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Concordare Cum Materia: the Tenor in the Fourteenth-Century Motet

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Concordare Cum Materia: the Tenor in the Fourteenth-Century Motet CONCORDARE CUM MATERIA: THE TENOR IN THE FOURTEENTH-CENTURY MOTET By Alice V. Clark Princeton University Ph.D. 1996 Published online by DIAMM (The Digital Image Archive of Medieval Music) with permission from the author Copyright ©1996 All Rights Reserved CONCORDARE CUM MATERIA: THE TENOR IN THE FOURTEENTH-CENTURY MOTET Alice V. Clark \ . A DISSERTATION PRESENTED TO THE FACULTY \ OF PRINCETON UNIVERSITY IN CANDIDACY FOR THE DEGREE OF DOC1'OR OF PHILOSOPHY RECOMMENDED FOR ACCEPTANCE BY THE DEPARTMENT OF MUSIC June 1996 Principal readers for this dissertation were Margaret Bent and Peter Jeffery © Copyright by Alice V. Clark, 1996. All rights reserved. Abstract This study takes as its starting point the description of motet composition by Egidius de Murino, who says that the tenor should "concord with the matter" of the motet to be written. The repertory under consideration at this stage is the French tradition of the mid-fourteenth century, mostly transmitted in the complete-work manuscripts of Guillaume de Machaut (Paris, Bibliotheque Nationale, MSS fonds fran<;ais 1584, 1585, 1586, 9221 and 22545-22546, and New York, Wildenstein Galleries) and in the Ivrea codex (Ivrea, Biblioteca Capitolare, MS 115); this group is further limited to those motets for which a liturgical source has been identified for the tenor. After an introductory chapter that traces modern scholarly interest in the tenor's role in the motet, chapter 2 examines the evidence for compositional manipulation of borrowed melodic material. The loss of liturgical propriety as a functional criterion allows the tenor to serve as more than a source of melodic and harmonic materials, and the possibility of alteration of a chant-based melody suggests the existence of other reasons for the use of a liturgical source. One of these, the use of liturgical function as a symbolic device, is explored in chapter 3, with special focus on a group of French-texted amatory motets that use tenors from Lent and Holy Week chants, a process that encourages an explicit comparison between the lover's sufferings and the passio of Christ. Chapter 4 examines another group of motets, also in French on the subject of love, that appear to name historical women by the liturgical context of their tenors; these iii motets are probably connected with the marriage or betrothal of the ( women named. Chapter 5 considers three new tenor sources discovered during the course of this study and suggests avenues for future work. IV Table of Contents Abstract 111 Table of Contents v Note on the Citation of Motets viii Acknowledgements ix Chapter 1: Introduction 1 Chapter 2: The Tenor Melody and its Chant Source 21 General Characteristics 24 Exact Matches 25 Melodic Alteration 37 Mach,mt 54 Ivrea 65 Chapter 3: Liturgical Symbolism 70 Machaut 73 Ivrea 96 Expanding the Range: The Chantilly Codex 111 A Backward Look: The Roman de Fauvel 122 Chapter 4: The Vernacular Dedicatory Motet 138 Agnes 138 Lucy 153 Chapter 5: New Tenor Sources 161 Displicebat ei etc. 162 Non est inventus similis illi 174 Magister invidie / Magister meus CJzristus? 181 v Appendix 1: Melodic Comparisons 185 M I-Amara valde 186 M2-Suspiro 187 M3-Quare non sum mortuus 188 M4-Speravi 189 M6-Et gaudebit cor vestrum 190 M7-Ego moriar pro te 191 M8-Et non est qui adjuvet 192 M9-Fera pessima 193 M10-0bediens usque ad mortem 194 M12-Libera me 195 M14-Quia amore langueo 196 M15-Vidi Dominum facie ad faciem 197 M19-A Christo hOiloratus 198 M21-Tribulatio proxima est et non est qui adjuvet 199 M22-Apprehende arma et scutum et exurge 200 M23-Ad te suspiramus gementes et flentes etc. 201 VII / H4 (G3)-Alma redemptoris mater 202 H5 (GI4)-Ante thronum trinitatis 203 V7 / Ml7-Gaude gloriosa / Super omnes speciosa 204 H9-In omnem terram 205 H10-Ave Maria 206 V8-Magister invidie [Magister meus Christusl 207 VIO-Virgo sum 208 V9-Libera me [de sanguinibusl 209 H12 (G1)-Cuius pulchritudinem sol et luna mirantur 210 H13-Regnum mundi 211 Hl5-Tristis est anima mea 212 Hl6-Concupisco 213 "M24"-Ecce tu pulchra et amica mea 214 V12-Non est inventus similis illi 215 H17 / Hl9-Dolor meus 216 V14-Rex regum [regi filiol 217 H 18-Clamor meus 218 H21-[Sicut fenum arui] 219 H24 (G9)-Rosa vernans caritatis 220 H25 (G6)-Amicum querit 221 H26 (G5)-[Virgo prius ac posterius] 222 H30 (G4)-Letificat iuventutem meam 223 H31 (GI2)-In omnem terram exivit sonus eorum et in fines orbis 224 F5(5)-.·Superne matris gaudia 225 vi F8(9)-Vergente 226 F9(12)-Verbum iniquum et dolosum abhominabitur dominus 227 Fll(21)-Displicebat ei etc. 228 F16(33)-Rex regum et dominus dominancillri'l 229 F17(35)-Mane prima sabbati 230 F22(30)-Revertenii 231 F23(51)-lVictime paschali laudesl 232 F25(71)a-Heu me... 233 F25(71)b-...Tristis est anima mea 234 F27(120)-Merito hec patimur 235 F30(124)-Alieluya Benedictus et cetera 236 Appendix 2: Chant and Biblical Sources 237 Manuscripts Cited 280 Works Cited 288 List of Tables Table 1: The tv10tets of Guillaume de Machaut 74 Table 2: The Motets of the Ivrea codex 100 Table 3: Latin-texted and mixed Marian motets with identified chant tenors and their subjects 102 Table 4: Latin-texted motets without identified chant tenors and their subjects 104 Table 5: French-texted and mixed amatory motets with identified chant tenors 109 Table 6: The Motets of the Chantilly codex 112 Table 7: The Motets of the Modena codex 121 Table 8: The Motets of the Roman de Fauvel 123 Table 9: Identified tenors in the Roman de Fauvel and their subjects 125 . ------ Table 10: Concordances for motets with identified --~~-. tenors in the Roman de Fauvel 127 vii A Note on the Citation of Motets Motets will be cited by name (in the form Quadriplum / Triplum / Motetus / Tenor / other voices) and by number. The numbering system I will use for motets is based on their appearance in modern editions as follows: M refers to the motets of Guillaume de Machaut, as edited in Ludwig 1926-54 and Schrade 1956b (this includes the falsely attribted "M24"), H to the motets edited in Harrison 1968, F to the motets included .in the version of the Roman de Fauvel in Pn 146 (edited in Schrade 1956a), V to the motets attribted to Philippe de Vitry and edited in Schrade 1956a, and G to the motets edited in Gunther 1965 that are not also found in Harrison 1968. A list of manuscript sigla is given in the List of Manuscripts Cited at the close of this study. CAO numbers refer to the indices of Office chants found in Corpus antiphonalium officii; see Hesbert 1963-79. Biblical citations are taken from Weber 1983 for the Latin and May and Metzger 1977 for the English. viii Acknowledgements While writing a dissertation is a solitary task, many aspects of its creation and survival are social, and it is a pleasure to acknowledge some of the help and support I have had along the way. Pride of place must be given to Margaret Bent, who stayed on as first reader of this study even after moving to All Souls College, Oxford. Meg was one of the reasons I came to Princeton in the first place, and she has been a valuable teacher and role model at all times since I arrived here, in the classroom, singing in her dining room, and electronically. Her influence in this study is all-pervasive, even where not directly visible. Peter Jeffery was generous enough to act as second reader, and I thankfully acknowledge his many comments. Thomas Walker's last message to me congratulated me on finishing the draft of this study and looked forward to reading it and attending my defense; I only wish he had lived long enough to make it so. Other faculty here-especially Kenneth Levy, Harold Powers and Scott Burnham-have provided support at various points. Rob C. Wegman arrived as the project was nearing completion, but he has served as a friend during its final stages. Other departmental personnel, especially Marilyn Ham, Diana Waltman, and Irene McElroy, have helped immeasurably and provided moral support. I have been blessed by the guidance and support of faculty at other institutions as well, and I thank in particular Rebecca A. Baltzer of the University of Texas at Austin and Anne Walters Robertson of the University of Chicago. Others who provided help and friendship include ix Elizabeth Randell of the Un.iversity of North Carolina, Susan A. Kidwell, Catherine Parsoneault and Allison Welch of the University of Texas, and Cynthia Cyrus, now of Vanderbilt University, to name only a few.. The community of medievalists at Princeton is a warm and generous one, and I have been grateful for their input on various aspects of this study and their general good will. In particular I would like to thank William Chester Jordan, founder of the Committee (now Program) in Medieval Studies, and the members of the Graduate Colloquium in . Medieval Studies. No Princeton dissertation in musicology can be written or survived without the community of C-floor residents, and my debt to my fellow graduate students is great. In particular, I thank my classmate, K. M. Knittel (now of Seton Hall University), for her friendship and support in all things. Lee Blasius, Suzie Clark, Rosemary Dubowchik, Keith Fa lconer (now of the UniversWit Regensburg) and Natalka Pavlovsky are among those to whom I owe a special debt of gratitude. Among those more loosely associated with C-floor, I thank Barbara Haggh (now of Royal Holloway and Bedford New College), Roger Lustig, and Rose Mauro (of the University of Pennsylvania).
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