Musico Ficto Renaissance Choral Music

1 Musico Ficto •In Renaissance Choral Music

JAMES R. BRYANT that there are no major contradictions on the subject of ficta between theor ists of different countries. (1) Of course, James Bryant (B. M., M.M., Westmin "the musical thinking of the Flemings ster Choir College) is a native of Hunt was deeply embedded in the tradition of ington, W.Va. While at Westminster he the ecclesiastical modes; it was absorbed served as accompanist for the Westmin ster Choir under Dr. Elaine Brown, and in the mystique of counterpoint, and in rehearsal accompanist for the Symphonic the construction of large forms." (2) The Choir which performed regularly with the I talians were. 'more innovative in chro major orchestras under such conductors matic music. Lowinsky points out that the as Bernstein, Steinberg, Boulez, and Rob ert Shaw. Mr. Bryant is currently em Venetian Adrian Willaert was the first ployed as organist of the Blacksburg to compose a piece which progressed (Va.) Baptist Church and by the Univer through the entire circle of fifths, this sity Bookstore at Virginia Tech. appearing as early as 1519. Secondly, we shall consider modality, JAMES R. BRYANT cadence structure, and the conflicting key One of the most perplexing problems signatures which often appear in the early as the first half of the 10th century of Renaissance performance is that of manuscripts. Since cadences seldom oc by Odo of Clugny, a predecessor of Guido, adding unwritten accidentals. Many per cur in the pure chordal form in which and which appears as the only accidental formers who feel unqualified to make they are always illustrated, a further in Gregorian chant. such chromatic alterations rob this music problem in interpretation results. The The introduction of additional chrom of much ot its beauty and color. Often yarying attitudes toward these character atic tones .became necessary for two rea editors are no more helpful because they, istics' directly affect a performer's solu sons: first. the church modes became too, refrain from making any additions. tion of 11l1/sica ficta. m::ldified melodically, and secondly. they The fact is, however. that the judgment The third part of our study shall be were transposed. Thus a C sharp could of editors often may not be trusted, since with those works which, according to occur as an artificial leading tone in the one may not assume that all editors are Lowinsky and his followers, exhibit a Dorian mode, or as the third degree of skilled in musicology. secret chromatic art. Lowinsky has care the Mixolydian scale beginning on A To arrive at some rules for adding ac fully researched philosophical, theological rather than G. cidentals \ye shall divide our study into and artistic tenets of the Renaissance The term 1Ilusica. falsa, was introduced three parts. First the writings of early which seem to support such a reading of sometime before 1250 to categorize pitch theorists will be considered. While Willi these works. Following the reasoning of alterations which were made necessary by Apel states otherwise, :'Iargaret Bent feels Lowinsky, we shall form our own opinion the transpositions of intervallic progres as to the validity of this musical process. sions. called cOl1iullctae. Philippe de Finally several practical . conclusions Vitry stated (c. 1325) that lIlusica falsa will be drawn to aid the performer in is "not false, but true and necessary for SPARTAN making judgments regarding the addition musical instruments, and especially in of accidentals to the music of the Renais 0/·galla."(3) Johannes de Garlandia (13.th sance. )'lost importantly it should now century) makes a clear reference to the 2nd Annual Midwest be stressed that there are no set rules to voice as the "il1strumelltulll lIaturale," so guide the performer; each case must be we assume that chromatic tones were used solved within its own particular context. in vocal music as well. Garlandia also SHOW CHOIR points out that "ill- orgalla" may be ap THE THEORISTS' POINT OF VIEW plied "ad 0111 II em mellsurabilem lIlusicam," INVITATIONAL The method of solmization given by - to all rhythmic polyphonic music the so-called Guidonian hand in the first and not just to a form of part-music. It Saturday, December 2 part of the 11th century established the was during this period that the term realm of mllsica recta which was based UN/sica ficta supplanted the older term, on the hexachord system as shown below. which was objectionable because of its FOI' Further Il1forlllatioll alld/or Xotice that the hexachords are categoriz implied falseness. application, write or call: ed by "natural" (built on C and contain The majority of the theoretical writ ing no B. "hard" (built on G and contain ings on chromatic alteration are from the William D. Mott ing B natural), and "soft" (built on F sixteenth century. Pietro Aaron, in his and containing B flat). The gamut cov Tlzoscallello de la J/llsica (1523), ex Vocal Music Department ers two octan!s and a major sixth. from pressed the opinion that composers should Sparta Senior High School G to e", an

20 THE CHORAL JOURNAL the unknown secret of the places where knowledge the transgression of the the as if they thought (50 it seems to me) such accidentals are required. I myself, oretical limits. Aaron wrote that that they had reached the utter I imib who always was, and am. in fayor of III case the melody needs to ascend of the sky in e". They cb not seem to those who like to make their wishes even higher. it will be necessary to consider that f" is the very next tone clear ... shall with all possible brevity insert a flat for the first position ly to e" anyway. Tell me now. I a5k you. treat the subject (unlike those who ing beyond Guido's hand. above e" is not this kind of 11Il1siea fieta foolish think that marked accidentals are for ... (8) and a madman's business? According beginners with no mind of their Six examples of this use of the flat to the natural order [of 11I11siea 'l'era] own.) (4) occur in the Odhecaton of 1501. Vanneo F [in any octave] is always F fa any Stephano Vanneo in the Reealletll1/l de felt that the use of a flat before this f" way. Consequently it makes no sense musiea allrea (1531), felt that the singers is utterly ridicnulous. to provide it with a flat, which repre were quite capable of making spontaneous But I must take occasion to answer sents the syllable fa. Those who do pitch adjustments as they performed. and certain composers of figured music this intend, I believe, to make things described this practice in detail. with whom I much disagree. It has easier for the beginners in music. (9) The ears are considered the best in been their custom to place a flat in the Specific rules for which notes are likely terpreters, which can help you most, if soprano whenever they go beyond e". to be raised or lowered are rare. The you observe the parts of an accomplish ed singer, who when he feels that he is producing a dissonant progression. at once little by little and so discretely. For the lighter side of your program- that it can scarcely be recognized and detected, either flattens or sharpens it, THREE NEW CHORAL SERIES until a consonant and sweet progression strikes the ears. (5) As with any performance problem such Jazz Ensembles for Young Choirs as ornamentation which is often left to (SAT.B.) the performer's musical taste, we find Arranged by Chuck Cassey that certain theorists felt that singers The aim of the arrangements In this series Is to give the younger choral added many extraneous accidentals. singer an opportunity to perform choral jazz-pop material at a level best There are some who in singing suited to his or her experience. - Each 5Q¢ sharpen or flatten a melody in a case Caravan - Elllngton/TIzol/Mllls ....•...... (64409) which the composer never intended - Scarlet Ribbons - Danzig/Segal...... (64410) as when they sing a tone instead of a Mr. Ghost Goes To Town - Hudson/Parish/Mills ...... (64411) semi tone or the other way about, and Forgotten Dreams - Anderson/Parish ...... (64412) other such things. By this they not Moonglow - Hudson/DeLange/Mills ...... (64413) only offend the ear but also commit innumerable errors. Singers should Jazz Ensembles for Advancing Choirs therefore take care to sing only what is (S.SAIB.) written according to the mind of the Arranged by Chuck Cassey composer. (6) The arrangements in this series were written with professional This passage from Zarlino's /stitlltiolli specifications In mind and require the best efforts of the choral jazz singer. - Each 5Q¢ lzannonicllr! (1589) bids performers re turn to "what is written according to the Stardust - Carmichael/Parish ...... : ...... (64414) mind of the composer." This attitude is I Let A Song Go Out of My Heart - particularly difficult to understand since Elllngton/Nemo/Mllls/Redmond ...... (64415) Ain't Mlsbehavin' - Waller/Brooks/Razet ...... (64416) mo~t composers of the Renaissance were present to "direct" the performance of C'est SI Bon (MCA) - Seelen/Bettl ...... (UC 761) So Nice and When I Fall in Love (Medley) (MCA) - their compositions and to make pertinent M. & P. Valle/Glmbel/young/Heyman .•...... (UC 762) suggestions for chromatic alterations, and other matters. Furthermore, are we to Special Arrangements for the assume that the "mind of the composer" described by Zarlino did not think along "SHOW CHOIR" the lines of all the others who allowed By Chuck Cassey with "Stick Figure" greater freedom for the interpreter? It Staging by Jim Hoskins must be admitted. however. that perform These arrangements are aimed at the Show Choir director Interested In ers have often carried matters of inter achieving an exciting "look" as well as a high level vocal performance. pretation to extremes. Individual chorals (SAlB.) are 5Q¢ per copy - A separate conductor's Thomas Morley mentions the problem copy is available for each title at $4.00. Contains necessary Instructions, of mllsiea fieta. in a very diplomatic man Including choreography through positioned "stick-figures". ner: Boogie Woogle Bugle Boy - D. Raye/H. Prince ...... (UC 763) Because I thought it better flat than Hey, Mr. Banjo - F. Morgan/N. Malkin ...... (64417) sharpe, I have set it flat. But if anie Other Man's Grass Is Always Greener - man like the other waie better, let him I Hatch/J. Trent ...... (UC 765) use his discretion. (7) Rock-a-Bye Your Baby - S. Lewis/J. Young/J. Schwartz Recall that 1Illlsiea fieta refers to any (In Rock Style) ...... (64419) pitch not present in the Guidonian gamut. When vocal ranges were expanded. es MELVILLE, N. Y.11746 pecially to f", it was argued that this GRell" ... ;~.:~~~~~gCorp. note must be marked with a flat to ac-

OCTOBER 1978 21 MUSICA FICTA ... It 4 .\,: 1'; printed since it represents a combination of the VII-I modal progression with the most familiar one deals with the tritone: emerging tonic-dominant relationship We see in the following example that mi contra fa est diaboills in 1Illlsica. B which helps establish tonality. there is an exception to these rules in mi against F fa Itt gives a diminished fifth (quinta falsa) or an augmented the case of the Phrygian cadence on E fourth (tritolllls). It is easy to see that or transposed to A: B 11Ii against B fa gives a diminished or ~: ; : '; ; I:: : ! ; I augmented octave. Aaron and Butler e 0 II speak of this change. : : The softening and tempering of the b11' -e- tritone [is] either by raising or low I' 11: /; : ; ; I ! : ! ering. (10) ~ I MODALITY, CADENCE STRUCTURE, But these harsh Discords. by the help AND CONFLICTING SIGNATURES of Flats and sharps, are reduced to Such a cadence occurs in Dufay's Las! In Renaissance polyphony strict modal their true Concords. For as the Tri Que fera.y?( 13) in a manner which resists classification is not possible since leading tall liS [augmented fourth] either by any chromatic adjustment. tones obscure cadences and each part flatting the sharp, or sharping the Flat, necessarily functions within its own mode is made a true Diatessal'on [fourth]; if analyzed separately. However, one may 50 the Semidiapcllte [diminished fifth], achieve a fair degree of accuracy by l by the same means. is made a true jl; t" : ~ Ill: ':: IS studying the intervals found in cadential Diapellte [fifth]. (11) formulae. There is also a four-chord Dorian ca Another old rule states that IIl1a nota In the literature of the 14th and 15th dance which corresponds to the Mixoly sllper la semper est callelldllm fa.: a sin centuries we find the following three dian cadences shown above. gle note above lao always must be sung part cadences which are in the fauxbour I fa, i.e. a semitone above. When the first don style: note is A, Guido's system allows the recta B flat; when the first note is D (this occurs particularly in transposed Dorian on G) an added E flat is neces !: !I: : 1=.~ : I: : ::J sary. Various theories have been proposed for the presence of conflicting signatures r& . l in Renaissance music, and the way in . . " : :b : n t ~ :1= ;:'1; ': :ii';~: I . . which they affect the use of chromatic ~~CIII. t,r.!.!.a:: x.r..l..L:IU~=.LuI) t,r.!.1.I..!t"1th=-a::.!~ alterations. Apel has formulated four prin Jean de Muris mentions leading tones In the late 15th and early 16th cen ciples in relation to this. (14) The first to A, G, D, even E, and gives us the turies a four-chord cadence appears with is that one may not rely on the writings rule that thirds and sixths preceding increasing frequency. Some performers of Italian and Spanish theorists for Bur fifths and octaves must be major; thirds try to eliminate the cross-relation between gundian and English music; "we cannot preceding unisons or fifths should be the bottom voice (first chord) and the expect to receive much assistance from minor if the top part descends one top voice (third chord). This Mixolydian the theorists who give us just a few triv step. (12) cadence should be performed as it is ial rules." The second assumption is that organ tablatures, in which accidentals are written out, may· be regarded as prece dents for treatment of accidentals in vocal SIX NEW CAROL SETTINGS music. Thirdly he feels that the manner by Hermann Schroeder of notation of accidentals in old manu scripts up to at least 1450 was consistent. For SATB, two treble instruments (flutes, violins, oboes), and bass instrument (cello, bassoon), or organ Lastly, Apel discredits the notion that the creation of pleasing harmony was a God Rest You Merry, Gentlemen 98-2367 $ .35 factor in the use of lll11sica fieta. o Little Town of Bethlehem (Forest Green) 98-2368 .35 In the early 1940's Lowinsky explained Ding Dong! Merrily on High 98-2369 040 why these assumptions of Apel may not The First Nowell 98-2370 .35 To a Virgin Meek and Mild 98-2371 .35 be true. (15) In the first case we have Love Came Down at Christmas 98-2372 .30 since discovered that the so-called "trivial rules" discuss matters of voice-leading, Other New Christmas Music counterpoint. and harmonic structure in Once Again My Heart Rejoices-Paul Horn 98-2363 .35 fine detail. Also, specific composers and (2 pt. mixed with violin or wind instr. & organ) compositions are given as examples, and Once He Came in Blessing-Paul Horn 98-2364 .35 many of these are Burgundian, French, (with 2 violins and organ) Come, My Soul, to Bethlehem-Praetorius 98-2352 .50 and Netherlandish. Jesus, Jesus, Rest Your Head-Schalk 98-2349 .30 In the organ tablature question, Lowin Ecce virgo concipiet-Behold a Virgin Shall Conceive sky points out that such scores do not (SSATB)-Sweelinck/Colton 98-2347 .60 preserve the individuality of the voice leading. Apel also completely excluded lute tablatures which wou!d have shown the increased use of accidentals since the lute strings were divided into equal semi

l~~e 5t.lUT .. J!fHIISCI< ... vt..... l tones by the frets and not subjected to s ..... , ~tu5 "'$so,-,", Ill'" the mean-tone temperament apparently

22 THE CHORAL JOURNAL used with keyboard instruments of the He points out the foJIowing passage from This idea of double meaning permeated time. Nicola Vicentino which puts such chro aJI aspects of theology, philosophy, sci Lowinsky finds the last two conditions matic renderings in the realm of 11Iollsica ence, and art. The philosopher Thomas most troublesome. One may see from the l'eservata. Campanella (17) wrote that the Scriptures Pietro Aaron passage quoted above that . . . they understand that (as the contain "a mystical meaning for the wise this theorist was pleading in 1523 for ancient writers demonstrate) the chro as well as an obvious meaning for the consistent and clearly written accidentals, matic and enharmonic 1I!usica reservata vulgar." Such statements as this go a not congratulating composers for provid deservedly had a different application long way towards substantiating a chro ing them. Why should we expect to find from that of the diatonic, since the lat matic reading of musical works in the consistency in the writing of accidentals ter was sung in public festivals and in manner suggested by Lowinsky. Through any more than standardization in the common places. being designed for or study of the processes involved in de spelling of proper names and other words dinary ears: whereas the former was termining the correct usage of 1Illlsica during this period? FinaJIy the Vanneo used in private entertainments of the ficta in a motet by clemens non Papa, quote from the Recanetu1ll should dis nobility and of princes, for refined ears Fre11luit spirit/(. ] eSllS, we may discover pose of any idea that harmonic intervals and to sing the praise of great person some of the possibilities for interpreta did not figure in the adjusting of pitches alities and heroes. (16) tion of this rather large group of Ren- to please the ear. Vanneo was a choir master (chori moderator) who would have had as one of his tasks to adjust such clashes when they occurred. Old choir-books and part-books show acciden tals evidently added by the director or INDIANA UNIVERSITY the singers themselves. Lowinsky arrives at the conclusion that School of Music the reason for different signatures is a very simple and practical one - the prev Charles H. Webb, Dean alent modal cadential figures which ap pear in the pieces themselves. Consider announces the cadences on page 8 where the B flat is three times required in the lower voice. The A but no flats are needed in the upper Appointment to the Special Performance voices. Thus the signatures would be 'r't b . On the other hand situations such Graduate Faculty of Berloiz Requiem as those in Example 5 often de of with mand the 'r f;/; signatures. As cadences begin to vary and be elaborated upon, such a variety of signatures also appear. When the lower voices cross, the m'ddle voice often carries the lowest-sound'ng pitch and it is not out of the- ordinary to find a signature such as .y P !r. In a general sense Apel then was al lowing these signatures to force the music into a kind of bitonality, and at the same time keeping individual voices modaJIy pure by recommending a mini mum of editorial accidentals. As we have suggested previously. modal theory does MARGARET HILLIS ROBERT SHAW not really function in polyphonic music. Visiting Professor Guest Conductor Obviously the tessitura of an individual of Music part (along with its filial) suggests a particular mode, but modal designation joining should be influenced primarily by caden Friday, October 27 tial formulas, along with consideration of JULIUS HERFORD, Indiana University the final of the main part, especially if a Director of Graduate Studies Auditorium Gregorian cantus firn1Us is used. in Choral Conducting, Eight O'Clock MUSICA FlCTA AND THE and the Choral Faculty: SECRET CHROMATIC ART It is quite evident that numerous pitch Alan Harler alterations are necessary to prevent the Jan Harrington occurrence of forbidden intervals. Some Wallace Hornibrook writers have suggested that the elabor John Howell ate chromaticism which is sometimes pro Allan Ross duced by the application of 11lusica ficta Robert Stoll to music seemingly lacking in accidentals had to b':! kept covert for religio-political For information, write Alan Harler, Chairman, Choral Department, reason. Lowinsky has presented this view Indiana University School of Music, Bloomington, Indiana 47401 point at some length in his book Secret Chromatic Art in the N etherlallds Motet.

OCTOBER 1978 23 MUSICA FICTA .. er does not return to the written harmon the realization given in measures 1-14. ies until measure 74. This amazing modulation moves through aissance choral works. This work may Another argument for a chromatic the circle of fifths from F major to G be found in his Opera Omllia, edited by reading is suggested by measures 104-120 flat major (a Neapolitan relationship, in K. Ph. Bernet Kempers, and published in of the second section of the motet, where modern harmonic language) and back, by 1969 by the American Institute of Mu- the words "Lacrimatus est" are again way of B flat minor, F minor, and C sicology. . used. The bass sings these words on the major. FrC11Iuit spiritll Jesus is in the LydIan interval G-c. If one then reads the bari If such interpretations were the inten mode according to Hermann Finck.(lS) tone part as written in some editions tion of the Flemish composers of the 16th In the five upper voices there is one flat in (with two flats). it becomes A flat - D century, then the chromaticism implicit the signature, while the lowest voice has flat, and by following this example, neces in these compositions would make the two flats. In measures 65 and 66 there sitates another distant modulation. How once supposed progressive chromaticism are three E flats specified through the ever. for the following reasons which are of works such as the Proplzetiae Sibyl use of an accidental. However, in none Lowinsky's, Clements did not intend the larum of Orlando di Lasso seem common of these cases is there need for such an modulation this time. place. Other writers criticize Lowinsky's identification. 1. The accidentals which in the first explanation, but regardless of whether 1. In the baritone, the accidental is two sections served as warning signals secrecy was involved it does seem that superfluous within the context. Fur are completely missing here. For in chromaticism was implied in many of the thermore, one editor has two flats in stance, in the baritone part (m. lOS) examples treated in his study, if one feels the signature for this part. there appears the descending progres obliged to go the route of correcting tri 2. The ascending leap of a fourth sion G. F, E flat, D which offered the tones and preserving the intervals of in the tenor must be a perfect fourth possibility of indicating the E flat with ostinato patterns. and not a tritone. a superfluous accidental, as it had been CONCLUSIONS 3. The E flat in the alto occurs be dJne in m. 66 (alto). However, we tween the points in the bass line where find no accidental this time. From the foregoing study we may make E flats are required by the signature. 2. More important is the fact that at the following general suggestions for add Lowinsky goes further to state that if the beginning (m. 106) of the passage ing accidentals to pre-Baroque music: the E which follows in the alto voice in in question (mm. 104-120) the ostinato The two primary reasons for 1Illlsica measure 68 is read as E ·flat (considering g-e-f-d-c appears in the natural hexa ficta: the context), giving the progression as chord in the alto part. In the earlier 1. for consonant harmony. E flat, D, C, D, Eflat, then the A which passage the ostinato appeared as b flat, 2. for beauty of song. follows in the second soprano must be g. a. f, e. which without tril.l1sforma 'For 13th century music: changed to A flat. If this process is car tion (modulation) would have violated 1. The preservation of the modal ried to its logical conclusion. the perform- the prevailing practice of keeping the character has a definite but lim intervals of an ostinato constant. and ited influence on 11Iusica ficta. varying the pitch level only by trans 2. Early 13th century music does not position to another hexachord. lend itself to cadence rules men tioned below. Lowinsky explains the fact that the 3. One may not always be able to same words are set both chromatically avoid the tritone. (in part I) and diatonically (in part II) 4. The need for vertical consonance by pointing out that "the first pictures seems to win out as the prevailing Jesus overcome by the death of Lazarus; requirement for accidentals; there the second shows death overcome by are some passages with even tri Jesus." He says that "Clemens sets to tones which are unsolvable. music states of mind. not words." 5. The retention of interval relation At the begining of this motet is an ships in repeated phrases does not other passage which suggests a chro always work.(19) matic rendition. Here, however, the For later music: m::idulation is not indicated by acciden 1.. Avoid melodic and harmonic tri tals. Neither is there a statement of the tones unless worse problems are ostinato to guide the performer. The pivot created, i.e. a melodic augmented note is the first bass note in m. 9, which 2nd or diminished 3rd; some tri may be read A flat for the following rea tones will be unavoidable. sons: 2. Thirds and sixths preceding fifths 1. The progression of the voice it and octaves must be major; thirds self: E flat. C. A (flat). preceding unisons or fifths' should 2. The motif-transposition: F, D, B be minor if the top part descends flat; E flat. C, A (flat). one step. (Exception: Phrygian 3. The notation. which is this case cadences). uses as a warning signal the slur bind 3. Preserve interval patterns of re ing together the two motifs: peated motives (as in the Clemens ,.------, .....---. motet) if possible; allow distant F - D - B flat; E flat - C - A flat. modulations to occur in Nether 4. The harmonic structure. An A lands motets if they appear war would gi\'e a diminished leading-tone ranted through unnecessary print triad. in root position. Such a chord ed accidentals, certain highly emo ohviously has no place within this con tional texts, and/of avoidance of text. tritones. For these reasons. Lowinsky suggests (The entire chromatic scale had

24 THE CHORAL JOURNAL been described as early as 1412 and musica ficta," Musica Disciplina, Vol. of applicable literature dating to Janu by the authority of Italian music 23. pp. 21-39. ary. 1975 taken from such sources as J our Kottick. E. L. "Flat. Modality and mus nal articles. books. research projects un Prosdocimus de Beldemandis.) ica ficta in some early Renaissance Chan derway. published and unpublished dis (20) sons." Journal of Music Theory, Vol. 12. sertatons. published and unpublished re 4. The choice to use 1J!.lIsica ficta pp. 264-80. search. and book revies. The purpose ot should not be made at the piano Lowinsky. Edward E. "The Goddess CRVR is to eventually provide a research Fortuna in Music." Musical Quarterly, tool and communication link for research - rather in the medium intended Vol. 29. No.1. pp. 45-77. :.: ers and educators internationally who are for performance. Even extreme interested in voice. The system is resign dissonances do not sound as harsh ed so that any individual may request a A project is currently underway at when played on strings or sung listing of recent literature. research ef Southern Illinois University at Carbon forts and/or research presently underway with voices as when percussively dale. Dlinois. which < has established a for whatever interest area or purpose. played on the piano. Computerized Register of Voice Research (CRVR). CRVR consists of a computer FOOTNOTES ized bibliographic data bas dealing with 1. Margaret Bent. "Musica recta and literature and research in the area of REMEMBER TO NOTIFY US OF musica ficta." Musica Discipllna. 26 (1972). voice: singing voice and pathological YOUR CHANGE OF ADDRESS p.75. voice. The data base includes citations 2. Edward E. Lowincky. Tonality and Atonality in Sixteenth-Century Music (Berkeley: University of California Press. 1961) p. 15. 3. Scriptornm de musica medii aevi no vam seriem, ed. E. de Coussemaker (Paris. 1864-76). Vol. m. p. 18. 4. Robert Donington. The Interpreta tion of Early Music (New York: St. Mar tin's Press. 1974) p. 137. 5. Ibid., p. 137. 6. Ibid., p. 137. 7. Ibid., p. 138. 8. Lowinsky, "The Function of Conflict European Concert Tours ing Signatures in Early Polyphonic Music." Musical Quarterly, XXXI (1945). CUL TOUR - dedicated to bril/giJlg people together throllgh mllsic. p. 255. 9. Ibid.. p. 255. 10. Donington. op. cit., p. 138. r------11. Ibid., p. 138. Clip and mail to: 12. Bent. op. cit.• pp. 89. 95. cf. Cousse I maker. Scriptorum, III. pp. 171-73. CULTOUR. Inc. 13. J. F. R. Stainer. Dufay and His Con Personalized Itinerary Designing 2421 Oak Street I temporaries (Amsterdam: Frits A. M. Northbrook. Illinois 60062 I Knuf. 1963). pp. 146-47. Concert Bookings and Promotion Please forward your CULTOUR I 14. Lowinsky. "Conflicting Signatures SERVICES brochure. I ...... pp. 229-231. All Inclusive Land Arrangements Please have your US Program I 15. Ibid.. pp. 229-31. Coordinator. Molly Driscoll. call 16. Lowinsky. Secret Chromatic Art in ( Hotels, Meals, Transportation, me for a no-cost preliminary dis- I the Neth~rlands Motet. trans. by Carl cussion of our European concert I Buchman (New York: Columbia Univer City Tours, Tour Conductors, tour plans. I sity Press. 1946). p. 90. Optional Highlights) 17. The Defense of Galileo of Thomas Name: ...... I Campanella. trans .• ed. by Grant McCol ley. p. 27. Trans-Atlantic Transportation, Address: ....•...••..•.•...••••.•. I 18. Lowinsky. Secret Chromatic Art •..• p. 17. note 7. Complete Program Integration ...... I 19. Hans Tischler. "Musica ficta in the thirteenth century." Music and Letters. '-TelePho.::...:.~.:..:... .:.:.~.:_:.'.:.:.~.:..:..._1 Vol. 54. No.1. pp. 38-56. 20. David Crawford. "Musica ficta," College Music Symposium (University of In addition to our meticulous attention to concert site selection and Michigan). Vol. 10. p. 107. promotion we offer you the following opportunities to get to know the ADDITIONAL BmLIOGRAPHY people: Apel. Willi. "Partial Signatures in the homestays Sources up to 1450," in Acta Musicologica, Vol. X-XI. music exchanges with local European choirs Bray. Roger. "The Interpretation of participation in legitimate international choral competitions musica ficta in English Music 1490-1580," and festivals Royal Music Association Journal, Vol. 97. pp. 29-45. With CULTOUR you have the best of both worlds. Your US Program Elders. W. "Das Symbol in der Musik Coordinator works personally with you here, while your European Program von Josquin des Praz." Acta Musicologi ca. Vol. 41. pp. 183-5. Coordinator works personally for you there. To provide you with the Ellsworth. O. "The origin of the con information you need now the CUlTOUR offices are in daily telex com .. iuncta: a reappraisal." Journal of Music munication. Theory, Vol. 17. pp. 86-109. Hoppin. R. H. "Partial Signatures and Please call (collect) or write today for our "CUlTOUR SERVICES" Musica Ficta in Some Early 15th c. Sour brochure. ces," Journal of the American Musicolo gical Society, VI (1953), pp. 197-215. Jeannine Packel, President Hughes. A. "Some Notes on the early 15th c. contratenor," Music and Letters. 2421 Oak Street Northbrook, Illinois 60062 (312) 272-0720 Vol. 50. pp. 376-385. "Ugolino: the monochord

OCTOBER 1978 25