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Point/Counterpoint: Vicentino's Musical Rebuttal to Lusitano

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Point/Counterpoint: Vicentino's Musical Rebuttal to Lusitano Timothy R. McKinney Point/counterpoint: Vicentino's musical rebuttal to Lusitano included in this publication the written depositions THE famous debate between Nicola Vicentino and Vicente Lusitano concerned the issue of that he and Lusitano had submitted during the dispute, whether contemporary music was written in the as well as a copy of the sentence against him. We diatonic genus, as Lusitano asserted, or whether it have no record of a response from Lusitano, yet represented a mixture of the genera, as Vicentino Danckerts takes up his cause in the unpublished argued. The disagreement began after a musical treatise Sopra una differentia musicale sententiata performance in a private residence in Rome in 1551, nella detta capella ..., begun soon after the dispute and escalated so far that the disputants wagered a in 1551 and substantially revised and expanded in pair of gold scudi and agreed to elect two judges to order to rebut Vicentino's attacks on the judges in hear a formal debate and declare a winner. The his treatise.4 judges selected were Bartolome de Escobedo and The circumstances of the debate and the continued Ghiselin Danckerts, both singers in the papal chapel controversy stemming from it have been well docu- of Julius III.' As the drama unfolded, the debate mented by modern scholars, and interested parties played out in several episodes and involved both are directed to their work for more information.5 oral arguments and written summaries. The judges What has not been recognized, however, is the ruled against Vicentino, who duly paid his wager, agenda behind the contrapuntal structure of but the matter was not laid to rest. Skirmishes in Vicentino's polyphonic exemplar of the diatonic written discourse between proponents of one side genus in the treatise (illus.1). He asserts that great or the other began shortly after the judgment and harshness is felt in this music in comparison to continued beyond the lifetimes of the debaters. contemporary practice. I shall show that Vicentino Lusitano's Introduttione facilissima et novissima di intended his exemplar to sound harsh and uncouth, canto fermo, figurato, contraponto semplice et in con- and to that end infused it with harmonic and con- certo of 1553 concludes with a brief explanation of trapuntal devices that he learned were appropriate the genera that seems tacked on to what otherwise for expressing harshness from his teacher, Adrian is the advertised simple introduction to chant and Willaert. I suggest that by making the exemplar contrapuntal theory, and adds little to the polemic.2 especially harsh through these devices and others, He was attacked nonetheless by Vicentino, whose Vicentino hoped to distance the diatonic genus resentment over the verdict in the debate poured from contemporary practice, especially for the forth in his L'antica musica ridotta alla moderna cognoscenti, thus bolstering his stance in the debate. prattica of 1555.3 In addition to a full exposition of For our purposes, the original argument boils his views on the genera, Vicentino included a down to one basic issue: just which intervals can be description of the debate and its immediate after- used in each genus. Vicentino takes the very restrictive math designed to place himself in the best light, view that each genus divides into species according and Lusitano and the judges in the worst. He also to the intervals formed between contiguous notes Early Music, Vol. xxxIII, No.3 ? The Author 2005. Published by Oxford University Press. All rights reserved. doi:10.1093/em/cah100, available online at www.em.oupjournals.org 393 This content downloaded from 159.149.103.9 on Sun, 08 Sep 2019 10:34:04 UTC All use subject to https://about.jstor.org/terms Efempio dc Soprano Diatonico. Effempo dc contr'Alto. Diatonico. Efempio dcl Tenore Diatonico. -v? Efempia del BaoDiatonico. 1 Polyphonic exemplar of the diatonic genus from Nicola Vicentino, L'antica musica ridotta alla moderna prattica (Rome, 1555; R/Kassel, 1959) (Reprinted by permission) 394 EARLY MUSIC AUGUST 2005 This content downloaded from 159.149.103.9 on Sun, 08 Sep 2019 10:34:04 UTC All use subject to https://about.jstor.org/terms Diatonic Chromatic Enharmonic diatonic melody, 3rds are allowed between voices in diatonic polyphony. B C D E B C C# E B B C E S T T S S m3 D D M3 Vicentino does not have a great deal to say about his polyphonic exemplar of the pure diatonic genus: Figure 1 The genera and their indigenous species Accio ch'il Lettore non stia dubbioso, ho uoluto sotto porre un according to Vicentino. essempio tutto Diatonico a quattro uoci, che quando canterc il Scolare, si farni piui certo della Musica Diatonica; et la si potrP of that genus's tetrachord.comporre a quante uoci uerra in proposito al Compositore;Thus & si the species of the diatonic genus sentirPinclude in questa Musica una asprezzaa semitone grande, a rispetto di and two tones quella che e participata & mista. Et il Compositore auuertirP che spanning a perfect 4th, and only these species, as un sospiro torra uia il grado di Terza maggiore, & di minore; & shown in fig.i. One questa compositione is seruirM not al cantare & alallowed sonare.9 to skip over an individual pitch and thereby form a minor or major Lest readers remain in doubt, I wish to offer a completely dia- 3rd; in the terminology of the debate, these intervals tonic example for four voices such that, when a student sings are incomposite (spanning it, he will be more certain about adjacentdiatonic music. Such music notes in the genus) rather than composite may be composed for as many(spanning voices as suits the composer's non-adjacent notes in the genus). The purpose. However, minor great harshness is felt inand this music, com- major 3rds belong only to the chromatic pared to that which is tempered and and mixed. Composers enharmonic are genera, advised that the insertion of a rest nullifies the interval respectively, as also shown in the figure above.6 This [grado] of a major or minor 3rd. This composition is apt for strict interpretation both singing and of playing. the genera leads Vicentino to observe: Most interesting in Vicentino's discussion of the Nissuno ne gli canti figurati et ne gli fermi, ha composto un exemplar is the level of harshness he attributes to canto che osserui l'ordine del Genere Diatonico, perche in quelli si ritruoua non solamente the diatonic genus. gradi Although Boethius,del theDiatonico primary Genere, che sono i Toni, & semitoni transmitternaturali, of Greek theory ma to the Middleanchor Ages and i gradi delle Terze minori, che in prattica Renaissance, dicemo whom Vicentino frequentlymi. sol.cites, also & re. fa. & il salto del Dittono, che in prattica refers to harshness dicemo, in the diatonic ut. genus, mi.he does & fa. la. senza poi che nelli canti figurati i Toni si tagliano; & di un Tono si fc semi- so in much milder terms, describing it as somewhat tono. & di semitono, si f. tono.... & per tal ragione la musica more harsh and natural in relation to the other che e stata usata et che si usa hoggi nel mondo, si de domandare musica participata, & genera: mista 'Et diatonum de quidemcerte aliquanto spetie durius et de tutti tre i Generi, e non e musica Diatonica, naturalius, chromaper vero le iam tante quasi ab illa naturaliragioni di sopra intese.7 No one has written intentione either discedens inet in molliuspolyphonic decidens, enar- music or in plain- chant a melody that monium observes vero optime atque the apte coniunctum'.1o order In of the diatonic genus. For in these melodies L'antica musica,there book 1, chapteroccur 6, Vicentino not quotes only the steps of the diatonic genus-that Boethius's is, descriptionwhole of the tonesdiatonic genus, andrender- natural semitones-- but also steps of a minor 3rd which in practice we call mi-sol and re-fa, and leaps ing Boethius'sof a 'aliquanto ditone, durius' as 'alquantowhich piti in practice we call ut-mi and fa-la, not duro' into Italian: mention 'I1 Diatonico Genere ethat alquanto pi ini polyphonic music two whole tones are duro, cut,& piti naturale making degli altri: & il Cromatico,a semitone & out of a whole tone or a whole tone I'Enarmonico out sono of arteficiosi.. a semitone.....'~' Vicentino's For this reason, music of the past and description of of today the harshness ought of the diatonic to genus be called tempered music, mixed with certain species from all three genera. (quoted above) in his discussion of his polyphonic In the treatise, however, Vicentino does not exemplar goes far beyond this. Rather than restrict diatonic melodic motion only to tones and Boethius's 'aliquanto durius', he now refers to 'una semitones, indicating instead that larger intervals asprezza grande' ('a great harshness'). He does not such as the 4th, 5th and 6th were common to all of explain why in this passage; however, the factors the genera.8 Or, in other words, since they do not that make this particular example especially harsh define any particular genus, as do the 3rds (in in Vicentino's view can be culled from remarks Vicentino's view), they may be used in any of them. scattered elsewhere in the treatise and from compo- Furthermore, although he will not allow 3rds in sitions by Vicentino and his teacher Willaert. EARLY MUSIC AUGUST 2005 395 This content downloaded from 159.149.103.9 on Sun, 08 Sep 2019 10:34:04 UTC All use subject to https://about.jstor.org/terms Vicentino's rigid stand on the genera explains rest.
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