Composing Music A New Approach

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 ultan
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] 33 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
Kyrie Salve 72 Beata es, Maria 167
Credo VI (excerpt) 76 Missa Prolationum
Free Organum (from Wolfenbiittel 1206) 81 Kyrie 174
Viderunt Omnes 82 Gloria in excelsis Deo 177
Chapter 5 Chapter 14
He! dame de vaillance 85 Missa Pange Lingua 184

Quant je sui 86 Greiner, zancker, schnopffitzer 190
Adiu, Adiu, do us dame 87 Suesser vatter, herre Gott 192
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
Sumer is icumen in 102 Qu'est devenu ce bel ceil 222
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
Chapter 8 Veni Sponsa Christe (motet) 238
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
Chapter 9 Versus from Feria Quinta, Resp. 2 253
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
chaptec i
1. Compose a short but musically complete plainsong passage to the text Kyrie eleison.
The passage should be in the Dorian mode using at least five different multiple-pitch
neumes in the context of two incises.
2. Transcribe each of the following examples into modern notation and identify each of
the multiple-pitch neumes by name.
Lauda, Jerusalem. Liber Usualis, p. 1227B. Reprinted with permission from the 1963 edition of
Desclee & Co., Tournai-Doornik, Belgium.
3
4
Alleluia. Liber Usualis, p. 95. Reprinted with permission from the 1963 edition of Desclee &
Co., Tournai-Doornik, Belgium.
5
Asperges me Domine. Liber Usualis, p. 11. Reprinted with permission from the 1963 edition of
6
3. Compose an Alleluia with a mensurated duplum and an unmensurated cantus. The
latter should be taken from one of the Alleluia examples provided earlier in this chapter.
Prepare this piece in both modal notation and modern transcription. Use two different
forms of the plica in this example. Set the duplum in the Iambic mode.
7
8
4. Assignments for the following motet, Depositum Creditum—Ad solitum — Regnat:
a. Identify the rhythmic modes used in each of the three voices of this piece.
b. Sing each voice part in rhythm.
c. Transcribe the piece into modern notation and place the parts in score layout (one
above the other).
d. Analyze the lines for each of the following:
(1) Range;
(2) Contour (including the identification of linear patterns, e.g., sequence);
(3) Identify primary tones and justify your choices;
(4) Describe the linear cadential patterns;
(5) Identify the phrasing within each line.
e. Analyze the vertical relationships for:
(1) Favored structures for primary rhythmic positions (as defined by the modern
transcription resulting from assignment 4.c.;
(2) Differing treatment of less important rhythmic positions;
(3) Use of dissonance, its location, and the type;
(4) Cadential structures resulting from the relationships between the lines—note pat-
terns, if any exist.
f. Compose a motet in this style incorporating each of the following:
(1) The rhythmic and melodic modes used in this piece;
(2) Rhythmic modal notation, using the format in this piece;
(3) Transcription into modern notation.
9
Motet: Depositum Creditum—Ad solitum — Regnat. Bamberg, Staatsbibliothek, Ed. IV 6, fol.
4v.
10
11
12
5. For the ballade Bien me, which follows, complete each of the assignments:
a. Identify the rhythmic mode in which the piece is set.

b. Sing the piece (with text or syllables).
c. Transcribe the piece into modern notation.
d. Identify the melodic mode in which the piece is set (justify your decision).
e. Analyze the melody for each of the following:
(1) Range;
(2) Contour (including the identification of recurring patterns);
(3) Identify the formal sections of the piece which classify it as a ballade;
(4) Locate and define the linear cadential patterns;
(5) Describe the structure of the individual phrases and compare them with each
other.
f. Using a text of your choice, compose a ballade in the rhythmic and melodic modes
represented in this piece.
Ballade: Bien me. Paris Bibliotheque Nationale, fr. 846, fol. 14r.
13
14
15
6. Complete each of the following assignments for the motet Se valours—Bien me—Hie
factus est, which is provided:
a. Sing each voice part separately.
b. Analyze the lines for each of the following:
(1) Range;
(2) Contour, including the identification of melodic patterns (e.g., imitation or re-
curring sets of notes);
(3) Primary tones (justify those selected);
(4) Rhythmic concept (what mode, if any, pervades each part);
(5) Linear cadential patterns;
(6) Phrasing within each line;
c. Analyze the vertical relationships for:
(1) Favored structures for primary rhythmic positions (as defined by the modern
measures in this transcription);
(2) Freedoms reflected on less important rhythmic positions (e.g., the use of disso-
nance—note the location and the kinds employed);
(3) The presence and function of musica ficta;
(4) Cadential patterns resulting from the relationship between lines;
d. Compare this transcription with Example 1.6 of the text.
16
Transcription of Example 1.6. Motet: Se valours —Bien me—Hicfactus est. Bamberg, Staats-
bibliothek, Ed. IV 6, fol. 9r.
17
Se valours-Bien me-Hic factus est. Bamberg, Staatsbibliothek, Ed. IV 6, fol. 9r.
18
19
7. Transcribe each of the following examples into Franconian notation. Use the appropri-
ate page format for motet examples (paper in this layout is provided on pp. 23 and 24).
In mari miserie — (duplum). Paris, Bibliotheque Nationale, fr. 146, Roman de Fauvel.
20
21
1
Chaconnete—A la chemines— Veritatum. Bamberg, Staatsbibliothek, Ed. IV 6, fol. 6v and 7r.
22
23
24
8. Compose two short monophonic musical phrases which could be used for a virelai text
(text not necessary). Design the rhythm so that it can be set in either rhythmic modal or
Franconian notation. Submit the assignment with three notational forms of the piece
(each of those specified and modern notation).
25
26
9. Transcribe each of the following examples into modern notation. Use key and meter
signatures, clefs, and other symbols as appropriate to the needs of each piece.
Rondel: Amours et ma dame aussi. Adam de la Halle. Paris, Bibliotheque Nationale, fr. 25566.
27
Rondel: Or est Baiars en la pasture. Adam de la Halle. Paris, Bibliotheque Nationale, fr. 25566.
28
Rondeau: Helas! tant vi de male cure. Paris, Bibliotheque Nationale, Collection de Picardie 67,
fol. 68r.
29
10. Sing each of the preceding examples (those provided and those composed) with the
text, the hexachord syllables, or on a neutral syllable (e.g., la}. In multiple-part pieces,
sing each voice part separately and then, with others, sing the complete pieces.
30
chAptec 2 / plAinSOrtQ
1. In the Dorian mode, compose a nine-part Kyrie eleison according to the following
form:
A B A
a-b-a' c-d-e a-b-a'
Identify all multiple-pitch neumes (using more than eight different ones).
31
32
2. Prepare comprehensive analyses of each of the following plainsong examples. Include
in your analyses each of the following items plus any additional information you consider
pertinent to an accurate description of the musical content of the examples.
a. Identify the mode and explain your decision.

b. Identify the sacred form the example might represent. Justify your choice.
c. Identify all multiple-pitch neumes.
d. Discuss: range; phrase structure; significant melodic patterns; any modal mutations
that occur; melodic style.
e. Identify all other symbols (other than neumes) by name and define their function.
f. Add appropriate solmization syllables over each neume; identify the hexachord be-
ing employed; and show each point of mutation using changes of hexachord only
where necessary.
Kyrie (Orbis Factor). Liber Usualis, p. 46. Reprinted with permission from the 1963 edition of
33
S
Sanctus. Liber Usualis, p. 47. Reprinted with permission from the 1963 edition of Desclee &
34
K
Agnus Dei. Liber Usualis, p. 48. Reprinted with permission from the 1963 edition of Desclee &
35
V
Veni sancte, Liber Usualis, pp.880-881. Repreinted with permission from the 1963 edition of
De
36
Veni sancte. Liber Usualis, pp. 880-881.
37
Venisancte. Liber Usualis, pp. 880-881.
38
3. Using the complete text of the Agnus Dei, compose a plainsong melody in Mode V.
Identify all symbols and neumes you include. Transcribe the example into modern nota-
tion at the same pitch level using the appropriate modern clef.
39
40
4. Match Column 1 with Column 2.
Column 1 Column 2
a. Ictus 1. All stanzas to the same
b. ij music
c. Strophic 2. Change of hexachord.
d. Ut queant laxis 3. Vertical episima.
e. Mutation 4.
f. Dactylic 5. The note A.
g. Hypodorian finalis 6. Sing the preceding passage
h. Neumatic twice.
i. Gustos 7.
j. Confinalis 8. Source of solmization syl-
lables.
9. The note D.
10. Indicates the first pitch
of the next line.
11. Sing the preceding passage
three times.
12. A few notes to each syl-
lable.
13. Tenor or reciting tone.
14. Continuous unfolding of
new musical ideas.
41
42
5. Compose a short melismatic passage consisting of one phrase with two incises that is
clearly in the Phrygian mode. Use the text Alleluia, Amen. Employ at least eight multiple-
pitch neumes; these and all other symbols you use should be identified. Pay particular at-
tention to the cadence and try to use one that is characteristic of many such passages
(compare with some source such as the Liber Usualis).
43
44
6. Using a Hymn text of your choice (with multiple stanzas), compose music appropriate
to the text. Set the piece in the Lydian mode, use plainsong notation appropriate to the
setting, and limit the range to the interval of a fifth.
45
46
7. Select a Kyrie (e.g., Example 3.9 of the textbook) and add a trope text of your own to
the music and the basic text provided. The trope should be appropriate to the spiritual in-
tent of the Kyrie but may be in any language you choose.
47
48
8. Sing each of the plainsong examples in this chapter (including those composed by the
student) using the hexachord system. Make mutations as necessary, but use as few as pos-
sible.
49
50
chapter 3 monophonic foams
1. In outline form, compare the similarities and differences of sacred and secular mono-
phonic literature. Consider such factors as: singing style; phrasing; linear construction;
modal clarity; cadential patterns; and form. Be specific and comprehensive.
Sacred Secular
51
52
2. Analyze in depth each of the examples that follow. Include in your analyses the points
listed below and supplement these by comments you consider pertinent for a complete
understanding of the compositions.
a. Identify all multiple-pitch neumes.
b. Define the musical form and indicate the factors that contributed to your decision.
c. Describe the phrase structure and the factors that contribute to its delineation.
d. Describe the contour of the line; as you do so, look for uniquely distinguishing char-
acteristics (e.g., unusual skips, musica ficta).
e. Identify the mode and describe the factors that assisted you in reaching your de-
cision.
f. What factors might contribute to a sense of unity and to a sense of variety in the
musical design of the piece? Consider the relationship of the text to the music in re-
gard to the overall musical conception.
53
V
Victimae Paschali Laudes. Liber Usualis, p. 780. Reprinted with permission from the 1963 edi-
tion of Desclee & Co., Tournai-Doornik, Belgium.
54
f
Exsultet Orbis Gaudis. Liber Usualis, pp. 425-426. Reprinted with permission from the 1963
edition of Desclee & Co., Tournai-Doornik, Belgium.
55
De bone amour. Paris, Bibliotheque Nationale, fr. 846, fol. 41.
56
De ma dame souvenir. Paris, Bibliotheque Nationale, fr. 846, fol. 32v.
57
A sas figuras. Facsimil del codice j.b. 2 de el Escorial, No. 161
58
3. Sing each of the preceding examples (those provided and those composed) with the
text, the hexachord syllables, or on a neutral sound (e.g., la). In multiple-part pieces, sing
each voice separately and then, with others, sing the complete pieces.
59
60
cnapteR 4 / eABly polyphony.-
ORQanum
1. Using the following example as the vox principalis, compose an example of diapente
organum. Select the appropriate clef and compatible neumes for the vox organalis.
Sanctus. Liber Usualis, p. 93. Reprinted with permission from the 1963 edition of Desclee &
2. Set the above example in four-part, composite diapente organum.
61
62
63
64
65
3. Compose an example of diatesseron organum to Principes sacerdotum, provided below.
Principes sacerdotum. Liber Usualis, p. 776G. Reprinted with permission from the 1963 edition
of Desclee & Co., Tournai-Doornik, Belgium.
66
67
4. Set the preceding example in four-part, composite diatesseron organum.
68
69
70
71
5. Compose an example of free organum, form one, at the interval of a fifth to the Kyrie
Salve that follows.
Kyrie Salve. Liber Usualis, p. 86. Reprinted with permission from the 1963 edition of Desclee
& Co., Tournai-Doornik, Belgium.
72
73
6. Compose an example of free organum, form two, to a plainsong example of your
choice. It should be a complete piece, albeit brief. Identify the source.
74
75
7. Using the phrase Credo in unum Deum provided below, compose a duplum part in the
style of free organum, form three.
C
Credo VI, Liber Usualis, p. 75. Reprinted with permission from the 1963 edition of Desclee &
76
77
8. Using a tenor of your choice from the plainsong literature, compose an example of
melismatic organum. The piece should be complete, albeit short. Identify the source.
78
79
9. Select appropriate examples of plainsong from those provided in this workbook (or its
accompanying textbook) to serve as the vox principalis for prepared singing exercises in
the several forms of parallel organum. Be prepared to sing any voice part at the appropri-
ate interval for the plainsong example chosen.
10. Select a plainsong melody to be used as the vox principalis, and prepare to sing a vox
organalis part to it for each of the free forms of organum.
11. Sing all parts of all examples composed for this chapter using the hexachord system.
12. Improvise a melisma over a tenor sung by another member of the class.
13. In the example that follows, complete each of the steps below:
a. Analyze the lines for mode (including the identification of any modal formulas
that may be present), contour, recurring patterns, the relationship between the
lines (e.g., crossings).
b. Identify the vertical relationships and note the location of any dissonances that
may appear.
c. Using the lower voice as the vox principalis, compose a new vox organalis.
d. Rewrite the two voice lines using the appropriate ligatures (as indicated by the
brackets).
80
Free Organum: Form II. Wolfenbiittel, Herzog August Bibliothek, 1206, fol. 64.
81
14. In the example that follows, analyze the duplum for mode, contour, range, and its
consonance/dissonance relationship to the cantus. Using the first five notes of the duplum
as a new cantus, compose a new melismatic duplum of approximately the same number
of pitches per cantus note as seen in this example. Use the text Alleluia.
Melismatic Organum: Viderunt Omnes. Wolfenbiittel, Herzog August Bibliothek, 1206, fol. 63.
82
83
chaptec 5 / ARS HOVA HOtAtlOn
All composition and transcription assignments for this chapter and those that follow
should be done on five-line staff paper, which is not provided in this workbook.
1. Compose music for a monophonic rondeau (the use of a text is not necessary) in Ars
Nova notation using perfect tempus and minor prolation. Use the appropriate tempus and
prolation sign and submit it and a modern transcription.
2. Compose music for a monophonic virelai (a text need not be used) in Ars Nova nota-
tion and include in the example punctus additionis and red notes. Use the appropriate
tempus-prolation signature and submit it and a modern transcription.
3. Transcribe each of the following examples from Ars Nova notation into modern nota-
tion. Use appropriate clefs, key and metrical signatures.
Virelai: He! dame de vaillance. G. de Machaut. Paris, Bibliotheque Nationale, fr. 1586.
85
II. Sa biaute, sa grant doucour d'amoureuse flame,
Par souvenir, nuit et jour m'esprent et enflame.
Dieus! c'est drois que je I'aim,
Sans blame, de loial amour.
III. Et quant sa haute valour mon fin cuer entame,
Servir la weil sans folour penser ne diffame.
Dieus! c'est drois que je I'aim,
Sans blame, de loial amour.
Virelai: Quant je sui. . . G. de Machaut. Paris, Bibliotheque Nationale, fr. 1586. The text to this
virelai is irregular. The three complete stanzas are provided.
86
Adiu, adiu, dous dame. Freely retranscribed by the author from Leo Schrade, ed., Polyphonic
Music of the Fourteenth Century, Vol. IV, The Works of Francesco Landini, Editions L'Oiseau-
Lyre, Monaco, 1958, p. 192.
87
Adiu, adiu, dous dame. Schrade, Polyphonic Music of the Fourteenth Century, Vol. IV, p. 192.
88
Adiu, adiu, dous dame. Schrade, Polyphonic Music of the Fourteenth Century, Vol. VI, p. 192.
89
4. Assignments for the virelai C'est force-.
a. Identify the tempus and prolation.
b. Sing the piece several times (until it flows smoothly and musically).
c. Transcribe the piece into modern notation, extending it as necessary to produce
the complete virelai form in a continuous unfolding (without underlaying two por-
tions of the text beneath a single line). Identify the several sections of the virelai
form as demonstrated in this piece.
d. Analyze the melody for each of the following:
(1) Range and melodic mode;
(2) Contour (including the identification of recurring patterns);
(3) Locate and define the linear cadential patterns;
(4) Describe the structure of all individual phrases and compare.
e. Using a text of your choice, compose a virelai in the same melodic mode and the
same tempus and prolation as this one. Use Ars Nova notation and provide a modern
transcription.
90
Virelai: C'est force. Retranscription of F. Ludwig and H. Besseler, eds., Guillaume de Machaut,
Musikalische Werke, Vol. I, Breitkopf and Hartel, Wiesbaden, 1954, p. 77.
91
92
93
94
5. Discuss the salient similarities and differences of the three mensural notations studied.
Devote particular attention to those rhythmic possibilities present in one and absent in
another. Also, consider in your discussion the musical implications of these three systems
and how each might have affected the musical results of the period in which it was used.
Demonstrate the natural evolution of notational needs and practices from square plain-
song notation to the notation of the French Ars Nova. Be specific and detailed in your
discussion.
6. Compose music for a monophonic ballade (a text need not be used) in Ars Nova nota-
tion. Use tempus imperfectum and major prolation with the appropriate signatures. Also,
demonstrate the use of punctus divisionis in this piece. Submit this with a modern tran-
scription.
7. Sing all examples in this chapter (both provided and composed) with the text, the syl-
lables of the hexachord system, or a neutral syllable (e.g., la).
8. Transcribe each of the following examples into Ars Nova notation. Indicate the appro-
priate tempus and prolation signature.
95
Cine, un, treze, wit, neuf d'amour fine. Paris, Bibliotheque Nationale, fr. 1586.
96
N'en fait n'en dit. . . Paris, Bibliotheque Nationale, fr. 1586.
97
98
chapteR 6 / eARly contRapuntal
concepts and devices
1. Compose a two-voice ballade using a text of your choice in an early contrapuntal

style. Include at least two examples of Stimmtausch. Use Ars Nova notation and sub-
mit this with a modern transcription.
2. Prepare a comprehensive analysis of Ma fin est mon commencement. Include consid-
eration of all vertical relationships, linear construction, dissonance treatment, cadences,
and canonic treatment in your discussion.
3. Prepare a modern transcription of Ma fin est mon commencement.
Ma fin est mon commencement. Paris, Bibliotheque Nationale, fr. 1584.
99
Ma fin est man commencement. Paris, Bibliotheque Nationale, fr. 1584.
1,4,7 Ma fin est mon commencement
3 et teneure vraiement
5 Mes tiers chans trois fois seulement
2,8 et mon commencement ma fin
100 6 se retrograde et einsi fin
4. Compose a Kyrie eleison section of a Mass in strict canon at the fifth below. The canon
may be broken at the end of each section to produce a good cadence. Use Franconian no-
tation on a five-line staff and submit it with a modern transcription.
5. Compose a cancrizans canon of approximately forty-eight semibreves. Using Ars Nova
notation, include appropriate signatures and examples of punctus additionis. Submit with
a modern transcription.
6. Prepare a modern transcription of Sumer is icumen in.
7. Prepare a comprehensive analysis of Sumer is icumen in. Include consideration of all
vertical relationships, linear construction, dissonance treatment, cadences, relationship of
the parts, and canonic treatment in your discussion.
101
c
Sumer is icumen in. London, British Museum, Harley 978, fol. llv.
102
Sumer is icumen in. London, British Museum, Harley 978, fol. llv.
103
8. Compose a canon in augmentation at the interval of a sixth below. The canon should
be in Ars Nova notation and in tempus imperfectum and major prolation using the appro-
priate symbols to represent these mensural characteristics. The augmentation may be dou-
ble or triple value and when complete, the piece should stand alone as a total musican en-
tity. Submit this assignment with a modern transcription.
9. Using one of the possibilities provided in Example 6.6 in the text, complete the canon
by adding at least three times the amount of material given as a beginning. The final few
notes of the canon may be free, to achieve an effective cadence. Submit this Ars Nova
composition with a modern transcription.
10. Sing all examples in this chapter (both those provided and those composed) using the
text, syllables from the hexachord system, or a neutral syllable (e.g., la}. Sing each line
separately and then, with others, sing the complete piece.
104
chaptec 7 / Ute contrapuntal
concepts and devices
1. Compose an isorhythmic composition (without text) consisting of nine taleae and

three colores (three taleae to each color). The piece should be set in tempus perfectum
and major prolation using Ars Nova notation. Submit a modern transcription with the
original. The tenor may be selected from a plainsong source (which should be identified)
or it may be original. The final cadence should be a double leading type.
2. Prepare a comprehensive analysis of the Machaut motet Martyrum gemma—Diligenter
—A Christo which follows. After transcribing the motet into modern notation, include
in your analysis each of the following:
a. Linear design (e.g., contour and phrasing);
b. Treatment of vertical relationships;
c. Overall sense of phrasing;
d. Use of musica ficta;
e. Special compositional techniques (e.g., canon or sequences);
f. Other points that you consider to be of special interest in this piece.
105
Motet: Martyrum gemma—Diligenter—A Cbristo. F. Ludwig and H. Besseler, eds., Guillaume
de Machaut, Musikalische Werke, Vol. Ill, Breitkopf and Hartel, Wiesbaden, 1954, p. 68.
106
Marty rum gemma—Diligenter—A Christo. Ludwig and Besseler, Guillaume de Machaut, Musika-
lische Werke, Vol. Ill, p. 68.
107
3. Compose a three-voice isorhythmic composition (without text) that encompasses at
least three taleae and uses hocket in the upper parts. The tenor should be selected from
the plainsong literature (and identified) and the piece should end with an under-third
type of cadence. Submit this assignment in both Ars Nova and modern notations.
4. Compose a piece that includes at least two different forms of hocket and several short
canonic passages (each at different intervals). Demonstrate two types of cadences. This
piece should be in three voice parts and in both Ars Nova and modern notational forms.
5. Prepare a comprehensive analysis of the composition that follows. Include in your anal-
ysis all points cited for assignment 2 above, plus additional information that may be re-
quired by the unique characteristics of this piece. Provide a transcription in Ars Nova no-
tation.
108
Tant a soutille — Bien pert—Cuius pulcritudinem. Reprinted with permission from Ursula
Giinther, CorpusMemurabilisMusicae, No. 39, American Institute of Musicology, Dallas,
Texas, pp. 1-3. Armen Carapetyan is director of the Institute, which is now located in Rome.
109
Tantasouttille — Bienpert — Cuiuspulcritudinem.Gunther, Corpus Mensurabilis Musicae,
pp. 1-3,
110
Tantasouttille—Bienpert—Cuiuspulcritudinem.Gunther, Corpus Memurabilis Musicae,
pp. 1-3.
Ill
Tantasouttille—Bienpert—Cuiuspulcritudinem.Guntheic, Corpus Mensurabilis Musicae,
pp. 1-3.
112
6. Sing all voice parts of all examples in this chapter (both those provided and those com-
posed). Use the solmization system of syllables or a single neutral syllable (e.g., la). With
others, learn all pieces for performance and discuss considerations of performance style.
113
114
chaptec s / SACR6d
polyphonic focms
1. Compose a three-voice conductus to a Latin text of your choice. Use Franconian nota-
tion and submit with a modern transcription of your piece.
2. Compose a three-voice isorhythmic motet to texts of your choice. Use Stimmtausch

between the upper voices at some point in the piece. Set the composition in Franconian
notation and submit with a modern transcription.
3. Prepare a comprehensive analysis of each of the following compositions, including in

your analysis each of the following:
a. Transcribe into or from modern notation;

b. Define the form and support your decision;
c. Linear conception and design;
d. Treatment of vertical relationships;
e. Phrase structure by line and as a totality;
f. Special compositional devices employed;
g. Types of cadences and manner of approach;
h. Other features of special interest.
115
Res nova mirabilix-virgo-Alleluia. bamber
116
Res nova mirabilis—Virgo—Alleluia. Bamberg, Staatsbibliothek, Ed. IV 6, fol. 59v and 60r.
117
Res nova mirabilis—Virgo—Alleluia. Bamberg, Staatsbibliothek, Ed. IV 6, fol. 59v and 60r.
118
Res nova mirabilis-Virgo-Alléluia. Bamberg, Staatsbibliothek, Ed. IV 6, fol. 59v and 60r.
119
Alleluia. Facsimile of Montpellier, Fac. des Medecins, H. 196, fol. 40v. Reprinted with
permission from Yvonne Rokseth, Polyphonies de XIHe siecle, L'Oiseau-Lyre, Paris,
1935-1939.
120
Alléluia. Montpellier, Fac. des Médecins, H. 196, fol. 40v.
121
Agnus Dei. G. De Machaut. Reprinted with permission from Leo Schrade, ed., Poly-
phonic Music of the Fourteenth Century, Vol. Ill, The Works of Guillaume de Ma-
chaut, Editions L'Oiseau-Lyre, Monaco, 1956, pp. 60-62.
122
Agnus Dei. Schrade, Polyphonie Music of thé Fourteenth Century, Vol. III, pp. 60-62.
123
Agnus Dei. Schrade, Polyphonic Music of the Fourteenth Century, Vol. Ill, pp. 60-62.
124
4. Compose a movement of a Mass in the style of Machaut's Messe de Nostre Dame. Se-
lect a plainsong source for an isorhythmic tenor (identify the source). Set the work in
four voices. Use both sequential and imitative writing in the upper voices. Employ
three different cadential forms. Set the composition in Ars Nova notation and submit
with a modern transcription.
5. Compose a short four-voice composition with one section devoted to a total isorhyth-
mic treatment (i.e., all voices in isorhythm simultaneously), in which at least three
statements of the isorhythmic passage are presented (these may be relatively brief).
Include a double leading tone combined with a Landini-type cadence. Set the piece in
Ars Nova notation and provide a modern transcription.
6. Sing all voice parts of all examples in this chapter (both those provided and those com-
posed). With others, prepare several of these pieces for performance. In so doing, con-
sider the appropriate performance style demanded by the period and the compositions
themselves.
125
126
clupteR 9 / S6CUIAR
polyphonic fomns
1. Compose a chanson balladees in the style of Machaut. Use a text of your choice (or an
original text) and set in three voice parts. The piece should be in tempus perfectum and in
minor prolation. Set the piece in Ars Nova notation and provide a modern transcription.
2. Prepare a comprehensive analysis of the Machaut ballade Sanz cuer—Amis, dolem —
Dame, par vous which follows. Consider in your analysis each of the items listed below:
a. Linear concept and design;
b. Vertical relationships and the use of dissonance;
c. Use of musica ficta;
d. Cadential treatment;
e. Phrasing, both linear and the totality;
f. Special compositional techniques;
g. Text treatment (text is provided separately from the music, but its location in the
music is noted by letters);
h. Items of special interest.
Ballade.- Sanz cuer—Amis, dolens—Dame, par vous. Freely transcribed from F. Ludwig and H.
Besseler, eds., Guillaume de Machaut, Musikalische Werke, Vol. I, Breitkopf and Hartel, Wies-
baden, p. 16. 127
Sanz cuer—Amis, dolens—Dame, parvous. Ludwig and Besseler, Guillaume de Machaut, Musi-
kalische Werke, p. 16.
128
Ballade: Sanz cuer—Amis, dolens—Dame, parvous
(first set of stanzas)
A. Sanz cuer m'en vois, dolens et esploures pleins

de souspirs et diseteus de joie,
D'ardant desir espris et embrases, doume, que
briefment vous revoie, si qu'einssi sans cuer
durer ne,porroie ne telz maulz endurer,
s'Espoirs en moy ne faisoit sa demeure
En lieu dou cuer, dame, qui vous demeure.
B. Amis, dolens, maz et desconfortes partes de moy
et voles que je croie
Que vos cuer m'est tous en tiers demores.
Tres bien don guerredonner, et vous peusse
A fin souhait donner quanque desirs en ce monde
saveure,
C. Dame, par vous me sens reconfortes de tous les
gries que recevoir soloie, par vous sui hors
de toutes orphentes,
Par vous ne puis riens sentir qui m'anoie
Par vous m'e stuet esperer quanque loyaus
Amis puet desirer,
129
3. Prepare a comprehensive comparative analysis of the preceding ballade and the ballade
provided in Example 9.2 in the text (Machaut's Dame, comment qu'amez de vous ne
soie}. In your analysis and discussion, consider all items listed under assignment 2 above
as well as others you find appropriate to the comparative process.
4. Compose a ballade in the style of Machaut using a text of your choice (possibly one in
this chapter or an original). Include some use of canon or isorhythm and set the piece in
Ars Nova notation. Provide a modern transcription with the original. Set the piece in tem-
pus imperfectum and major prolation.
5. Prepare comprehensive analyses of the caccia and madrigal that follow. Include all
items listed for assignment 2 above and any others that may be required for the special
features of these works. Provide modern transcriptions for both.
130
Caccia: Chosi Pensoso. Leo Schrade, ed., Polyphonic Music of the Fourteenth Century, Vol.
IV, The Works of Francesco Landini, Editions L'Oiseau-Lyre, Monaco, 1958, p. 219.
131
Chosi Pensoso. Schrade, Polyphonic Music of the Fourteenth Century, Vol. IV, p. 219.
132
133
134
Madrigal: Somma felicita. Leo Schrade, ed., Polyphonic Music of the Fourteenth Century,
Vol. IV, The Works of Francesco Landini, Editions L'Oiseau-Lyre, Monaco, 1958, p. 206.
135
Somma felicita. Schrade, Polyphonic Music of the Fourteenth Century, Vol. IV, p. 206.
136
6. Compose a madrigal in the style of Landini, using a text of your choosing. Set the
piece in the Ars Nova notation and provide a modern transcription. The piece should be
in three voices and should include at least one under-third-type cadence.
7. Compose a caccia in the style of Landini, using a text of your choice that provides an
opportunity for musical imitation of extramusical events or effects. Set the piece in Ars
Nova notation and provide a modern transcription.
8. Sing all voice parts of all examples in this chapter (those provided and those composed)
using the syllables of the solmization system, the text, or a neutral syllable (e.g., la). With
others, prepare the pieces for performance and discuss the performance style that the in-
dividual works and the period demand.
137
ciupteR 10 / the late Fourteenth
centimy
1. Compose a ballade in the style of Fuions de ci (Example 10.6 of the text). Use a text
of your choice, setting it in three voice parts. Employ Ars Nova notation and submit with
a modern transcription.
2. Prepare a variable-meter version of the ballade Fuions de ci (Example 10.6 of the text)
in modern notation. Metrical changes should be made as deemed appropriate to the
rhythmical demands of each line individually, but pitches should be aligned in score form
to be read where they first sound in relationship to the other parts.
3. Compose a bergerette in the style of the late fourteenth century. Use a text of your
choice, setting it in three voice parts. Employ Ars Nova notation and submit the composi-
tion with a modern transcription.
4. Prepare a comprehensive analysis of each of the following examples. Consider in your

discussion the items listed below:
a. Rhythmic conception and relationships between lines;
b. Vertical relationships, including the apparent treatment of consonance and disso-
nance;
c. Use of musica ficta;
d. Cadential practices;
e. Other features you consider to be of interest or special importance.
Tout par compas suy composes. Chantilly, Musee Condee 1047, fol. 12, Baude Cordier. Re-
printed with permission from Gilbert Reaney, ed., Corpus Mensurabilis Musicae, Vol. I, Ameri-
can Institute of Musicology, Dallas, Texas, 1955, p. 11. Armen Carapetyan is director of the
Institute, which is now located in Rome.
139
Tout par compas suy composes. Reaney, Corpus Mensurabilis Musicae, p. 11.
140
A I'aventure va Gauvain. Reprinted with permission from Johannes Cesaris. Gilbert Reaney, ed.
Corpus Mensurabilis Musicae, Vol. II, American Institute of Musicology, Dallas, Texas, 1959,
pp. 21-22. Armen Carapetyan is director of the Institute, which is now located in Rome.
141
A I'aventure va Gauvain. Reaney, CorpusMensurabilisMusicae, Vol. II, pp. 21-22.
5. Sing all lines of all examples in this chapter (both those provided and those composed).
Use the text (preferably), syllables of the hexachord system, or a neutral syllable (e.g.,
la}. With others, sing all examples as complete pieces.
142
chaptec 11 / tRADSltlOn
1. Prepare an essay discussing in detail the evolution of notational practices from approxi-
mately 1000 to 1400. Cite or compose brief examples to support your discussion.
2. Prepare an essay discussing in detail the evolution of polyphonic concepts and tech-
niques from the period of strict organum to theMesse de Nostre Dame. Cite or compose
brief examples to support your discussion.
3. Discuss each of the following including in your discussion the nature, function, and im-
portance of each in composition and in the analytical process.
a. Motive
b. Repetition
c. Sequence
d. Imitation
e. Cross relation
f. Musica ficta
g. Ritornello
h. Nota cambiata
4. With other members of the class, prepare a program of music selected from the pre-
ceding chapters. Include a sampling of forms, styles, and original student compositions.
These pieces should be learned in polished form for public presentation. Discreet use of
appropriate instruments (either replicas of early instruments or reasonable substitutes,
e.g., guitar instead of lute) should be included.
143
144
chaptec 12 / eaRly fifteenth centuRy -
dufav
All assignments from this chapter to the end of the workbook should be done in mod-
ern notation only. They should be set in vocal score layout unless another format is speci-
fied.
1. Select a cantus firmus from the monophonic literature. Using modern notation, arrange
a score for four voice parts with the cantus firmus in the tenor having a three-to-one ratio
metrically to the other three voice parts. Compose one-third of an Agnus Dei movement
of a Mass using the final closing text: Agnus Dei, qui tollis peccata mundi: donna nobis
pacem.
2. Compose three short passages to the word Amen. At least one of these must be in four
voice parts, with the balance in three. In the style of Dufay, as presented in the text, dem-
onstrate in each of these examples the following cadential patterns (one for each ex-
ample):
a. A double under-third cadence;
b. A combined V-I and under-third cadence;
c. A double-leading-tone cadence.
Each example should be about four measures long and should be a complete musical
statement. Special attention should be paid to the vertical relationships approaching the
cadence —especially to the use of typical dissonances in such positions.
145
3. Prepare comprehensive analyses of each of the following examples. Consider all the
items listed in the summary to this chapter in the text and include all that are applicable
to the examples provided. Your analyses may be shown on the examples themselves with
clear and concise references (if abbreviations are used, a summary of these must be pro-
vided so that misunderstanding can be avoided). In addition, prepare a supplementary
statement that presents a detailed consideration of all pertinent matters (outline form
is acceptable). Four basic general areas must be in eluded:.
a. Rhythm (including that of each line and the total effect of the interaction of several
lines);
b. Line (including consideration of the contour of each line, intervallic treatment, and
the principal tones of focus —how do they gain that identification);
c. Vertical relationships (including consideration of dissonance treatment and recurring
patterns of vertical combinations —chord progressions);
d. Contrapuntal practices (including discussion of contrapuntal devices such as imita-
tion, isorhythm, canon, and hocket).
Include in your discussion consideration of phrasing within individual lines and between
lines; musically created form-defining features; and all items of importance to an under-
standing of the unique characteristics of each of the pieces studied.
Veni Sancte Spiritus. Reprinted with permission from Manfred F. Bukofzer, Musica Britannica,
Vol. Vlll,Jobn Dunstable, Complete Works, American Musicological Society, Dallas, Texas,
1970, pp. 92-94.
146
VeniSancte Spiritus. Bukofzer, Musica Britannica, Vol. VIII, pp. 92-94.
147
VeniSancte Spiritus. Bukofzer, Musica Britannica, Vol. VIII, pp. 92-94.
148
Missa L'homme arme. Reprinted with permission from H. Besseler, ed., CorpusMensurabilis
Musicae, Guglielmi Dufay, Opera Omnia, Vol. Ill, Missarum pars altera, American Institute
of Musicology, Dallas, Texas, 1951, pp. 33-36. Armen Carapetyan is director of the Institute,
which is now located in Rome.
149
Missa L'homme arme. Besseler, CorpusMensurabilisMusicae, Vol. Ill, pp. 33-36.
150
Missa L'homme arme. Besseler, CorpusMemurabilisMusicae, Vol. Ill, pp. 33-36.
151
Missa L'homme arme. Besseler, CorpusMensurabilisMusicae, Vol. Ill, pp. 33-36.
152
Missa L'homme arme. Besseler, CorpusMensurabilisMusicae,Vo\. Ill, pp. 33-36.
153
Jay grant desir de prendre adresse, Souvengne vous belle deesse
Pour quoy vous puisse reveir. De moy qui suy vo sains faillir
Adieu m'amour [et ma maistresse, En volonte de revenir
Adieu mon souverain desirj Pensant a vo belle jounessc.
Adieu etc.
Adieu m'amour. Reprinted with permission from Wolfgang Rehm, Musikalische Denkmaler,
Vol. II, Gilles Bincbois —Chanson, B. Schott's Sohne, Mainz, 1957, p. 3.
154
Veni' sancte Spiritus. Reprinted with permission from H. Besseler, ed., Corpus Mensurabilis
Musicae, Guglielmi Dufay, Opera Omnia, Vol. V, Compositiones Liturgicae Minores, American
Institute of Musicology, Dallas, Texas, 1951, pp. 18-20. Armen Carapetyan is director of the 155
Institute, which is now located in Rome.
Veni sancte Spiritus. Besseler, Corpus Mensurabilis Musicae, Vol. V, pp. 18-20.
156
Veni sancte Spiritus. Besseler, Corpus Mensurabilis Musicae, Vol. V, pp. 18-20.
157
4. Sing each of the examples in the chapter (including those you compose). Use the text
provided and syllables of the hexachord system. Sing each voice part of each piece and
with others, prepare each composition for performance. In addition to gaining facility in
reading the notes and rhythms, a conscious effort should continuously be made to per-
form this music stylistically and with good taste.
158
chaptec is / middle and late fifteenth
centimy - johannes ockeghem
1. Compose one-third of a Kyrie section of a Mass in the style of Ockeghem (using only
the Kyrie eleison text). The piece should be approximately twenty to thirty measures, in
four voice parts, and may or may not use a cantus firmus. Include a moderate amount of
syncopation and close with an octave-leap cadence.
2. Compose a three-voice canon to a text of your choice. At least two of the voices must
be in canon at the interval of a fifth (the interval of the third voice is optional). The en-
tries should be approximately two measures apart and should have distinctive opening
melodic designs. The total piece should be approximately fifteen to twenty measures, and
the canon should be broken (if necessary) at the end, to produce an effective Landini-
type cadence.
3. Prepare a comprehensive, comparative stylistic analysis of the two Mass movements
that follow. Your analysis may be done on the examples themselves (i.e., abbreviations
must be clearly identified in a key that must accompany the analysis). Provide a state-
ment that presents a detailed consideration of all pertinent matters (outline form is ac-
ceptable). Four general areas must be included:
a. Rhythm: as it relates to each line; a comparison of the lines in the two works; and
the rhythmic effect of the totality of lines;
b. Line: the relative importance of individual lines, their contour and function in the
forward motion of the piece, and similar or different attitudes toward line in the
two works,
c. Vertical relationships: the nature of the treatment of chords and dissonances, the
presence or absence of recurring patterns of chords, chord positions (i.e., inversions),
and comparison of the two works in regard to these matters;
d. Contrapuntal practices: comparison of texture, use of contrapuntal techniques, and
treatment of the text relative to the interplay of the lines.
Include in your discussion a consideration of phrasing within individual lines and between
lines; the factors that contribute to the sense of phrasing; the musical components that
may contribute to a sense of form definition; and all other items that may be appropriate
to the particular works under consideration or appropriate to the comparative processes.
159
Missa L'homme arme. Reprinted with permission from Dragan Plamenac, ed., Johannes Ocke-
ghem, Collected Works, Vol. I, Second Ed., American Musicological Society, Dallas, Texas,
1959, pp. 99-100.
160
Missa L'homme arme. Plamenac, Johannes Ockeghem, Collected Works, Vol. I, pp. 99-100.
161
Missaje ne demande. Johannes Wolf, Werken van Jacob Obrecht, Vol. I, republished by Gregg
International Publishers, Ltd., Farnborough Hants, England, 1968, pp. 1-4.
162
Missa Je ne demande. Wolf, Werken van Jacob Obrecht, Vol. I, pp. 1-4.
163
Missaje ne demande. Wolf, Werken van Jacob Obrecht, Vol. I, pp. 1-4.
164
Missaje ne demande. Wolf, Werken van Jacob Obrecht, Vol. I, pp. 1-4.
165
4. Analyze the composition that follows, paying particular attention to special composi-
tional devices (e.g., repetitions, imitations, and sequences). Note how and where they are
used, and try to determine if any significant aspect of the total design of the piece is as-
sociated with them.
Prepare an analysis of the vertical relationships throughout the composition. Make special
note of cadential treatment and the possible recurrence of any patterns of chords. In this
analysis, consider the use of dissonances, their location and type, and the effect they have
on the music when they occur. Consider also the use of altered tones, their location, num-
ber, and possible significance.
166
Beata es, Maria. Johannes Wolf, Werken van Jacob Obrecht, Vol. I, republished by Gregg Inter-
national Publishers Ltd., Farnborough Hants, England, 1968, p. 69.
167
Beata es, Maria. Wolf, Werken van Jacob Obrecht, Vol. I, p. 69.
168
Beata es, Maria. Wolf, Werken van Jacob Obrecht, Vol. I, p. 69.
169
Beata es, Maria. Wolf, Werken van-Jacob Obrecht, Vol. I, p. 69.
170
Beata es, Maria. Wolf, Werken van Jacob Obrecbt, Vol. I, p. 69.
171
Beata es, Maria. Wolf, Werken van Jacob Obrecbt, Vol. I, p. 69.
172
5. Prepare a comprehensive analysis of the two movements of theMissa Prolationum that
follow. Students should devote special attention to the ways in which canon and metrical
proportions are used in this composition. All factors considered in earlier analyses should
be included in this one also. Note how the treatment of cadences is related to their posi-
tion in the respective canons and what, if any, freedoms are taken at these points. Com-
pare the materials of the two Kyrie sections and the materials of the Kyrie movement
with the Gloria movement.
6. Compose one-third of a Kyrie movement using proportional canon. The piece may be
in three or four voice parts and should be short (about twelve measures). Attempt to
closely imitate the style represented in the analysis for assignment 5 above.
173
Missa Prolationum. Kyrie. Reprinted with permission from Dragan Plamenac, ed., Johannes
Ockeghem, Collected Works, Vol. II, Second Ed., American Musicological Society, Dallas,
Texas, 1947, pp. 21-27.
174
Missa Prolationum. Kyrie. Plamenac, Johannes Ockeghem, Collected Works, Vol. II, pp. 21-27.
175
Missa Prolationum. Kyrie. Plamenac, Johannes Ockeghem, Collected Works, Vol. II, pp. 21-27.
176
Gloria in excelsis Deo. Perfectum subdiatessaron. Reprinted with permission from Dragan
Plamenac, ed., Johannes Ockeghem, Collected Works, Vol. II, Second Ed., American Musico-
logical Society, Dallas, Texas, 1947, pp. 21-27.
177
Gloria in excelsis Deo. Perfectum subdiatessaron. Plamenac, Johannes Ockegbem, Collected
Works, Vol. II, pp. 21-27.
178
Gloria in excelsis Deo. Perfectum subdiatessaron. Plamenac, Johannes Ockeghem, Collected
179
180
181
7. Sing each of the examples provided in this chapter, using the texts. Sing all voice parts
individually and then, with others, prepare each piece for performance with one voice on
each part. Strive to produce a musical and stylistic result.
182
ctupteR 14 / Ute fifteenth and eaaly
sixteenth centuries -
josquin des paes
1. Prepare a short essay that compares the compositional styles of at least two composers
represented in the preceding two chapters with that of Josquin. Cite examples to support
your contentions, or compose brief passages reflecting the techniques or attitudes re-
vealed in your study of their compositions. Include in your discussion:
a. Special compositional devices or unique treatment of compositional devices that

characterize each;
b. Consider their respective approaches to line, rhythm, form, vertical relationships,
and cadences,
c. Express your view of the differences and similarities of their works (limiting your
discussion to those included herein) and the musical impact or effect they convey
(possibly including remarks about how these works compare with recent music with
which you are more familiar and the aesthetic compatibility or incompatibility with
your own tastes).
2. Prepare a comprehensive analysis of the Sanctus movement of theMz'ssa Pange Lingua

that follows. Since there is a large amount of two-part writing in this movement, primary
attention should be paid to the detailed analysis of the relationship between the two
voice parts, the use of dissonance, the concept of line in this type of setting as compared
with four-voice passages or the three- and four-part writing that has been considered to
this point, and to the clarity or obscurity of phrase divisions.
In addition to the points listed above, all items normally included in a comprehensive
analysis of this kind should be taken into consideration and included in this analysis.
3. Compose a Sanctus movement of a Mass in the style of Josquin. This assignment may
be divided into four sub assignments according to the four distinct sections in the example
provided. At least two substantial examples of paired imitation should be included in this
composition.
183
Missa Pange Lingua. Sanctus. Reprinted with permission from Friedrich Blume, ed., Das Chor-
werk,JosquindesPres,MissaPange Lingua, Nr. l,M6selerVerlag, Wolfenbiittel, 1938, pp. 20-24.
184
Missa Pange Lingua. Blume, Das Chorwerk, Josquin des Pres, Missa Pange Lingua, pp. 20-24.
185
Missa Pange Lingua. Blume, Das Chorwerk, Josquin des Pres. Missa Pange Lingua, pp. 20-24.
186
Missa Pange Lingua. Blume, Das Chorwerk, Josquin des Pres, Missa Pange Lingua, pp. 20-24.
187
Missa Pange Lingua. Blume, Das Cborwerk, Josquin des Pres, Aiissa Pange Lingua, pp. 20-24.
188
4. Analyze each of the Heinrich Isaac pieces that follow. Compare them with each other
and then consider how they are stylistically similar to and different from those of Josquin
that have been studied. In the Isaac works, pay particular attention to the variety of ca-
dences that is used, the linear and the composite phrase structures, and the elements that
unify the broad structure of the compositions.
5. Compose a short piece in the style of Isaac as represented by the two examples provid-
ed. The piece should be in three voice parts and should reveal the same techniques and at-
titudes that are apparent in the works serving as models.
6. Sing all voice parts of all examples provided in this chapter using either the text or a
neutral syllable (e.g., la}. With others, prepare each of the works for performance with
one voice on each part.
189
Greiner, zancker, schnopffitzer. Reprinted with permission from Johannes Wolf, Denkmdler
der Tonkunst in Osterreich, Heinrich Isaac, Weltliche Werke, Akademische Druck, U. Verlag-
sanstalt, Graz, 1907, pp. 11-12.
190
Greiner, zemcker, schnôpffitzer. Wolf, Denkmâler der Tonkunst in Ôsterreich, Heinrich Isaac,
Weltliche Werke, pp. 11-12.
191
Suesser vatter, hene Gott. Reprinted with permission from Johannes Wolf, Denkmaler der
Tonkunst in Osterreich, Heinrich Isaac, Weltliche Werke, Akademische Druck, U. Verlag-
7 ' t>
sanstalt, Graz, 1907, p. 23.
192
chaptec 15 / sixteenth-centimy
seculaa foams
1. Prepare a brief (but complete) outline of the similarities and differences between the
chanson and the madrigal of the sixteenth century. Also, identify in this outline other
secular forms that are similar to either the chanson or the madrigal.
Chanson Madrigal
193
2. Prepare a detailed analysis of Le chant des oyseaux of Janequin which follows. Con-
sider all factors that have been a part of analyses done to this point (e.g., rhythm, line,
contrapuntal devices, form, and efforts at text painting). Also, consider the concept of
linear and composite phrasing as reflected in this work. Note the abundance of repeated
notes and comment on their use and effectiveness.
Le chant des oyseaux: Resvueillez vous. Reprinted with permission from A. Tillman Merritt and
F. Francois Lesure, Clement Janequin, Chansons Polyphoniques, Vol. II, Editions de L'Oiseau-
Lyre, Monaco, Les Remparts, 1965, pp. 184-196.
195
Le chant des oyseaux: Resvueillez vous. Merritt and Lesure, Clement Janequin, Chansons Poly-
phoniques, Vol. II, pp. 184-196.
196
197
198
Le chant des oyseaux: Recueillez vous. Merritt and Lesure, Clément Janequin, Chansons Poly-
phonique s, Vol. II, pp. 184-196.
199
200
Le chant des oyseaux: Resvueillez vous. Merritt and Lesure, Clément Janequin, Chansons Poly-
201
202
203
204
Le chant des oyseaux: Resvueillez vous. Merritt and Lesure, Clément Janequin, Chansons Poly-
205
206
Le chant des oyseaux-. Resvueillez vous. Merritt and Lesure, Clement Janequin, Chansons Poly-
207
3. Prepare a comprehensive analysis of Le chant des oyseaux by Nicolas Gombert which
follows. Consider all the same points considered for the preceding example, modifying
your discussion only because of the three, compared with four, voices and any special dif-
ferences that may require a different approach.
4. Prepare a detailed comparison of the two versions of Le chant des oyseaux that have
been analyzed above.
Le chant des oyseaux. Anne Bank, ed.( Nicolas Gombert, Le chant des oyseaux. Amsterdam,
The Netherlands, 1950.
208
Bank, Nicolas Gombert, Le chant des oyseaux.
209
210
211
212
213
214
215
5. Prepare a comprehensive analysis of Adrian Willaert's Quanta piu m'arde which fol-
lows. Include in your discussion all matters that were studied in the preceding two com-
positions. Note the presence of a fifth voice and indicate whether such an addition
changes the effect of the work or the role of each of the voices in relation to each other
(as compared with three- and four-voice compositions that have been studied to this
point). Include a harmonic analysis and a discussion of the use of dissonance. Compare
this piece with the two preceding works for style, form, emphasis on one technique over
another, treatment of text, and any other points that will contribute to an understanding
of the similarities and differences existing between the works.
Quanta piu m'arde. Reprinted with permission from Friedrich Chrysander and Phillip Spitta,
Viertel-Jahrschrift fur Musikwissenscbaft, Adrian Willaert, Brietkopf and Hartel, Wiesbaden,
1966, pp. 455-460.
216
Quanta piu m'arde. Chrysander and Spitta, Viertel-Jahrscbrift fur Musikwissenschaft, Adrian
Willaert, pp. 455-460.
217
Quanta piu m'arde. Chrysander and Spitta, Viertel-Jahrschrift fur Musikwissenschaft, Adrian
218
219
220
Quanta piu m 'arde. Chrysander and Spitta, Viertel-Jahrschrift fur Musikwissenschaft, Adrian
221
6. Prepare a detailed harmonic analysis of Qu'est devenu ce bel oeil by Claude Le Jeune
which follows. Using D as your reference chord, identify all triads used. Note the chord
quality (i.e., major, minor, augmented, or diminished) and the inversion (i.e., which mem-
ber of the chord is the lowest sounding part —root, third or fifth). Note the use of altered
tones and comment on them comparing them with other compositions studied to this
point.
7. Compose a short composition in the style of one of the composers discussed earlier in
this chapter. Identify the style you are trying to simulate and note the salient feature that
you have incorporated in your piece. Use three or four voices.
8. Sing the voice parts of all compositions in this chapter. Use the text provided or a neu-
tral syllable (e.g., la}. With others, prepare each of these pieces for performance with one
voice to a part.
Qu'est devenu ce bel ceil. Reprinted with permission from D. P. Walker, Claude le Jeune, Airs,
Vol. II, American Institute of Musicology, Dallas, Texas, 1959, pp. 66-67. Armen Carapetyan
is director of the Institute, which is now located in Rome.
222
(ii) Qu'est devenu cette joue et d'amour
[et de honte le pourpris,
Sur qui 1'Amour etaloit cent mile rozes et lis?
Qu'est devenu le fin or de ce poll prime
[frize reluizant,
Dont mile Amours, mile rets sans fin.aloyent
[faconnant?
(iii) Qu'est devenu cette main que 1'epouze
[de Titon avouroit,
Main, qui plu-blanche que lait, les nege'
[mesrne efacoit?
O maleur injurieux qui cachant ce trezor
[sou-le tombeau,
Fais que le monde n'a plus rien de mignard
[ni de beau
Qu'est devenu ce bel ceil. Walker, Claude Le Jeune, Airs, Vol. II, pp. 66-67.
223
chAptec i6 / palestRinA: paat one
1. Study the cantiones that follow and compare the two-voice style of Orlando di Lasso
with the principles of Palestrina's two-voice writing. Note similarities and differences,
study the linear design, and consider the treatment of rhythm and of dissonances.
2. Compose a two-voice piece about the length of one of the cantiones. Stay strictly with-
in the compositional practices of Palestrina, but use a text of your choice (one of the Las-
so texts would be perfectly acceptable). The piece should be composed for two male
voices and should include a moderate amount of imitative writing.
Cantiones. Sancti mei. Reprinted with permission of Kalmus Music Publishing Co., Opa-locka,
Florida, and Belwin-Mills Publishing Corp., New York, New York. 225
Cantiones. Sancti mei.
226
Qui vult venire post me. Reprinted with permission of Kalmus Music Publishing Co., Opa-locka,
Florida, and Belwin-Mills Publishing Corp., New York, New York.
227
Qui vult venire post me.
228
Serve bone. Reprinted with permission of Kalmus Music Publishing Co., Opa-locka, Florida,
and Belwin-Mills Publishing Corp., New York, New York.
229
Serve bone.
Fulgebunt justi. Reprinted with permission of Kalmus Music Publishing Co., Opa-locka, Florida,
and Belwin-Mills Publishing Corp., New York, New York.
230
Fulgebunt justi.
231
3. Analyze each of the lines in the Palestrina madrigal that follows. Study them carefully
from the point of view of rhythm, contour, activity, and inactivity as related to each oth-
er, linear phrasing, the degree of adherence to the guidelines for this style provided in the
text (note the nature of any departures that occur), the relationship of the text to the
line, the use of musica ficta as a linear device, and the role of each of the lines at the ap-
proaches to cadences.
4. Using a text of your choice (e.g., the example provided for study for assignment 3
above), compose a two-voice madrigal that includes the stylistic traits revealed in the
analysis for assignment 3.
Madrigal: lo sento qui d'intorno. Reprinted with permission from Lino Bianchi, Le Opere
Complete, di Giovanni Pierluigi da Palestrina, Vol. XXXI, Edizione Fratelli Scalera, Rome,
1968, pp. 62-64.
232
lo sento qui d'intorno. Bianchi, Le Opere Complete, di Giovanni Pierluigi da Palestrina, Vol.
XXXI, pp. 62-64.
233
XXXI, pp. 62-64.
234
XXXI, pp. 62-64.
235
5. Sing all lines of all examples in this chapter using the text provided. With others, pre-
pare each of these works for performance. Also, prepare all student compositions for per-
formance in the same manner. Compare, in group discussion, the relative strengths and
weaknesses of the student works and the degree of success achieved in simulating the
style of Palestrina.
236
chaptec 17 / pAl6StBinA: pABt tWO
1. Analyze the motet Veni sponsa Christi which follows. Discuss in detail the form, treat-
ment of lines, rhythm, dissonances, vertical relations, phrasing (both linear and compos-
ite), and text, comparing the actual compositional practices with the guidelines provided
in the text. Make special note of any departures from expected practice and consider
what factors may have had some bearing on the composer's decisions.
2. Compose a motet in the style of Veni sponsa Christi. Use a text of your choice (pos-
sibly that of the example). The piece need not be as long as the example, but it should
contain the principal characteristics of that composition. The composition should be in
four voice parts.
237
Motet: VeniSponsa Christi. Reprinted with permission from Raffaele Casimiri, Le Opere
Complete, di Giovanni Pierluigi da Palestrina, Vol. Ill, Edizione Fratelli Scalera, Rome, pp.
132-135.
238
Veni Sponsa Christi. Casimiri, Le Opere Complete, di Giovanni Pierluigi da Palestrina, pp. 132-
135.
239
VeniSponsa Christi. Casimiri, Le Opere Complete, di Giovanni Pierluigi da Palestrina, pp. 132-
135.
240
VeniSponsa Christi. Casimiri, Le Opere Complete, di Giovanni Pierluigi da Palestrina, pp. 132-.
135.
241
3. Prepare a comprehensive analysis of the Kyrie movement of theMissa: Veni Sponsa
Christi in the same manner as in assignment 1 above.
4. Prepare a comprehensive statement comparing theMissa: Veni Sponsa Christi and its
source, the madrigal of the same name. How literal was Palestrina in deriving his material
from his earlier work? Where do departures from the source occur? What happens at these
points? What reasons might be offered for the changes that were made in the later use of
the material (i.e., in the Mass as compared with the madrigal)?
5. Compose a Kyrie movement in the same manner as that provided from iheMissa: Veni
Sponsa Christi. Use either an early composition of your own as a source (submit a copy
of it with the Kyrie version) or an example from earlier in this collection (excluding the
madrigal Veni Sponsa Christi}. The Kyrie you compose should be clearly and firmly in
the style of Palestrina's Mass movement in the example provided. Adjustments that may
be necessary in the material from your source should be made to accommodate this style.
The composition should be in four voice parts.
Missa: Veni Sponsa Christi. Reprinted with permission from Lino Bianchi, Le Opere Complete,
di Giovanni Pierluigi da Palestrina, Vol. XXV, Edizione Fratelli Scalera, Rome, 1958, pp. 30-32.
242
Veni Sponsa Christi. Bianchi, Le Opere Complete, di Giovanni Pierluigi da Palestrina, Vol.
XXV, pp. 30-32.
243
XXV, pp. 30-32.
244
XXV, pp. 30-32.
245
6. Sing all lines of all examples in this chapter using the text provided. With others, pre-
pare each of the works for performance. Also, prepare all student compositions for per-
formance in the same manner. Compare, in group discussion, the relative strengths and
weaknesses of the student works and the degree of success achieved in simulating the
style of Palestrina.
246
chaptec is / sumnuRy, conclusions,
and new directions
1. Prepare an essay comparing the problems faced by composers during the musical evolu-
tion of the Middle Ages with those faced during the musical evolution of the Renaissance.
In your discussion, take into consideration the fact that certain problems were peculiar to
the first period and others to the second. Include in your discussion each of the following
specific areas of interest as well as other general areas that you consider important in un-
derstanding these two historical periods.
a. Notation;
b. All matters related to line (e.g., range, contour, phrasing);
c. Rhythm (of individual lines and of the composite effect of multiple lines);
d. Vertical relationships and dissonance treatment (types of dissonances, where used,
and the degree to which each was used in the several styles studied);
e. Musical form—its early dependence on text; its later evolution as an independent en-
tity; and the elements that contribute to its recognition and definition;
f. Text treatment.
2. Prepare a short but comprehensive essay on the evolution of the cadence throughout
the Middle Ages and the Renaissance. Include in your discussion consideration of mono-
phonic and polyphonic cadences in various numbers of voice parts and relate the evolu-
tionary process to a projection of what you believe the historical period that follows
those studied would produce as a possible result of the cadential evolution.
3. Select a composer from those studied and prepare an in-depth study of his life, artistic
output, and detailed analyses of at least two different types of compositions (e.g., sacred
and secular, or two different sacred or two different secular forms). This report should be
fully documented using both footnotes and bibliography in the manner used in this text.
4. Study all the compositions (or excerpts) that follow, paying special attention to the
harmonic content. Write the chord names and inversions beneath each chord, and note
any dissonances that may relate to chordal interpretation above the note of the disso-
nance. Note any recurring patterns of chords, and identify all cadences by harmonic con-
tent or other nomenclature that may be appropriate.
247
Canzon francese del Principe. Reprinted with permission from Glenn E. Watkins, Gesualdo
Venosa, Instrumentalwerke, Psalmen, Canzonetten, Vol. X, Ugrino Verlag, Hamburg, 1967,
pp. 16-20.
248
Canzon francese del Principe. Watkins, Gesualdo di Venosa, Instrumentalwerke, Vol. X, pp.
16-20.
249
16-20.
250
16-20.
251
16-20.
252
Versus from Feria Quinta, Resp. 2. Reprinted with permission from Glenn E. Watkins, Gesual-
do di Venosa, Responsoria, Ugrino Verlag, Hamburg, 1959, p. 16.
5. Prepare a recital for public presentation devoting half of the program to examples se-
lected from those provided in this workbook and the other half to student compositions
prepared for assignments provided herein. Every effort should be made to provide a bal-
anced and artistically effective event. Performances should be as polished and stylistically
accurate as possible. Appropriate available instruments (e.g., lutes, hand drums, recorders)
should be used with discretion and good taste.
253
254
255
256
257
258
259
260
261
262
263
264
265
sources
sources
Manuscripts
Bamberg, Staatsbibliothek, Ed, IV 6. (olim 1047) and Modena, Biblioteca estense, M.5.24
Chantilly, Musée Condée 1047. (olim lat. 568). Dallas, Texas: American Institute of Mu-
Facsimil del côdice j.b. 2 de el Escorial. sicology, 1965.
London, British Muséum, Harley 978. Liber Usualis, edited by thé Bénédictines of Solesmes.
New York: Desclee Co., 1963.
Montpellier, Faculty des Médecins, H. 196.
Ludwig, F., and H. Besseler, eds. Guillaume de Machaut
Paris, Bibliothèque Nationale, Collection de Picardie 67.
Musikalische Werke, vols. I and III. Wiesbaden: Briet-
Paris, Bibliothèque Nationale, fr. 146, Roman de Fauvel.
kopf and Hàrtel, 1954.
Paris, Bibliothèque Nationale, fr. 846.
Merritt, A. Tillman, and Lesure, François. Clément Jane-
Paris, Bibliothèque Nationale, fr. 1584. quin. Chanson Polyphoniques, vol. II. Monaco: Editions
Paris, Bibliothèque Nationale, fr. 1586. de L'Oiseau-Lyre, 1965.
Paris, Bibliothèque Nationale, fr. 25566. Plamenac, Dragan, éd. Johannes Ockeghem, Collected
Paris, Bibliothèque Nationale, nouv. acq. fr. 4917. Works, vols. I and II. Dallas, Texas: American Musico-
Wolfenbùttel, Herzog August Bibliothek, 1206. logical Society, 1949.
Reaney, Gilbert, éd. Corpus Mensurabilis Musicae, Early
Collections Fifteenth Century Music, vol. II. Dallas, Texas: Ameri-
Bank, Annie, éd. Nicolas Gombert, Le chant des oyseaux. can Institute of Musicology, 1959.
Amsterdam, The Netherlands, 1950(?). Rehm, Wolfgang. Musikalische Denkmàler, vol. II, Gilles
Besseler, Heinricus. Corpus Mensurabilis Musicae, Gu- Binchois—Chansons. Mainz: B. Schott's Sôhne, 1957.
glielmi Dufay, Opéra Omnia, vol. III, Missarum pars al- Schrade, Léo. Polyphonie Music of thé Fourteenth Cen-
téra. Dallas, Texas: American Institute of Musicology, tury, vol. IV, The Works of Francisco Landini. Monaco:
1951. Editions de L'Oiseau-Lyre, 1956.
Besseler, Heinricus. Corpus Mensurabilis Musicae, Gu- Walker, D. P. Claude Le Jeune, Airs, vol. II. Rome:
glielmi Dufay, Opéra Omnia, vol. V, Compositiones Li- American Institute of Musicology, 1959.
turgicae Minores. Dallas, Texas: American Institute of Watkins, Glenn E. Gesualdo di Venosa, Instrumental-
Musicology, 1951. werke, Psalmen, Canzonetten, vol. X. Hamburg: Ugrino
Bianchi, Lino. Le opéra complète, di Giovanni Pierluigi Verlag, 1967.
da Palestrina, vols. XXV and XXXI. Rome: Edizione Watkins, Glenn E. Gesualdo di Venosa, Responsoria.
Fratelli Scalera, 1939- Hamburg: Ugrino Verlag, 1959.
Blume, Friedrich. Das Chorwerk, Josquin des Près, Missa Woledge, Brian. The Penguin Book of French Verse, to
Pange Lingua. Wolfenbiittel: Môseler Verlag, 1938. thé Fifteenth Century, vol. I. Middlesex, England: Pen-
Bukofzer, Manfred F., éd. Musica Britannica, vol. VIII, guin Books, 1968.
John Dunstable, Complète Works. Dallas, Texas: Ameri- Wolf, Johannes, Denkmàler der Tonkunst in Osterreich,
can Musicological Society, 1970. Jahrg. XIV71, vol. 28, Heinrich Isaac, Weltliche Werke.
Casimiri, Raffaele. Le opéra complète, di Giovanni Pier- Graz: Akademische Druck, U. Verlagsanstalt, 1907.
luigi da Palestrina, vol. III. Rome: Edizione Fratelli Sca- Wolf, Johannes. Werken van Jacob Obrecht, vol. I. Re-
lera, 1939 published by Gregg International Publishers, Ltd., Farn-
Chrysander, Friedrich, and Spitta, Phillip. Vierteljahrs- borough Hants, England, 1968.
schrift fur Musikwissenschaft. Wiesbaden: Brietkopf und Zenck, Hermann, and Gerstenberg, Walter, eds. Corpus
Hàrtel, 1966. Mensurablis Musicae, Adrian Willaert, Opéra Omnia. Dal-
Gùnther, Ursula. Corpus Mensurabilis Musicae, thé Mo- las, Texas: American Institute of Musicology, 1966.
tets of thé Manuscripts: Chantilly, musée conde 564
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UNIVERSITY OF MINNESOTA PRESS D MINNEAPOLIS

list of musical examples

He! dame de vaillance 85 Missa Pange Lingua 184

a. Identify the rhythmic mode in which the piece is set.

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

a. Identify the mode and explain your decision.

2. Set the above example in four-part, composite diapente organum.

1. Compose a two-voice ballade using a text of your choice in an early contrapuntal

Ma fin est mon commencement. Paris, Bibliotheque Nationale, fr. 1584.

1. Compose an isorhythmic composition (without text) consisting of nine taleae and

2. Compose a three-voice isorhythmic motet to texts of your choice. Use Stimmtausch

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

a. Transcribe into or from modern notation;

A. Sanz cuer m'en vois, dolens et esploures pleins

4. Prepare a comprehensive analysis of each of the following examples. Consider in your

a. Special compositional devices or unique treatment of compositional devices that

2. Prepare a comprehensive analysis of the Sanctus movement of theMz'ssa Pange Lingua

sanstalt, Graz, 1907, p. 23.

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