3, 3:4, *2:9, *4:9
1:3, 2:3
1:1, 2:3
2:3
1:1, 3:4
2:3
1:1, 2:3, 3:4, *2:5, 4:5, *1:10
1:1
1:1, 1:3, 2:3, 3:4, *3:8
1:1, 3:5, 5:6
1:1
*1:1, 1:2, 2:3, 3:4, *2:9, *4:9
1:2, 2:3
1:1
1:1, *1:4, *3:4
1:1
1:1, 1:2, 2:3, 3:4, *3:8
1:1
*1:1, 1:2, 1:3, 2:3, *2:9, *4:9
1:1, 2:3
1:1, 1:2
1:1, 1:3, *1:4
1:1, 1:2, 2:3, *2:5, 4:5, *1:10
1:1, 1:2, 1:3, 2:3,*3:8
*1:4
Ciconia Petrum
1:1, 1:3, *3:4
*1:10
BrassartRomanorum
1:1, 1:2, 2:3, 3:4, *2:5, 4:5
*2:5
BrassartRomanorum
1:1, 1:2, 2:3, 3:4, 4:5, *1:10
*2:9
Dufay Ecclesie
3:5
Carmen Salve pater
*1:1, 1:2, 1:3, 2:3, 3:4, *4:9

1:1, 1:2, 5:6
109
CHARLES
*3:8
4:5
*4:9
TURNER
Grenon Ave virtus
1:1, 1:2, 1:3, 2:3, 3:4
BrassartRomanorum
1:1, 1:2, 2:3, *2:5, 3:4, *1:10
Dufay Ecclesie
"1:1, 1:2, 1:3, 2:3, 3:4, *2:9
5:6
Carmen Salve pater
1:1, 1:2, 3:5
10:11
Dufay Rite maiorem
1:1
We have investigatedthe formalaspects of isorhythmic

motetsfromthe
of
view
of
of
There
course, important
are,
point
proportionalusage.
considerations other than these. We may summarize isorhythmic
compositionin another way, in terms of the procedures employed by
composers.A studyof proportionsdiscloses a considerablevariety,but a
comparablewealthof imaginationcomes to lightwhen one approachesthe
same repertoryfrom a differentpoint of view. Tables 3-5 include
proportionaldistinctions,but essentiallysummarizeconstructionof the
motetswithregardto 1) the relationshipof tenorcolor to talea, and the
number of tenor statements,2) the number and relationshipof the
sections.Table
voices, and 3) the presenceofnon-isorhythmic
isorhythmic
4 shows thatthe most often-followed
procedurewas clearlyto establisha
reiteratedpatternof durationalvalues thatrecursat least once withinthe
cantus firmusitself.Twenty-sevenmotets adhere to this pattern; only
seven do not. Considerablevarietywas employedin the numberof tenor
motets
of the thirty-four
statements,
rangingfromone to six. Twenty-three
onlyelevendo not.
varythe durationsofthetaleae proportionally;
Table 3 ClassificationofTenors
TENOR DIVIDED
INTO TALEAE (cantus firmuscontainingrepetitionof temporal values):
A Two statementsof tenorwithproportionaldiminution(8 motets)

Dufay Apostolo
Dufay O sancte
Dufay Rite maiorem
Dufay Supremumest
BrassartMagne decus
Grenon Ad honorem
Carmen Venite
Franchois Ave virgo
110
3:3:1:1
3:3:3:1:1:1
11:11:10:10
3:3:3:2:2:2
3:3:3:1:1:1
2:2:1:1
3:3:3:3:2:2 (N.B. Proportionsof c.f.: 9:7)
3:3:2:2
MUSICANALYSIS
10:1-2, 1991
PROPORTION
AND
FORM
1:1:1:1
8:6:4:2:1:2:3:4:2:2:2:2
6:5:6:3:5:3 (N.B. Proportionsof c.f.: 11:9:8)
One tenor statementonly; two different,

successive, patternsof repetition(1 motet)
3:3:1:1
One statementof the entire tenor; the melody of the firsttalea is given twice in succession
(1 motet)
BrassartAve Maria
1:1:1:1
Three statementsof the tenor; each talea is subjected to a different

proportion(2 motets)
Grenon Plasmatoris
H
3:3:2
1:1:1
6:6:4:4:3:3
3:3:2:2:1:1
Brassart Romanorum
Carmen Salve pater
G
1:1:1
1:1:1:1
Three statementsof tenor withproportionaldiminution(2 motets)

Dufay Fulgens
Dufay Moribus
1:1
1:1
1:1
1:1:1:1:1
1:1:1:1
Two statementsof the tenor (2 motets)

Grenon Nova vobis
Anonymous O Maria
MOTET
One statementof the entiretenor and repetitionof the firsthalf (2 motets)

Dufay O gemma
ISORHYTHMIC
One tenor statementonly (7 motets)

Dufay Vasilissa
Ciconia Albane
Ciconia Ut te
Carmen Pontifici
Cesaris A virtutis
AnonymousArgi vices
IN THE
1:1:1:1:1:1
Two statementsof tenor withproportionaldiminution;alternatingtaleae give the firsthalf of

color in retrograde(1 motet)
Dufay Balsamus
MUSIC ANALYSIS
2:2:1:1
10:1-2,1991
111
CHARLES
TURNER
Four statementsof tenor with alternatingdiminutionand augmentation(1 motet)

6:6:3:3:4:4:2:2
Dufay Salve flos

TENOR NOT DIVIDED
INTO TALEAE (cantus firmuscontainingno repetitionof temporal
values):
K
Tenor has two differentcolores: each color is repeated in diminution(1 motet)

Ciconia Petrum
3:1:3:1
Three statementsof tenorwithproportionaldiminution(1 motet)

Ciconia Doctorum
3:3:2
M Four statementsof tenor withproportionaldiminutionand augmentation(2 motets)

Dufay Magnanime
Dufay Nuper rosarum
N
12:4:2:3
6:4:2:3
Four statementsof tenor withproportionaldiminution(1 motet)

Brassart O rex
6:4:2:(1)
(The last ratio is inexact because the canon specifiesthat restsare to be omitted)
Six statementsof tenor withproportionaldiminution(1 motet)

Grenon Ave virtus
8:6:2:2:1:1
Six statementsof tenorwith alternatingproportionaldiminutionand augmentation(1 motet)

Dufay Ecclesie
6:3:4:2:6:3
Voices
Table 4 ClassificationofIsorhythmic
A
All voices isorhythmic;taleae coinciding (22 motets)

Dufay Apostolo
Dufay Balsamus
Dufay Fulgens
Dufay Moribus
Dufay O sancteSebastiane
Dufay O gemma
112
3:3:1:1
2:2:1:1
6:6:4:4:3:3
3:3:2:2:1:1
3:3:3:1:1:1
3:3:2
MUSIC ANALYSIS
10:1-2,1991
PROPORTION
AND
FORM
Dufay Rite maiorem

Dufay Salve flos
Dufay Vasilissa
Ciconia Albane
Ciconia Ut teper omnes
Grenon Ad honorem
Grenon Nova vobis
Grenon Plasmatoris
Carmen Pontifici
Carmen Veniteadoremus
Cesaris A virtutis
Franchois Ave virgo
Anonymous O Maria
AnonymousArgi vices
B
ISORHYTHMIC
MOTET
11:11:10:10
6:6:3:3:4:4:2:2
1:1
1:1
1:1
2:2:1:1
1:1:1:1
3:3:1:1
1:1:1:1:1
3:3:3:3:2:2 (N.B. Proportionsof c.f.: 9:7)
1:1:1:1
1:1:1
3:3:2:2
1:1:1:1
1:1:1:1
1:1:1
Tenor only isorhythmicvoice (5 motets)

Dufay Magnanime
Dufay Supremumest
BrassartAve Maria
BrassartMagne decus
Brassart O rex
IN THE
12:4:2:3
3:3:3:2:2:2
1:1:1:1:1:1
3:3:3:1:1:1
6:4:2:(1) (last ratio inexact)
All voices isorhythmic,taleae non-coinciding (4 motets)

Ciconia PetrumMarcello
4 :4
3:1:3:1
BrassartRomnanorum
rex
10:10 :5:5
:4 :4
8:6:4:2:1:2:3:4:2:2:2:2
Grenon Ave virtus
4:4:3:3:2:2:1:1
8 : 6 :2:2:1:1
Carmen Salve pater
3:3:5:3:3:3:5:3
6 :5: 6 :3:5:3 (N.B. Proportionsofc.f.: 11:9:8)
Two isorhythmicvoices; taleae coinciding (2 motets)

Dufay Nuper rosarum
Ciconia Doctorum
MUSIC
ANALYSIS
6:4:2:3
3:3:2
10:1-2,1991
113
CHARLES
TURNER
Three (but not all) voices isorhythmic;taleae non-coinciding(1 motet)

Dufay Ecclesie
9: 6: 9
6:3:4:2:6:3
Sections (this categoryapplies

Table 5 Classificationof Non-isorhythmic
to 18 of 34 motets)
A
Non-isorhythmicprelude - bicinium (9 motets)

Dufay Ecclesie
Dufay Magnanime
Dufay O sancteSebastiane
Dufay O gemmalux
Dufay Vasilissa
BrassartMagne decus
Brassart O rexFridrice
Grenon Ad honorem
Anonymous Argi vices
Non-isorhythmicpostlude. A briefextension in the formof a terminalcadence or additional

longa (notes ultramensuram)is not considered a postlude (5 motets)
Dufay Magnanime
Dufay Supremumest
Brassart O rexFridrice
BrassartRomanorumrex
Anonymous O Maria virgo
Non-isorhythmicprelude - All voices (3 motets)

Dufay Apostolo
Dufay Supremumest
Anonymous O Maria virgo
Non-isorhythmicprelude - tricinium(1 motet)

Franchois Ave virgo
Composers would sometimes take advantage of the non-restrictive

natureof the freeprelude,or introitus,and compose thismusic eitherin a
generallyhomophonic or in an imitativestyle. Occasionally theywould
employ strictcanon, as in Dufay's O sancteSebastiane,0 gemma and
est,
Vasilissa,and in the anonymousArgivices.In the introitusto Supremum
114
PROPORTION
AND
FORM
IN THE
ISORHYTHMIC
MOTET
Dufay employs two notated homophonic voices expanded to three by

fauxbourdon. In Apostolo,Dufay has an imitativefour-voiceintroitus
consistingof a canon in the upper voices and a second, melodically
distinct,canon shared by the two contratenors.In all, seven of Dufay's
motetsare precededby non-isorhythmic
thirteenisorhythmic
sections.The
introitusto JohannesFranchois'sAve virgois unique both in its exceptional
length,nearlythatof the motetitself,and in its style,whichresemblesthe
Italian caccia: two upper voices in strictcanon witha more slowly-moving
tenor,designated'Trompettaintroitus'.Althoughisorhythmic
composition
may seem by nature essentiallyincompatiblewith imitation,this is not
necessarilyso. In Carmen's Pontifici,there is no introitusoutside the
scheme but rathercanon in the upper voices throughoutthe
isorhythmic
motets
isorhythmictaleae themselves.In twenty-sixof the thirty-four
In twenty-two
of thesetwenty-six,
examined,all voices employisorhythm.
the taleae of all voices coincide; in otherwords,the motetsmaybe said to
be 'isoperiodic'(see Table 4).
JohannesCarmen's Salve pateremploysa formalconstructionwhich is
trulyremarkableand meritsan expositionof its own. The linearanalysisof
this motet (Fig. 3) revealsa structurethatis unique in severalways. The
problemthe composerput beforehimselfwas, in part,to presentthetenor
cantusfirmusthreetimes,in such a way as to correspondto eighttaleae of
the upper voices. Carmen's structuralorganizationis highlyimaginative.A
verbal canon instructsthe performersto give the tenor three times 'de
prolatione sui moteti', that is, to apply the mensurationsof the upper
voices to the corresponding(coinciding)taleae of the tenor. This causes
two of the signs to recur. The resultingsequence of mensurationshas a
logic of its own, for it gives (in this order) both varietiesof tempus
and prolatiominor:0 0
perfectum,
tempusimperfectum
c 0 c
The threetenor statementsare divided into six taleae, the totalityof
which correspondto eighttaleae, or fourpairs,in the upper voices. Six of
the eighttaleae in the uppervoices coincidewithall those of the tenor,but
two do not. Figure 3 shows that the taleae of the upper voices have the
proportions 3:3:5:3:3:3:5:3; those of the tenor have 6:5:6:3:5:3. To
summarizethe elementsofform:
1) the upper voices present four pairs of taleae, but with the normal
successionaltered(aabccdbd);
2) the tenormelodyis statedthreetimes(ABC);
3) each statementofthe tenorconsistsoftwo unequal taleae;
4) each talea of the tenorhas a change of mensuration,correspondingto
those oftheuppervoices;
5) thetenormelodyas a whole is subjectedto progressivediminution.
With regardto this last observation,the progressivediminutionof the
tenoremploysan interesting
combinationofproportionalrelationships,
not
MUSIC
ANALYSIS
10:1-2, 1991
115
CHARLES
TURNER
novem (11:9) and sesquioctava

encounteredpreviously:superbipartiente
(9:8).
Tenor <
melody
rhythm
11
6 : 5 : 6
3 :
8
5
We are not recognizinghere proportionsof Type 1 (these have been fully

accounted forin various tables) but those generatedby melodicrepetition
(color). The unique constructionof Salve paterbringsus to a finalaspect
of isorhythmic
designnot previouslyinvestigated.This studyhas described
proportionalrelationshipsof taleae (proportionsof Type 1), but not those
of colores, or repetitionsof tenors in theirentirety.The reason for this
approach is simplythat these dimensionsare normallydependentupon
and reflectedby thoseofthe taleae. Generallyspeaking,the durationofthe
motetwill eitherbe the same as the talea (if the
tenorin an isorhythmic
but is itselfrepeated) or
no
internal
repetitionsof rhythm
melodycontains
be a multiple of the taleae (if there is repetitionof rhythmwithinthe
melody).
The unusual proportionsof Salve paterconfoundanalysis,for 1) each
statementof the tenorconsistsof unequal taleae, 2) the tenorstatements
have only an additiverelationshipto theirtaleae, and 3) not one of the
threetenorstatementsis an easilycalculablefractionor multipleof another
statement.These phenomenona, difficultto reduce to analysis,add an
imaginative dimension to isorhythmic composition. Compared to
Carmen's Salve pater,the same composer's Veniteadoremusis relatively
simple in its design: 6 taleae divided accordingto mensuralusage into 3
pairs,but accordingto melodic repetitioninto 2 colores of 3 taleae each.
The resultingtaleae proportionsare 3:3:3:3:2:2, but those of the cantus
firmusstatementsare 9:7 (3+3+3 : 3+2+2). These two motetsby Carmen
are the only ones in the presentrepertoryin which considerationof the
adds a dimensionotherwiseunaccountedforin analysis.
colorproportions
It is particularly
appropriatethatthisstudyshould conclude withSalve
pater,forit began withGilbertReaney's analysisof this same motet.It is
understoodtoday
not surprisingthat such compositionsare imperfectly
are oftendisappointing.It is perhapsinevitablethat
and thatperformances
methodsof isorhythmic
analysiscannot be adequate, much less ideal, for
conveyingwith ease all the varied possibilities,proportionalor otherwise.
Indeed, it would be disappointingif any method of analysiscould reduce
the essence of this music to mere figuresor symbols.Nevertheless,an
appreciationof the ways in whichproportionaffectsformin both audible
and inaudible ways can result in an aestheticallygratifying
experience
whichtranscendstheresolutionofnumericalratios.
116
MUSIC ANALYSIS
10:1-2,1991
PROPORTION
AND
FORM
IN THE
ISORHYTHMIC
MOTET
NOTES
1.
2.
There are a fewminorerrorsin Reaney's analysis.Carefulcalculationreveals

the actual proportionsof the taleae to be 6:5:6:3:5:3. Thus the firstthree
tenortaleae are not equal, as the + signssuggest.Further,sincethefourthand
sixthfractionsare identical,theymustboth be eithergreateror smallerthan
fractionfive.Reading fromfractionfouron, Reaney's analysisstatesfirstthat
B is smaller(shorterin duration)than D and thenthatB is greater(longerin
duration) than D when it (D) is repeated, an impossible situationin the
contextof thismotet.The erroris easilycorrectedby inverting
the second of
the three> signs. The followingmodificationof Reaney's analysisgives the
correctsymbols:
2A
6No
5MO
2C
6Mc
7Nc
5Mo
7Nc
For a more detailed,yet more easilyinterpreted,

analysisof Salve pater,see
3.
Fig.
The proportions3:2:1 are incorrect,however, for the canon directs the
performerto reduce the tenor firstby one third and then by half of the
originalvalues (see the complete text of the verbal canon in the Appendix,
No. 3). It is the firsttenorstatementto whichboth of thesereductionsshould
apply. Brown's analysis applies the proportionscumulatively,reducingthe
second tenor statementto produce the third.The actual proportionsof the
threetenor statementsare not 3:2:1, but 3:2:11/2 or 6:4:3, and the analysis
should be modifiedto read as follows:c/2tx 3 (6:4:3) + F. In Dufay'sEcclesie
thereare two isorhythmic
militantis,
patterns,one forthe contratenorand one
thatgovernsbothtenors.Brown(1962: 277) analysesthepiece as follows:
Ct
T,T2
V+
c/tx 3 ( 1 : 1 : 1 )
c/tx 6 (2:1:2:1:2:1)
+F
The isorhythmic
patternsare not independent,however,but closelyrelated.
While Brown shows the threecontratenortaleae to be equal in length,the
proportionsare not 1:1:1, but 3:2:3. This relationshipis inherentin the three
whichhave the mensurationsigns0
and theseproportions
statements,
(3 1),
are confirmedby the configuration
of the othervoices.
The proportionsof the
tenorsmaybe representedas 2:1 in each ofthe threeinstancesonlyiftheyare
shown to be governedby the 3:2:3 relationshipof the contratenor.Thus the
dimensions of the contratenorgreatlyaffectthose of the tenors. A more
accuratesummaryofthe structure,
would
accordingto Brown'smethodology,
be as follows:
MUSIC ANALYSIS
10:1-2, 1991
117
CHARLES
Ct
T,T2
3.
V+
TURNER
c/tx3 (3:2:3)
c/tx 6 (2:1:2:1:2:1)
V V V
3:2:3
+F
For a more detailed,yetmore easilyinterpreted,

analysisof Ecclesie,see Fig.
2. In fairness,the errorscited in the analysesof both Reaney and Brown are
due to individualmiscalculationand do not reflectinherentweaknessesin the
systemsthemselves.It mustbe pointedout, however,thatsimilarerrorsin the
literatureof isorhythm
are quite common.
'...in honor of your most well-proportioned
chapel, whose equal I cannot
believe
to
exist
in
the
world'
1965: 5).
(Strunk
easily
anywhere
APPENDIX
Motets:
Verbal Canons in theIsorhythmic
Translation,Commentary
Transcription,
No. 1 Dufay,Apostolo
Et diciturbis primode modo perfectoet temporeimperfectosecundo per tercium
demptisprimispausis et nota sequente
The tenoris sung twice,firstin perfectmodus and imperfecttempus,the second
time reduced to one third,omittingthe rests of the firsttime and the note
followingthem.
No. 2 Dufay,Balsamus
Canon, BL 191':
similimodo retrogradendo
Tenor diciturde modo perfectoet temporeimperfecto
The tenoris sungin perfectmode and imperfect
tempus,thenin the same manner
goingbackwards.
Canon, BL 192':
Tenor diciturper semi et eodem modo retrograditur
accipiendopro finenigras
The tenor is sung reduced by half and in the same manner going backwards,
acceptingthe black [notes]beforethe end. (Two notes in hollow notationprovide
a kindof 'second ending'.)
118
PROPORTION
AND
FORM
IN THE
ISORHYTHMIC
MOTET
No. 3 Dufay,Fulgens
Tenores isti ter dicunturprimo de modo et temporeperfectisminorissecundo
terciumterciocise per semi de primo
The tenorsare sung threetimes: first,in perfectmodus and tempus withminor
prolation;second,reducedby one third;third,in halfthetimeofthefirst.
Note: The use of terciumseems anomalous here,whereit means reduced byone
third(or havingtwo thirdsof its previousvalue) ratherthanreduced to one
third,as in Dufay,Apostoloand Brassart,Magne decus.
No. 4 Dufay,Magnanime
Quater diciturprimo crescitin duplo aliis tribusvicibus ut signa notantprimas
pausas tamenobtinendo
The tenoris sung fourtimes,firstincreasedby duple proportion,the otherthree
timesas the [mensuration]signsnote,maintaining,
however,therestsofthefirst.
Note: There seems to be an errorhere. The restsof the firsttime pertainto the
introductionby the two upper voices and do not applyto
non-isorhythmic
the isorhythmic
talea proper.The canon should instructthe singerto omit
therestson subsequentstatementsofthetenor.
No. 5 Dufay,Moribus
Ut signant
pauseque bases bene
> signa
As the signsindicate,[heed] well the note and rest[?].

Note: The meaningof thiscomment(in the hand of the textscribe) is unclear.It
was writtenbeneaththe tenormidwaythroughthe composition,perhapsas
an aid to performance.
No. 6 Dufay,O gemma
Canon qui dicitursic primo de modo perfectoet tempore imperfectomaioris
prolacionissecundo tantummodoprimuscolor resumiturde minoriimperfecto,
servandomodum primispausis demptis
Canon which is thus: firstin perfectmode, imperfecttempus, major prolation;
second, in the same manner;the melodyis resumedin imperfecttempus,minor
prolation,omittingthe restsofthefirsttime.
MUSIC
ANALYSIS
10:1-2,
1991
119
CHARLES
TURNER
No. 7 Ciconia, Doctorum

principem
Tenor vie [vis?] artiset diciturimperfectomajori perfectominorisemperultima
minori
semibrevisalteraturimperfecto
The tenor (... meaning unclear) and is sung [first]in imperfecttempus,major
prolation; [second] in perfecttempus, minor prolation- the last semibreveis
tempus,minorprolation.
alwaysaltered;[third]in imperfect
No. 8 Ciconia, PetrumMarcello
Canon tenoresdicuntursic primousque ad secundam talliamut jacent secundo
resumendoet sic successivealie talieprocedant
diminuintur
Canon: The tenorsare sung thus: firstall the way to the second talea as written.
Second, upon resuming,they are diminished,and the other successive taleae
continuelikethis.
No. 9 Brassart,Magne decus
Iste diciturbis primode modo et temporeperfectissecundo per terciumsed prime
pause non dicuntur
The tenoris sung twice,firstin perfectmode and perfecttempus;the second time
reducedto a third(of thefirsttime),but therestsofthefirstare not observed.
No. 10 Brassart,O rexFridrice
Ca
non
teno
ris
Si me cupis promeresic dic quatersine finein primocupio me

subsestuplaque secundo subquadruplaiungesed si vis nun ter
haveresic studeascanereme subdupla sitsineverepausas omitto
quartout jaceor promorego
If you want to revealme, sing me fourtimesthus withoutstopping:First,I want

you to sing me at invertedsextupleproportion(1:6), and it joins a second at
invertedquadruple proportion(1:4). But if you want to have a thirdtime, take
care to sing me thus, at invertedduple proportion(1:2). The fourthtime I omit
the restsas I revealmyselfas I lie.
Note: There are problemsin the wordingof the canon, whichmay be corruptin
places.
rex
No. 11 BrassartRomanorum
Tenor iste qui dicitur:primo modo, prima tallea in subdupla superbipartiente
120
PROPORTION
AND
FORM
IN THE
ISORHYTHMIC
MOTET
proportione;secunda tallea in subdupla proportione;tertia in subsesquitertia;

quarto vero in sesquialtera. Secundo modo, prima tallea dicitur in tripla
proportione;secunda in emiola; terciasicutiacet; quarta in subdiatessaron.Tertio
modo diciturin dyapenthe.Et es notandumquod secunda et terciavice capiturin
dyapenthe.[Punctuationadded forclarity]
This is the tenor,whichis sung as follows:The firsttime- firsttalea in subdupla
superbipartiente
proportion(3:8 or 5:12; here, 3:8); the second talea in inverted
duple proportion(1:2 or, here, 3:6); the third talea in invertedsesquitertia
proportion(3:4); the fourthtalea in sesquialtera(3:2). The second time - first
talea in tripleproportion(3:1); the second talea in hemiola (3:2); the thirdtalea in
the values that are written(1:1 or, here, 3:3); the fourthtalea in inverted
diatessaron (3:4). The thirdtime it is sung at the diapenthe (3:2). And it is
notatedsuch thatthe second and thirdtimesit is transposeddown a fifth.
Note: This is a remarkablecanon. The use of talea (tallea) is normal. Emiola,
sesquialteraand dyapentheare all used for3:2 proportion.The last ofthese,
dyapenthe,is used in two senses,fora 3:2 temporalproportionand forthe
intervalof a perfectfifth.The second and third tenor statementsare
transposeda fifthlower. Thus we have a tenor whose melody is sung at
actual pitch on only one of threestatements,and whose notatedvalues are
at integervalor in only one of twelvetaleae. The use of subdiatessaronis
somewhat unusual, but subsesquitertiahad already been used, and the
author avoided duplicatinga term wheneverpossible. The number three
occurringin all proportionsrepresentsintegervalor. Modus here has its
usual meaning of method or manner, and has no specificallymusical
connotation. Interpretationof subdupla superbipartienteproportioneas
either 3:8 or 5:12 is accounted for by Tinctoris (Terminorum
Musicae
s.v. dupla superbipartiens)but 3:8 is implicitin the present
Diffinitorium,
context.
No. 12 Grenon,Ad honorem
Canon diciturbis primout jacet secundo cise per [semi]
The tenoris sungtwice,firstas written,second cut in half.
Note: Charles van den Borren(Borren 1932: xl) statesthat'ut jacet is inaccurate,
since the contextrequiresthe augmentationof the values'. To the contrary,
the canon is correctand the contextrequiresnot augmentationof the tenor
but diminutionoftheuppervoices.
MUSIC
ANALYSIS
10:1-2,
1991
121
CHARLES
TURNER
No. 13 Grenon,Ave virtusvirtutum

Canon:
Crescitin oc
Fac in sex
Postea bis ca
Sed bis conci
> tuplo
> nitur
Semel hic tenorincipi

Crescat semelin decanen
In duplo cum bene cr
Tandem veluthic requi
> endo
> escit
As it begins,thistenorfirstgrowsin octuple proportion.Then sing it in sextuple

proportion;let it grow at the same time it is diminished.Afterwardsit is sung
twice,althoughit growsat duple proportion.But finallyit is sung twicethe way it
is writtenhere.
Note: Althoughthe notationof the canon in parallelcolumnsgivesthe impression
of four pairs of couplets, each column contains half-lines reading
continuouslyacrossthe columns.As shownabove, thesenot onlyrhymebut
share finalsyllables,writtenbut once in the MS. Crescatsemelin decanendo
('Let it grow as it is diminished') describes the paradoxical situationin
whichthe tenor'grows'at sextupleproportionrelativeto thenotatedvalues,
but is at the same time diminishedfromits previousstatementat octuple
proportion. Requiescit,where ut iacet or integervalor might be more
common,allowsthe consistentand playfulsharingof syllables.
No. 14 Carmen,Salve pater
Tenor diciturterde prolationesui moteti
The tenoris sungthreetimes,accordingto theprolationsof theuppervoices
No. 15 Carmen, Veniteadoremus
Tibi color cantus bis pronunciandusunde duo colores de maiori in tempore
imperfectoultimuscum primo de minoriin temporeperfectoitem secundus et
ultimusde eadem in temporeimperfecto
The tenoris sung twice. During thisthereare two statements[of the rhythm]in
imperfecttempus,major prolation.The last [thirdtalea of the firststatementof
the melody] and the first[firsttalea of the second statement]are in perfect
tempus, minor prolation.The second and last [second and thirdtaleae of the
second statement]are in imperfect
tempus.
Note: Color seems to be employed to indicate repetitionsof both pitch and
rhythm.
122
PROPORTION
AND
FORNM
IN THE
ISORHYTHMIC
MOTET
No. 16 Anonymous,Cuiusfructus
Tenor istidiciturde modo perfectoet temporeperfecto
The tenoris sungin perfectmode and perfecttempus.
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MUSIC ANALYSIS
10:1-2, 1991

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Proportion and Form in the Continental Isorhythmic Motet c.

PROPORTION AND FORM IN THE

1) review the analyticaltechniques of isorhythmicanalysis employed in

Besseler 1966: 33-8

Besseler 1966: 54-8

Besseler 1966: 46-53

Besseler 1966: 80-8

Besseler 1966: 76-80

* The numberof textsis givenin superscript.An alternativenumberofvoices is givenin parenthesesifthe motetis

Besseler 1966: 88-98

Besseler 1966: 70-5

Besseler 1966: 24-9

Besseler 1966: 29-33

Besseler 1966: 38-45

Besseler 1966: 64-9

Salve flos Tusce

Besseler 1966: 59-63

Besseler 1966: 21-4

Bent 1985: 85-8

Bent 1985: 89-93

Bent 1985: 94-102

Bent 1985: 103-7

Mixter 1971: 13-15

Mixter 1971: 24-6

Mixter 1971: 27-31

Mixter 1971: 44-7

Borren 1932: 203-4

Borren 1932: 194-202

Marix 1937: 233-6

Turner 1986: 197-210

Reaney 1955: 54-61

Reaney 1955: 48-54

Reaney 1955: 39-48

Reaney 1955: 32-9

Reaney 1955: 72-8

Ficker 1933: 19-21

de Van 1948: 60-5

Turner 1986: 211-20

Turner 1986: 221-5

Manuscript Sigla Cited in Table 1

Aosta, Biblioteca del Seminario, MS Al D19

Let us firstturn to a few specificexamples of isorhythmicanalysis.

There are several shortcomingsto this analysis,however.Althoughit

parentheses. When applicable, non-isorhythmicpreludes and postludes are

The preceding examples of isorhythmicanalysis representvarious

the most complex motetsof this type,may serve as examples. In Dufay's

We may also observe that the number 2 is used in the contratenor

The resultingproportionsare the following:1:2 (3:6, 2:4), 1:3 (2:6), 2:3

The proportions represented by the numerical series 4:3:2:1

Thus we have in this remarkable motet the following sounding

composedin 1436 forthededicationoftheduomo,at which

Diagram 7 Temporal relationshipsbetween integervalor, dupla proportioneand triplaproportione

proportionis prescribed,a 3:1 relationshipbetween the tempo of the

Obviously,the proportionswhich the performers

MUSIC ANALYSIS10:1-2, 1991

There can be no doubt that composers strove to apply to larger musical

KEY TO FIGS 1-4

voices: Tenors 1 and 2, Contratenor

N.B. Symbolsand dimensionsabove theline applyto the contratenor,

1:2, 1:3, 2:3, 3:4, *2:9, *4:9

*1:1, 1:2, 1:3, 3:4, *2:9, *4:9

1:1, 1:3, *3:4

1:1, 1:2, 2:3, 3:4, *2:5, 4:5

1:1, 1:2, 2:3, 3:4, 4:5, *1:10

1:2, 1:3, 2:3, 3:4, 2:9, 4:9

1:1, 1:2, 1:3, 3:4, 2:9, *4:9

1:1, 1:2, 1:3, 2:3, 3:4, 4:9

1:1, 1:2, 2:3, 2:5, 3:4, 1:10