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Temporal Organization in the Masses of Johannes Ockeghem

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Temporal Organization in the Masses of Johannes Ockeghem Temporal Organization in the Masses of Johannes Ockeghem DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Andrew J. Farina, M.M. Graduate Program in Music The Ohio State University 2014 Dissertation Committee: David Clampitt, Advisor Graeme M. Boone Anna Gawboy Copyright by Andrew J. Farina 2014 Abstract How was mensural music temporally organized and is the composed structure indicative of individual style? This dissertation aims to begin addressing this question by exploring the temporal organization of the masses by Johannes Ockeghem. A metrical analysis of mensural music poses difficulties on account of the divergent properties of meter and mensural structures. On the one hand, meter manifests in both the notational and phenomenal dimensions. It can be seen in notational practice with bar lines and time signatures; it can also be assessed aurally based on context. Mensuration, on the other hand, is a strictly notational construct. Cadence positions, voice entrances, and other musical events may indicate a mensuration but cannot alter it in the way that meter can be perceived to have changed. Thus, interpreting mensuration as congruent to meter creates false and anachronistic biases. I submit that while mensural music fails to be organized by meter, there are organizational characteristics inherent in the music that are observable and analyzable. These structures in turn can be reflective of compositional practice. This dissertation offers an analytical model as an alternative means of assessing this temporal organization in mensural music and applies the model to Ockeghem’s masses. I demonstrate how the temporal organization is an active yet emergent attribute of music of this time period and suggest what implications this has for better understanding Ockeghem’s style. The analytical model considers how musical events ii interact with and are positioned within the mensural hierarchy. The results of the analysis may not be necessarily congruent with the governing mensural structure. Analysis begins with a temporal profile, which tallies the musical events as they occur at various mensural positions. This method is derived from a modified approach to Graeme Boone’s pulse framework. Although Boone’s original model focused on sounding pitches, this model considers all musical events, such as notes, rests, and rest groupings. These are tallied to find the total possible number of musical events in a given mensural position. Next, there is a graphical representation of the event-percentage, which is how often a musical event occurs at a given position. The temporal profiles reveal internal privileging or biasing toward certain mensural positions or organizational structures. Trends emerge toward more archetypical structures, indicating potential aspects of compositional practice. At the same time, each individual movement in Ockeghem’s masses possesses a unique temporal profile and wide variations can exist within the same mass. I contend that both the commonalities and the differences lead to a better understanding of how Ockeghem conceived of temporal organization. The result is a challenge to the idea of sameness as a marker of style. iii Acknowledgments It is with tremendous pleasure and gratitude that I thank God for the wonderful opportunities and people that have come into my life during my graduate studies. The initial sparks that set my intellect ablaze and ultimately led to this dissertation have their origins during my time at the University of Kansas, where Dr. Scott Murphy exposed me to the world of historical music theory in his seminars. I could have never known then that the names of Prosdocimus de Beldemandis, Johannes Tinctoris, Franchino Gaffurio, and John Hothby (among so many others) would become permanent fixtures in my mind. Although I did not begin a large-scale pursuit of Renaissance theory at that time, his instruction and insight has remained with me. I came to the Ohio State University with the intent and hope to stoke the burning desire to learn about music before 1600. The theory faculty encouraged my curiosity and many in the musicology department graciously accepted me as one of their own. From the very beginning, I had the privilege of sitting under Dr. Charles Atkinson for seminars and papers on Greco-Roman music, evolution of chant, liturgical music of the medieval period, and development of notation. I am grateful to him for his insight and backing. His comments and suggestions have always been held in high regard and were instrumental in shaping aspects of this dissertation. iv I wish to thank the members of my dissertation committee, to whom I feel indebted. I could not have asked for a more gracious, intelligent, and willing set of individuals with whom to work. Dr. Anna Gawboy has been a remarkable mentor during my tenure at Ohio State. She has permanently shaped my passion for theory pedagogy and guided my research by offering timely and direct advice. She coached me through my first conference paper and stretched me in the areas of professional development. It is not an exaggeration to say that I would not be where I am today as an academic without her impartation of wisdom and willingness to explore outside-the-box thinking. Dr. Graeme Boone has been a driving force behind much of my Renaissance research. The topical origins of this document were spawned from a rhythmic study I undertook as part of his Renaissance Music seminar. The project continued to evolve and expand, and his continual barrage of inquiry was wholly resonant with my curiosity. The term paper evolved into a summer project, before transforming into a possible conference paper and eventually part of this dissertation. Dr. Boone always pushed me further and has been enthusiastic about where this project would lead. His previous writings on music of the fifteenth century have informed my analytical method and process the most. I owe unending thanks to my advisor, Dr. David Clampitt. He has encouraged me to grow as a theorist and scholar in ways that are immeasurable. Without his help, I would not have my current breadth of knowledge and understanding. The foundation he has laid will be a blessing and benefit for years to come. He openly encouraged me to continue working with medieval and Renaissance music while still providing me with the knowledge and tools of twentieth-century theory. He has willingly labored through my v research, dedicating his time and energy to the process. Although Dr. Boone’s research forms the launching point of my own work, Dr. Clampitt’s fingerprints are everywhere. Beyond research, I am grateful for his guidance with regards to coursework, networking, and conference papers. He has been a tremendous support to all I have done academically and a passionate advocate on my behalf. I should like to thank others at Ohio State for their support and friendship throughout my time here. Dr. Gregory Proctor has been an incredible support behind-the- scenes, encouraging me to go “where no theorist dares to go.” I cherish the times we spent in the hallways or his office simply bantering about music and life. Dr. Ann Stimson has been a great support to me in my growth as an aural skills pedagogue. The staff members of the Music and Dance Library are the unseen gems of this university. I am grateful to Dr. Alan Green (Library Head), Ms. Gretchen Atkinson, Mr. Sean Ferguson, Dr. Michael Murray, Mr. Jarod Ogier, and Mr. Nick Wilkinson for all they do that all too often goes overlooked. I wish to especially thank Mr. Ferguson, who has really been my point-person for everything research related in the library. He has been instrumental in tracking down manuscripts, facsimiles, scores, microfilms, and other research materials that have proven elusive. Mrs. Rebecca Chappell deserves praise for her assistance on the administrative side of the degree program and tolerating my obsessiveness about making sure all the paperwork is correct. There are so many others that I wish to thank for their love, kindness, and friendship over the years. Katherine Maskell has been a sounding board both personally and scholarly. More importantly, she is a true friend. Every music theorist should be so blessed to have a musicologist as this in their life. Given what we have done together vi already, I am excited to see where our collaboration takes us in the future. I thank Mr. R. Scott Osborne for his friendship. I cherish our bi-weekly meals together and his understanding of matters academic and personal. My friends outside of academia have contributed to this work in more ways than could ever be expressed. The people of Bethel Christian Church in Michigan and Christian Assembly in Columbus have offered their unending love and prayer. So many of these people have given selflessly and graciously to help me through the past four years. Specifically, I should like to thank Mike Bellish, Daniel and Danielle Hodgson, Christina Martoni, and Mel and Judy Rutkoske for taking time out of their lives to travel from Detroit to spend time with me. The Climer, Lee, Lenn, Mattson, and Scribner families are forever part of my family. My aunt, Paulette Farina, has been an unwavering support in my endeavors at Ohio State. She opened her spare bedroom and kitchen to me for four years, demanding nothing in return. Her immeasurable kindness has allowed me to live in Ohio and focus on the educational process. I thank my brother, Stephen, and my grandfather for their love and support without condition or prerequisite. Lastly, but most particularly, I thank God for my parents, William and Roberta. Their undying belief that I could be anyone and accomplish anything has set my life on this incredible path.
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