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CW iA£4*t FhdA^CC^O/Ci^ Studies in M edieval M usic Festschrift for Ernest H . Sanders Advisory Board L. Michael G riffel P eter M. Lefferts Leeman L. Perkins Edited by P eter M. Lefferts and Brian Seirup ARTICLES Rebecca Baltzer 5 Aspects of Trope in the Earliest Motets for the Assumption of the Virgin Margaret Bent 43 Subtiliter altemare: The Yoxford with David H owlett Motet 0 amicus / Precursoris Alex Blachly 85 Some Observations on the “Germanic” Plainchant Tradition Si iai Burstyn 119 The “Arabian Influence” Thesis Revisited Richard Crocker 147 Rhythm in Early Polyphony Kurt von Fischer 179 Text Underlay in Landini’s Ballate for Three Voices Sarah Fuller 199 Modal Tenors and Tonal Orientation in Motets of Guillaume de Machaut P eter M. Lefferts 247 Cantilena and Antiphon: Music for Marian Services in Late Medieval England N orman Smith 283 The Notation of Fractio Modi Anne Bagnall Yardley 305 The Marriage o f Heaven and Earth: A Late Medieval Source of the Consecratio wrginum A short note on this book’s production. With the exception of the manuscript photographs (which were stripped in traditionally), this Festschrift was created entirely on the “computer desktop.” The hardware platform used was a Macintosh II, with page proofs printed on an Apple LaserWriter II NTX and final pages produced on a Linotronic L300. Soft ware included Microsoft Word 4.0 and PageMaker 4.0 for all text format ting and page layout and HB Music Engraver 1.2 and Illustrator 88 1.9.5 for all music examples and figures. Typefaces used were Adobe’s Sonata (for the music) and New Baskerville (for all text). In addition, a modified version of New Baskerville was created with Metamorphosis 1.0 and Fontographer 3.1. TYPESETTING, MUSIC TYPOGRAPHY, AND PAGE IAYOUT D on Giller Current Musicology gratefully acknowledges the support of The Trustees of Columbia University The Alice M. Ditson Fund The Department of Music, Columbia University Published under the aegis of the Department of Music, Columbia University Copyright © 1990, The Trustees of Columbia University in the City' of New York Printed in the U.S.A. ISSN 0011-3735 Preface The present volume was conceived on the premise that there is no better way to honor a scholar than with an offering of scholarship from students, friends, and professional colleagues. Its purpose, then, is to rec ognize at the time of his retirement the contributions of Ernest H. Sanders to the Columbia University Department of Music and, even more signifi cantly, to the profession of musicology. Columbia has been the academic “home” for Ernest Sanders since 1950. It was there as a student that he earned the MA degree (1952) and the PhD (1963). Having been invited to join the Columbia faculty, he rose from Lecturer (1954) to Professor of Music (1972). He was called upon to chair the department for more than two full terms (1978-85), and upon retirement he became Professor Emeritus of Music (1987). While editor of Current Musicology, Brian Seirup initiated this collection of essays on behalf of the journal and the Columbia University Department of Music in anticipation of Professor Sanders’s approaching retirement. The project was made public in the fall of 1988 at. a celebration of his seventieth birthday that was attended by many of his former students and colleagues. It now appears just shortly after his seventy-second. By the scope of the topics addressed and the variety of viewpoints ex pressed, the present collection of studies will give the reader an indication of the breadth of the intellectual interests and the extent of the scholarly influence of the man in whose honor it has been assembled. Aspects of the medieval motet are explored in contributions by Rebecca Baltzer, Margaret Bent, and Sarah Fuller; the rhythm and notation of twelfth- and early thirteenth-century polyphony are studied by Richard Crocker and Norman Smith; and medieval English music culture is represented not only by Bent’s essay but also in articles by Peter M. Lefferts and Anne Bagnall Yardley. The evolution of Western musical styles, and the individu ality and significance of medieval musical cultures outside the Parisian tradition, are central concerns of Alexander Blachly’s essay on the Germanic chant tradition, Shai Burstyn’s review of the “Arabian Influence” thesis, and Kurt von Fischer’s examination of the Landini ballate. For students and colleagues at Columbia, however, academic activity is but one side, however important, of the engaging human being known to his friends as “Ernie.” Any conversation with him about the scholarly matters that have occupied his thoughts in the course of his long career will quickly reveal that his enthusiasm for the intellectual issues is nicely bal anced by his love of music and informed by his keen aesthetic insights (some of which he undoubtedly acquired while a student of piano at the 3 4 Festschrift for E rnest Sanders Juilliard School). The spare, elegant prose of his published writings is just one manifestation of his mastery of English, which was not his native tongue. It is also revealed in the wit of his daily discourse, the beautifully turned phrases of his correspondence, both administrative and personal, and in his remarkable skill at Scrabble. And those of us who have enjoyed his loyal friendship have come to know that under the sophisticated manner of the urban denizen—the prototypical New Yorker in many ways— is found the man who takes pleasure in negotiating the crowded streets of his adopted city by bicycle, delights in the rustic pleasures of rural Vermont, and has earned fame for his exquisite raspberry jam. It seems appropriate in this context, therefore, to wish Ernie and Marion, his lively and sociable wife, continued happiness and success as they pursue their productive lives in the relative leisure of retirement. We are grateful for the patience of contributors over the time it has taken to produce this set of ten long and, in many ways, complicated essays. Special thanks go to Anthony Barone, Christopher Hatch, Mary McLaughlin, Thomas Payne, Eduardo Thieberger, Anne Bagnall Yardley, and Neal Zaslaw for editorial advice and assistance, and to Don Giller for his labors in producing this book “on the computer desktop.” 4 December 1990 Leeman L. Perkins L. Michael Griffel Peter M. Lefferts Brian Seirup Aspects of Trope in the Earliest Motets for the Assumption of the Virgin By Rebecca A. Baltzer The feast of the Assumption of the Virgin, observed annually on 15 August, was the most important saint’s feast in the liturgical calendar of Notre Dame of Paris in the Middle Ages. In the thirteenth century, this occasion had a level of ceremonial and ritual splendor equaled only on Christmas, Easter, and Pentecost, for only these four feasts were given the highest liturgical rank, that of annuurn festum or festum annuale, as it was variously termed in liturgical calendars at Notre Dame. The complete round of services for the Assumption of the Virgin be gan with a Vigil Mass on the eve of the feast and proceeded through the services of First Vespers, Compline, Matins, Lauds, Prime, Terce, the Procession after Terce, Mass, Sext, None, and Second Vespers, finally concluding with Compline on the night of 15 August. Because of its importance, this feast in the thirteenth century also included more than half a dozen chants in polyphonic settings for two and three voice-parts, and it is these items of polyphony, together with their offspring in the form of early Latin liturgical motets, that are the focus of this paper. On major feasts, the chants that might be provided with a polyphonic setting at Notre Dame included the great responsory and Benedicamus Domino of First Vespers; the third, sixth, and ninth responsories of Mat ins; the verse of the responsory or large antiphon used in the procession after Terce;1 and the Gradual and Alleluia of the Mass. This is a total of eight items, and although no feast seems to have included organum for all eight possibilities, some did for as many as seven. The feast of the Assumption is also one of a number of occasions during the year that included a Vigil Mass, and, though I know of no specific regulations concerning the allowance of a polyphonic Gradual and Alleluia in such Masses, I have assumed their use to be permissible in this instance. Thus the list given in table 1 (on the following page) itemizes in liturgical order all the possibilities for organum on the feast of the Assumption, and if the chant is preceded by an O or M number (for Office and Mass), an organal setting does indeed survive in the repertory of Notre Dame polyphony that has come down to us.2 1 Or, on certain occasions, in a procession after Vespers. 2 The O and M numbers are those assigned in Friedrich Ludwig, Repertorium organorum recentioris et molelorum vetulissimi stilt, vol. 1, Catalog raisonne der Quellen, p art 1, Handschriften in Quadrat-Notation (Halle: Max Niemeyer, 1910; repr. as Musicological Studies, vol. 7, Brooklyn, N.Y.: Institute of Mediaeval Music, 1964). 5 6 Festschrift for E rnest Sanders Table 1 Possibilities for Organum on the Feast of the Assumption a2 M 37 (Vigil) Gradual Propter veritatem V. Audifilia a2 M 54 (Vigil) Alleluia Veni electa mea a2, a3 O 16 Vespers R Styrps Yesse V. Virgo dei a2, a3 BD I Benedicamus Domino for First Vespers a2 O 17 3rd Matins R. Veni electa mea Yf. Specie tua 6th Matins R. Corde et animo V. Laudem dicite 9th Matins R Felix namque V.