A comparison of the sixteenth and twentieth century styles in Roman Catholic music
Item Type text; Thesis-Reproduction (electronic)
Authors Capps, Ferald B.
Publisher The University of Arizona.
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Link to Item http://hdl.handle.net/10150/553548 A COMPARISON OF THE SIXTEENTH
AND TWENTIETH CENTURY STYLES
IN ROMAN CATHOLIC MUSIC
; - . . . by ....._ . PeraId B. Capps . ,
A Thesis
submitted to the faculty of the
Department of Voice
in partial fulfillment of
the requiremonts for the degree of ,
r-.™ Master of Music , _
in the Qrtolwte 'College ]___
University of Arisons ...
1941
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9t$> i i m ; »ttiaq nJ &imt:' iO #a*fie& sJaabaia edit sut mctpMt'Xf: te flfcteievlaS m x eisvoaqqA 92 oeiln : • <^9V9/ /9"k/ , ,2- TABLE OP CONTENTS Chapter Page ACKNOWLEDGEMENT ...... 1 INTRODUCTION ...... 11 I. THE MASSES AND THEIRAUTHORS ...... 1 Giovanni Pierluigi - Palestrina ..... 3 Pietro A. Y o n ...... 10 II. THE MASS ...... 14 The Form of Yon’s and Palestrina ’a Masses ...... 25 III. A TECHNICAL COMPARISON OP A SIXTEENTH CENTURY MASS WITH A TWENTIETH CENTURY M A S S ...... 29 Chord Progressions ...... 29 Cadences...... 35 Chord Types ...... 47 Passing Notes ...... 50 Suspensions ...... 55 Chord Notes In Comparison with Passing Notes ...... 61 The Use of Voices ...... 65 Melodic Intervals ...... 69 Rhythms U s e d ...... 73 Modulations ...... 77 IV. CONCLUSIONS...... 82 BIBLIOGRAPHY 90 v i 4 1 0 1 0 ACKNOWLEDGEMENT The author wishes to express his sincere gratitude and appreciation to Slater Aloysla, of St. Mary1s Hospital, Tucson, Arizona, and Sister Eulalia, of St. Joseph's Academy, Tucson, Arizona, for their help and advice in locating music typical of the two centuries which would be suitable for this analysis; to Reverend Robert Brennan, director of music in the Catholic Church at Los Angeles, California, for the final recommendation of two Masses which would be acceptable music in the Catholic Church and at the same time representative of the two ■' ■■■ - ■ - . • : ' ' : centuries; and to professors John L. Lows11 and Rollin Pease for their time and pertinent criticisms so freely given during the course of this analysis. 1 INTRODUCTION The sixteenth century is generally recognized, as one of the greatest periods in music. For five hundred years preceding the sixteenth century, the art of polyphony had been growing and putting forth new forms until they over spread all Western Christendom. During the years 1550 - 1600, a small group of composers centered in Rome brought this growth to a climax in the form of contrapuntal com positions that are still unrivaled in the twentieth century. Of this group of composers, one in particular stands out as a master of contrapuntal technique — Paleatrina. His compositions reveal unity, strength, tenderness, expressiveness, and, above all, contrapuntal writing for the voice that has not since been equaled. A sampling of Roman Catholic Music in the twentieth century reveals that there is little, if any, music that is consistently written in the style of the sixteenth century. It is true, however, that characteristics of this period are to be found because this was one of the great periods in music and the basis of all contrapuntal technique was laid during this time. The sixteenth century insisted on order, strict con formity to rule, directness, and naturalness. Since 11 many changes have occurred during the past 300 years — the establishment of two definite modes, the flowering of romanticism, the increased use of harmonies and modulation including a freer use of them, and the wider freedom per mitted in general theoretical construction — it is practically impossible to find music today that is con sistent with the sixteenth century style. Because vocal compositions of the twentieth century do not appear to follow the great polyphonic style of the sixteenth century, the author wished to make a teehhldsl comparison of a sixteenth century Maas with a twentieth century Mass to determine how much of the sixteenth century style remains in the twentieth century style and what differences there are between the styles of the two centuries. ' - " ' ' ill CHAPTER I THE HASSES AHD THEIR AUTHORS To make this analysis, it was necessary to find two Masses that would be moat representative of the sixteenth century Roman style and the twentieth century style. Father Robert Brennan, the direnter of music and Arch Diason of the Catholic Chureh at &os Angeles, California, very generously recommended two Masses that wore acceptable music in the Catholic Church and also quite representative of the two centuries. Upon his recommendation, the writer has chosen as a work characteristic of the sixteenth century style the "Mlssa sine nomine0 by Palestrina. The title nMissa sine nomine" was undoubtedly chosen to con ceal the secular sources of the melodic theme upon which the Hass was constructed as the main theme of the Mass la taken from the French folk-song nJe aula disheritie.n The Mass embodies the finest Palesfcrinian characteristics — unity, strength, tenderness, and expressiveness. As a Hass representative of the twentieth century, the "Kiasa Solemnis” by Pietro Yon was chosen. The analysis will attempt to bring out the differences between the sixteenth century style of writing and that of 2 the twentieth century style. It is difficult to draw any definite and set conclusions from the analyzation of just two works, but since the Palestrinian work eenfcsins many of the characteristics of the sixteenth century Roman style and Yon is recognised as one of the better composers in the twentieth century, these two Masses are quite characteristic of the two styles. Roman School A small but select group of composers centered their aetlritiea in Rome. Some of them belonged strictly to a Roman school; others came from distant points in Europe to remain in Rome for long periods. The Roman school was truly a cosmopolitan one, but it was in a city which the Church and Churchmen dominated. Of this group of composers, tire, Ghristobal Morales and Tomas Luis de Vittoria, came from Spain. They con tributed much to the Roman school because they were able to maintain a vigorous polyphonic style, tinged with the color of their own nationality, against the onslaught of secularism. Vittoria emphatically refused to write secular mueie. The racial qualities which made Spain more con genial than Venice for an artist like El Greco are clearly dlseemable in the music of Vittoria*s ”Ave Maria.* The contrapuntal ohorua music of the Middle Age reached 3 its maturity in the middle of the sixteenth century. For five hundred years this art had been slowly, but constantly growing, putting forth new forms until they overspread all Western Christendom. It now remained for a school of great composers to erystalize in a body of great music the full achievement of this long revolutionary process. Thlm func tion was fulfilled by the Roman school between 1550 - 1600, and particularly by Palestrina. • ' ' ' ' ■. ■ i-> ■ v . -' . V . \ . - ' ' ' Giovanni Pierluigi - Palestrina It was given to this one man, Giovanni Pierluigi, called Palestrina f r m the place of his birth, to put the finishing touches upon this wonder of mediaeval genius, and to impart to it tonal beauty, majesty, and elevated devotional expression. Palestrina was b o m probably in 1524 or 25 and died in 1594. Be spent almost all of his art-life as director of music at Rome in the service of the people. Ageless Quality Palestrina1s rauaio has that ageless quality which is one of the hall-marks of great art, but externally it belongs unmistakably to its own day, to what is rather loosely termed the ^polyphonic school.1 The fundamental principle upon which the musical style of Palestrina is ■ ■ - . ■ ■■ ■ ■ : - ' • ' : , ■ ■ based is the decorative one, and it Is to be found in 4 plain chant Itself.1 Debussy, who made an Intensive study of sixteenth century music, puts1 the matter admirably. Speaking of /that musical arabesque or rather principle.. of' ornament2 3 which is the baa la of all forms of art,1 he gee# on to say: "The primitives, Palestrina, Orlando de . Lassus and others, made use of this divine arabesque: they discovered the principle In the Gregorian chant; and they strengthened these delicate traceries by strong counter point. It is not the character of the melody which moves us but rather the tracing of a • particular line, often indeed of several lines whose meeting, whether by chance or design, makes the appeal...... v ...... Flexible Decoration Within this essentially formal and decorative scheme Palestrina wrote music which shows a wonderful flexibility and freedom in its melodic linos - diverging, converging, crossing, running parallel, imitetlng, echoing, at times elaborate, at other time's simple, even almost coming to rest in homophonlc passages idiose broad effects seem to foreshadow the latter method of using ’vertical1 effecta of harmony. Sometimes the decoration sweeps into big, expanding outlines that give the music a quality of grandeur on the largest scale, Although he waa as in- 1. ' Gdatea, Henry, Palestrina. 2. This word, as Deoussy explains, is, of course, not used in the same sense as when employed in text-books on musical Btotation. 3. Coates, Henry, op. clt. 6 genlous a oontrapuntalist as any of M s contemporaries, Palestrina always subordinated the use of scholastic de vices such as canon or fugue to the considerations of beauty of musical effect. He was also continually striving toward a greater clarity of style, eliminating redundancies and en deavouring to achieve his effects by comparatively simple means. ' ' .= - " - - All Voioee Important To appreciate the salient technical oharaeterlatle* of Palestrina *s style it is necessary to dismiss from the mind any idea of a fixed bass supporting definite harmonies and of a melodic Idea, predominating from time to time. In the combination of vboal lines which his music represents, all » are more or less of equal importance in the tonal Issue. Palestrina is said to have remarked that he did not mind which voice sang a certain lino in some of his works.4 " This is doubtless true In some instances, where perhaps the soprano and tenor, or the second soprano and second tenor, might exchange parts without Impairing the general effect of : . , ; the mimic. ' ' - ... Harmonic .Tinting ; These vocal lines are woven within the simplest 4. Coatesr Henry. op. clt. - . ... T'w. . 6 harmonic system, practically the triad and its first in version; variety is achieved by the use of passing notes, giving to the music a delicato harmonic tinting by means of the dleaemnaes which result from their use. Yet with these simple means Palestrina has not only achieved a sur prising variety of effect, but also produced much music of exquisite charm and beauty. Such passages as this, from the *Credo* of the ”Missa sine nomlno" in four voices (published by J. Fischer & fro., New York, and edited by Rev. J. H. Roetagno): Per-•trewt o -mlii - *ten'-jem. _— ■ .... 1.r J*... U)K -p-f=ri P«? -trem o- Wit — !. ;..k y C-%—- kc4e- Pa - 1rewi o - Tm#% - po ^ Vv UJ J— U- J. ___ a L- A * - 7 7 -f— / ------1 — and this, from the beautiful 'Hissa prlmi toni:* „ >n ter - ra W X ho - mi - nv - Wa,. j_£L —J- g K ^ ^ r f r t -f— ter - ra ho - Ynt - n\ - l£s, bo Ht m ter -V5 p*X A J . 1 are typical examples among innumerable others to be found throughout the masses and motets, where the simplicity and purity of the harmonies, combined with the delicate tonal flavouring resulting from the passing notes, and the plain ohant style of the melodic outlines, produce that mystic, remote feeling so completely appropriate to liturgical music. . : Modal Scales . Palestrina *s music is written upon the old ecclesiasti cal modal scales6 used in his day, and in common with tbs custom of the period it docs not employ bar-lines. It is unhampered by the rigid metre imposed by their use and has something: of the free accents and the subtle rhythmic flow of plain chant. The elasticity, resulting from this ability to alter at will the rhythmic tension by compression or elongation* is a freedom which Palestrina freely employs. It gives to the music a wonderful richness of texture as well as vitality and variety. We may distinguish two methods® in its use - the first where the theme or phrase is immediately repeated in altered form by the same part, the second shore it passes with new rhythm to another part, 6. It may be remarked, however, that a distinct tendency toward the modern diatonic scale is to be observed in much of Palestrina’s music. . 6. Coates, Henry, op. clt. 8 the two variations sometimes overlapping. The employment of the former method Is often particularly subtle and in genious, • - ■■■■■■ ' - : • Choral Scoring In all him works Palestrina displays a complete mastery and knowledge of the effects obtainable in vocal tone- colour, and the subtlety and variety he achieves is re markable . One might describe it as choral scoring. He knew, for example, how to produce a piece in brilliant colours for festival use or how to give sober hues to music written around words expressive of sorrow or suffering. Such effects, and many others, were obtained by the grouping together of various voices, by combination, by contrast and by the uae of the different registers; the method is perhaps beat observed in works written for five or six parts, and also those written for eight parts, where the effect is often that of two choirs, each of four parts, used antiphohally. . Most Effective in Religion Palestrina was interested only in exploiting the whole art, as he found it, in the service of religion. Choral poly^iony, as it was applied to the secular madrigals, produced problems the solution of which was not in the power of the sixteenth century. Beautiful and lasting as much of the madrigal music certainly was, the whole problem of secular music was too new. Sixteenth century choral polyphony was, on the other hand, the solution of all the problems with which church musicians had struggled for five hundred years, and, as such, was the final perfection of mueioal method and expressive means as could be applied to religious music. Palestrina was the outstanding representative of the Homan school and without doubt the greatest composer of the sixteenth century. With the exception of four compara tively unimportant books of madrigals, Palestrina^ works are all confined to the ordinary form of religious music, the Mass, motet, and hymn. In the great complete edition published in the nineteenth oentury there are more than ninety Masses - 39 in four parts, 28 in five parts, 22 in six parts, and 4 in eight parts. There are also over five hundred motets. The Twentieth Oentury Definite conclusions cannot, as yet, be safely made In regard to the value of the twentieth oentury style. This is due partly to the fact that it is in the process of evolution, and partly because the style will have to crystallize through usage and history in order for its finer characteristics to be analyzed and studied. The 10 sixteenth century style has been studied, microscopically analysed for Its peculiar characteristics, and composers through the following centuries have been able to profit from the fruits that the sixteenth century produced; When the twentieth century style has had time to crystallise with the passing years, it will remain to bo seen through the analysis and study made of it by future composers whether or not it has brought any outstanding contributions to music such as the sixteenth century produced. We know that many changes have taken place between the sixteenth and twentieth centuries, but only history will tell if the twentieth century has been as fruitful toward the production of better music as was the sixteenth century. Because only time will tell what effect the twentieth century will have on the composition of music, a short biographical sketch of Pietro Yon will be given up to the present time. Pietro Aliassandro Yon Pietro Yon was born in Piedmont, Italy, on August 8, 1886. As a child, he studied with Burbettl, the cathedral- organist at Ivrea.x Later he studied at the conservatory of Milan as a pupil of Pumagalll and in 1901 he won a scholarship for pianists to the conservatory of Turin. He stayed three years at Turin and while there, he studied piano with Venasia, organ with Remondl, and composition with Bolsonl. In 1904, he entered the Academy of St. 11 Cecilia where he studied organ with Rensl, piano with Sgambatl, enfl composition with do Sanctis. After he left the Academy, where he graduated with the highest honors in piano, organ, and composition, he served as substitute - organist for two years at the Vatican and the Royal Church in Rome. It was here that Yon, at the age of 18, made his debut as an organist. In 1907, he came from Rome to America to accept the position of organist and.choirmaster of the Church of St. Francis Xavier in Hew York. He kept the position at St. Francis Xavier until 1926 when he was called to St. Patricks Cathedral as organist and choir Yon ham had several honors bestowed upon him. In 1921, he was made Honorary Organist of S. S. Basilica of St. Peter, Vatican, creating thereby a new title. He was knighted by the King of Italy and holds the rank of Officer of the Crown of Italy. In August, 1958, he received the title of Knight of St. Sylvester from the Vatican. In the eooleeiastloal sphere. Yon has also won fame through hi* incomparable performances as a concert organist. For example, the 1934 and 1935 spring performances by the Hew York Philharmonic-Symphony under Toscanini, featuring All- Bach programs and Beethoven*s nMiasa Solemnis," found Yon presiding at the organ. As a teacher. Yon figures prominently in America and 12 .Europe* .. Hla organ master-courses have proved popular among professionals as well as beginners. In the field of composition. Yon is a-stylist. His works are not formal In that they follow a distinct school. An individualistic characteristic is shown in the sense that they follow an original scheme — one that embraces elements of all the schools. Each v/ork crystallizes an idea or embodies a plan which is vividly characteristic of the composer. His religious works reflect deep spiritu ality; the elasale compositions, aesthetic instinct; the light compositions, humor and gaiety; romantic compositions, emotional sensibility; and sizeable compositions, a bread conception of life's greatness end of majesty of eosmieal creation. Yon's oratorio "The Triumph of St. Patrick” performed at Carnegie Hall in 1934, is a composition with a transcendent loveliness and reveals the composer's gift of putting an individualistic conception in the work. Yon is supreme in his interpretation of Bach. His sense of line and continuity, hla feeling for balance and proportion act as over-seers in bringing everything into an inspired perspective. Wherever Yon plays, he breathes new life into organs. His slim graceful hands are entirely at home on the manuals of the organ and the dexterity with which ho manipulates the pedals is truly a revelation as to the genius of this man. He has at hla command a 13 tremendous repertoire# and can malm this sublime instrument perform all sorts of things that one could hardly imagine. Yon, in his playing and composing, is no Imitator of formal ingenuity. Bis versatility displays the constructive skill of a complete master, while through all his work runs the never-falling current of an exalted personal influence that flows only from the individuality of a real genius. CHAPTER II THE MASS The Mass is the most solemn rite among the offices of the Catholic Church. It is an elaborate development which depicts the last supper of Christ wltii Bis dleetples, and all the elements of the rite, such as lessons, prayers, responses, and hymns are merged into a unity to impress upon the people its meaning. Architecture, sculpture, decorative beauty of altar and chancel, these form a worthy setting for the ceremony. The display of lights and incense; the solemnity of the priestly chant, and the pomp of choral music greatly enhance the impression of the rite and stimulate a mood of adoration. Set Forms The Catholic liturgy, or text of the Mass, is not the work of any individual or conference. It is a growth, an evolution. "The Mass is the unbloody sacrifice of the Body and Blood of Christ."2' Set forms of prayer began to come into use as soon as the first Christian congre gations were founded by the apostles. Certain prayers, 1. Sullivan, Kev. John P'., The Visible Church. IS Scripture lessons, hymns, and responses were woven to gether# until the whole became shaped into what may be called a religious poem which blossomed into an elaborate portrayal of the last supper of Christ with His disciples, and is the fulfillment of the perpetual injunction laid down by the Master upon his followers. This great prayer of the Catholic Church is mainly composed of contributions made by the Eastern Church during the first four centuries. Its essential features were adopted and transferred to Latin by the Church of Rome, and after some shifting and rearranging, with some additions, its form was completed by the end of the sixth century essentially as it stands today. The liturgy is, therefore, the voice of the Church, steeped in tradition# resounding with the commanding tone of her apostolic authority, eloquent with the longing and assurance of innumerable martyrs and confessors, the mystic testimony to the commission which the Church believes to have been laid upon her by the Holy Spirit. Devout Catho lics have come to consider this liturgy as divinely in spired, raised above more human speech, the language of saints and angels, a truly celestial utterance. One Universal Language The insistence upon the use of one unvarying language in the Mass, and all other offices of the Catholic Church, is necessary because a universal Church must have a 16 universal form of speech* National languages imply . national churches; the adaption of a vernacular would be the first step towards disintegration. The Catholic, Into whatever strange land he may wander, is everywhere at home the moment ho enters a sanctuary of his faith, for he hears the same worship, in the same tongue, accompanied with the same ceremonies, that has been familiar to him from childhood. This universal language must inevitably bo the Latin because, unlike all living languages, it is never subject to change, and hence there is no danger of any misunderstanding of refined points of doctrine, or ©hangs of words. Latin is the original language of the Catholic Church, the language of scholar ship and diplomacy in the period of ecclesiastical for mation, the tongue to which were committed the rituals, articles of faith, legal enactments, the writings of the fathers of the Church, and ancient conciliar degrees and laws • "Ex opere operate" The Mass Is the prayer of the Church at large, but it does not emanate from the congregation. The Mass is not simply a prayer, but also a semi-dramatio action - an action which possesses in itself an efficacy "ex opere operate," and therefore it is unnecessary that the worshipers should follow the office in detail. There are 17 several kinds of Masses, differing in oertein details, which they are appropriated, such as,High Mass, Solemn High Mass* Low Mass, Requie* Mass.or Mass for the Dead, Mass of the Presanctified, etc. The widest departure from the ordinary Mass form will be found in:the Requiem Mass. Low Mass is said in a low voice emd in a manner of ordinary speech; there is no chanting or no choir musle* The entire office is chanted or sung in High Mass and Solemn High Mass. Special Forms of the Mass Some musical compositions commonly called a Mass are; the Imperial Mass of Haydn, the Mass in C by Beethoven, the St. Geoelia Mass by Gounod. These are used as a musical setting of those portions of the office of the Mass that are invariable and that are sung by a choir. These portions are the Kyrie, Gloria, Credo, Sanotua, Bensdiotus, ;and Agnus Del. In the midst of the series of prayers following the consecration the choir sings the Agnus Del, a short hymn which was introduced into the : Homan liturgy at a very early date. Dhmetrloel Hymns Some of the best known unmetrioal hymns that appeared . : . ' •. . v , .. ■ :: ■■■ ■r:: . - ' - ' ; . . - . ' . before the age of the Greek Christian poets, still hold 18 an eminent place in the liturgies of the Catholic and Protestant Churches, as well as of the Eastern Church. The best known of these are the two Glorias - the Gloria Patri and the Gloria In excelsis; the Ter Sanotus or Gherttblc hymn, heard by Isaiah in vision; and the Te Doum. The Kyrie eleison appears as a response by the people in the liturgies of St. Mark and St. James. It was adapted into the Roman liturgy at a very early date; the addition of the Chrlste eleison is said to have been made by Gregory the Great. The Chant The music of the Catholic Church as it exists today la a result of a long process of evolution and development. Although this evolution has been continuous, it has three times culminated in special forms. Those epochs are (1) those of the unison chant, (8) of unaccompanied chorus music, and (3) of mixed solo and chorus with the instru- P mental accompaniment, (1) The period In which the unison chant was the form of church music extends from the founding of the congre gation of Rome to about the year 1100, and coincides with the centuries of missionary labor among the Northern and Western nations, when the Roman liturgy was triumphantly 5. Olcklnaon. Music in the History of theWestern Church 19 asserting Its authority over the various local uaea. (2) The period of unaccompanied contrapuntal chorus, based on the mediaeval modal systems, covers the era of theEuropean sovereignty of the Catholic Church, in cluding also the period of the Counter-Reformation of the sixteenth century. This phase of art, culminating in the works of Palestrina in Rome, Orlandus Lassus in Munich, and the Gabrielia in Venice, suffered no decline, and gave way at last to a stylo in sharp contrast with it only when It had gained an impregnable Meteric position. - (3) The style now dominant in the choir music of the Catholic Church^ viz., mixed solo and chorus music with instrumental accompaniment, based on the modern transposing scales, arose in the seventeenth century as an outcome of the Renaissance secularization of art. It was taken up by the Catholic, Lutheran, and Anglican Churches, and was moulded into its present forms under the influence of new demands upon musical expression which had already brought forth the dramatic and concert styles. The Qnison Chant The unison chant, although confined in the vast majority of congregations to that part of the liturgy sung by the priest, is still the one officially recognized form of liturglo music. The chant melodies are no mere musical aecompanireant; they are the - vary life-breath of the words. There Is no question that the chant melodies as,they exist today are only slight modifications of those that were originally associated with the several portions of the liturgy. The Catholic lltxirgic chant is not, like most other church music, the artistic creation of individuals, enriching the servico "with contributions from without, end imparting to them a quality drawn from the composer*s personal feeling and artistic methods. It is rather a sort of religious folk-song, proceeding from the inner shrine of religion. It is abstract, impersonal; its style is strictly'ecclesiastical, both in its inherent solemnity and its ancient association, and it bears, like the ritual Itself, the sanction of unimpeachable authority. Its period extends from the founding of the congregation at Rome until about the year 1100 A. D. Chant Compared with True Melody Chant differs from true melody in the relationship of text and tone. True melody obeys musical laws of structure and rhythm; the music is paramount and the text accessory, and in order that the musical flow may not be hampered, the words are often extended or repeated, and may be compared to a flexible framework on which the tonal decoration is displayed. In the chant this relation of text and tone is reversed; there is no repetition of words the laws of structure and rhythm are rhetorical laws, and the music never asserts itself to the concealment or subjugation of the meaning of the text* Training the Chanter The ritual chant has Its special laws of execution which involve long study on tho part of one who wishes to master It. Large attention is given in the best seminaries to the purest manner of delivering the triiant, and many treatises have been written upon the subject. The first consideration is an accurate pronunciation of the Latin, and a facile and distinct articulation. The notes have no fixed and measured value, and are not intended to give the diration of the tones, but only to guide the modulation of the voice. The length of each tone is determined by the proper length of the syllable. In this principle lies the very essence of the Gregorian chant, and it is the point at which it stands in direct contradiction to the theory of modern measured music. The divisions of the chant are given by the text, and the rhythm, therefore, is that of speech. The fundamental rule for chanting is: "Sing the words with notes as you would speak them without notes. "3 3. wiokenaon, op. clt. 22 Improvised Embellishments To suppose that the chant in this period was sung exactly as it appears in the office books of today would be to ignore a very characteristic and universal usage in the Middle Age. Ho privilege was more freely accorded the mediaeval chanter than that of adding whatever em bellishment to the melody that he might choose to invent on the impulse of a moment. The requirement of singing the notes exactly as they are written is a modern idea; no such rule was recognized as invariably binding until well into the nineteenth century. In the Middle'Age the singers of the Church took great pride in their ability to be able to sprinkle the plain notes of the chant with improvised embellishments. "Moreover, there existed in the liturgio text a certain number of words upon which the singers had the liberty of dilating according to their fancy. According to an ancient Christian tradition, certain chants were followed by a number of notes sung upon meaningless vowels; these notes, called neumes or Jubili, rendered, in accordance with a poetic.thought, the faith and adoration of the worshipers who appeared to be unable to find words that could express their sentiments. These vocalizations or embroideries were sometimes longer than the chants themselves, and many authors complained of the importance given to these vocal fantasies."5 6. LemsIre. Le Chant, aes princlpea et son histoire. 8* Secular Flourtrties Many of these flourishes survived and were carried over Into secular music after the method of chanting became Simpler and more severe♦ They appeared In the highly de veloped and specialised chorus singing of the sixteenth century, but the embellishments which gave this art a stylo and effect all Its own, and which were reduced to a system and handed down by tradition, have now fallen from the knowledge of men, > . Tha Form of the lass During the sixteenth century, choral music followed the following designs; ' Sacred Music ' " ' • ' a) The Mass v b) The Motet Secular Music ' t a) The Madrigal - ^ : Since the Maas is the form which will be used In this comparison* only its form will be studied. The Mass con sists of six main divisions: IV The Kyrie. 2) The Gloria. 3) The Credo. 4) The Sanctum. 5) The Benedictus. 6) The Agnus Dei. The texts, except for certain eervices Which have remained In the older arrangement, are always the same and are designed, as a rule, to give some sense of continuity. One mode, as a rule, prevails throughout the Mass. For special occasions, as in the Mass for the Dead, the text 24 end eons truest ion both differ from the ordinary Maos, some times the theme for a Mass Is taken from a madrigal, chan son, or motet — Palestrina's "Missa sine nominert used as a basis for comparison in this thesis is an example of . this. The fifteenth century- Mass is generally treated as a oantus firms composition; that la, it Is a secular or sacred melody which is placed In the tenor and only rarely exercises any Influence on the remaining voices. As imitation gradually came to the front in the technique of composition, the oantus firmus Mass receded and from the second quarter of the sixteenth century, the imitative treatment of the Mass predominates. Ganti firm!, of course, are often used in this period, but no basic melody appears exclusively in one voice. Portions of it, however, : " ' : ' . ' •- ' ' . .. ' appear in all voices. The "transcription Mass" is especial ly oharaoterlatic of the sixteenth century Mass; trans cription Misses are composed of other smaller polyphonic omapositions (motets, madrigals, chansons, or songs) in such a manner that they paraphrase or transcribe them. The transcription Mass, therefore, which might under certain circumstances be termed a motet, chanson, swdrlgal, or Lied Mass, was sometimes based upon an earlier work of the composer. Also, the composer often ehose the com position of another composer as a basis for the musical m construction of the Mass. Today, such.practices might . seen improper and Irregular since musical rights strictly guard against such practices. In the sixteenth century it was entirely proper and legitimate. Palestrina himself used for. his Masses the motets and madrigals.of other com posers. The "Kissa sine nomine" used in this comparison can be put in the category of n transcription Maas: since the main theme of;the Mass is taken from the folk-song "Jo suls disheriteo." . / ;t i ' The Form of Yon*s and Palestrina^ Masses A brief examination of the two Masses under comparison reveals their forma to be very similar. The Eyrie section " _ ' . * ., ■ .. ' ' ' ' - ■ ' '■ " - ■ '• ■" . : - ' "• ' of the two classes have the same form — three main peris* The main difference lies in the fact that Palestrina treats the opening theme of the Kyrie, which is the principal C, T , .. r"- '' y i 2 - * theme throughout the Mass, in an imitative and polyphonic manner while Yon*3 treatment of the theme in his Mass is more chordal and he uses the solo passage combined with the chorus. The Gloria section also follows similar lines as to form in the two Masses. The sections are treated in a more chordal nature because of their length. Yon’s Mass Is particularly chordal in the diorua parts and this is freely interspaced with solo passages. Palestrina uses both polyphonic and chordal passages in his Gloria section. 26 The section# of both Masses are divided Into two main parts of about equal length. The Credo sections of both Masses are divided Into two main parts. The treatment of the first part Is quite different in the two Masses In that Yon starts the section with solo passages and three part male singing while Palestrina opens the section with a full chorus and continues well Into the first part before he uses any solo passages In the form of a quartet. In the last part. Yon interspaces with full chorus and solo passages but Palestrina uses the full chorus in the last part to the end of the section. The main themes of the Masses appear throughout the seetleas In the original forms and In variations just as they have, and will con tinue to appear, in every section of the Masses. The '* Sanotus of both Masses is a one part section; Palestrina begins the section with the original theme and continues it to the end of the section in a more contrapuntal end imitative nature than in the Gloria or Credo sections. This is possible because of its shorter length than that of the preceding section. Yon opens the Sanotus with a little melodic phrase from the preceding section (Credo) in the sopranos and altos with an answer in the basses and tenors* This statement and answer is used to open the ssotlon, then a solo passage appears followed by the state ment and answer idea again. The section then closes with full chorus in unison. In the Benedictua, Palestrina uses two main parts while Yon uses only one. Palestrina begins with the main theme of the Mass being stated in the soprano. It is than stated in the alto, and, lastly in the tenor. The first part continues with these three voices in imita tive stylo to the end of the part. The second part uses all four voices with fchs main theme still the predominating factor. Yon puts the whole section into one main part with the chorus singing throughout. The chorus opens with a pianissimo statement of the main theme of the Mass. From a pianissimo beginning, the chorus builds to a climax and reaches the end of the section singing a forte in unison on the fifth of the tonic. The Agnus Del sections of the two Masses are quite different in character. Yon divides the section into two main parts. He begins the first part with a solo stating the main theme of the Mass followed by the chorus. This part is then repeated. In the second part, he uses the full chorus stating the main theme and then gradually reaches the end of the section in a double pianissimo. Palestrina, on the other hand, has added two Agnus Del sections to hie Maas, each being in one main part. The Agnus Del I returns to the more contrapuntal character using the main theme as a basis for this treat ment. The section ends with the chorus reaching a climax in full voice. The Agnus Del II is written for five voices 28 and is of the same character as the Agnus Del I. The main difference is the canon and resolutio carried on between the first and second basses during the entire section. Where the Agnus Dei II cannot be'rendered, the Agnus Del I Is to be repeated. In reality, therefore, the Agnus Del ■■■. ■ • - .. ■- - • . .. of-the Palestrina Hass could"be considered as a two part section, but on,a much more elaborate and contrapuntal basis than the Yon Maas. _ t _ :• ' - >-v.r. ■ CHAPTER -III A TECHNICAL COMPARISON OF A SIXTEENTH CENTURY MASS WITH A TWENTIETH CENTURY MASS Chord Progressions The chord progressions of the Masses representing the sixteenth and twentieth centuries do not vary to any great extent. Palestrina, who is representative of the sixteenth century, shows a slight preference for root movements of thirds and seoends over that of fifths. The ratio for the chord progressions in his Mass is 5 to 4 in favor of thirds and seeonds. On the other hand. Yon, who is representa tive of the twentieth century, equally divides the chord, progressions of his Mass. The ratio for his Mass is 4 to 4 — an equal distribution of thirds and seconds against fifths. The total chord progressions in both Masses show that the composers had the same preference as to root movement in the progressions. Both composers used more fifths down than up, more thirds down than up, and more seconds up than dean* However, there are some differences in the different movements of the Masses. In the Gloria movement of his Mass, Palestrina uses seconds up almost twice as frequently as seconds down while he holds the use of fifths about equal. In the same movement so of hie Mass, Ton reverses this procedure. He uses fifths down almost twice as frequently as fifths up while he holds the use of seconds about equal. Both composers use thirds up and down in an equal proportion. There may be similar variations in the other movenepts, but the total progressions reveal that both composers tend to use like progressions. 1 J.;S. Bach* (1685 - 1750) shows a preference for fifths over thirds and seconds by about a 3 to 2 ratio. In his chorals(No. 1 - 6) he uses fifths almost 2 to 1 over thirds a M seconds. Karl H. Ghraun** (1701 - 1759) in No. 4 and Ho. 11 from his •Passion1 also shows a preference for fifths over thirds and seconds by a ratio of 3 to 2. » - Bach was ohurohorganist and choir director at an early age. In 1708, he went to Weimar as organist and while there he composed a number of compositions for the organ. He went to Cothen in 1717 where ho composed much chamber music. The year 1723 took him to Leipzig where he wrote mostly for the church. During this period he wrote many cantatas, a number of Passions, Oratorios, motets, and Masses. Bach ; is most famed as an organ player ami composer for the organ. " ...... ' ' ...... " ' . ** - Qraun was educated in Eresden. He started "composition .at an early age as he composed while he was still Studying. He wrote his first opera in 1726 which Mias shortly followed by fivo others. In 1735, he Was invited to Rheinsberg, the residence of Crown- , Prince Of Prussia, afterwards Frederick the Great. Frederick the Great continued Ground friend and patron till his death. During this p er1M Qraun composed about fifty Italian cantatas, and some Instrumental works. Toward the close of his life, Qraun devoted himself to church music. Two works belonging to this period and that have come down to posterity are the Te Deum and *Der Tod Jean* a •Passlons-Cantata1 to words by Ramior. 51 Chord Progressions (Palestrina) Kyrie: 5th A 5thV 3rd A 3rdV 2nd A 2ndY Sth A*—— 19 5th V — — ----- 20 A ------'—-----— ---- 5 3rd V — -a.---— -— — - 4 m d A ------— ----- — — -----— — ------12 2ndV — — ------— — ----- — IS Slorlm ■ -* - '*■■■...... • ■ " : 5 th A ------41 6th V — — ------44 3rd A ------14 S r d V ------23 2nd A — ------40 2nd V ------26 Credo: 6th A ------61 6 th V ------80 3rd A ------Z5 3rd V ------32 2nd A ------72 2nd V — ------71 Sanotua: 6 th A ------20 5th V ------22 3rd A ------6 S r d V ------7 2nd A ------12 2nd V ------12 Benedietus: 5 th A ------15 6th V ------16 3rd A ------16 3rd V ------13 2nd A ------8 2nd V ------17 32 Chord Progresstons (Palestrina) Agnus Dai I and 11$ 5 th A 5 th Y 3rd A SrdV 2nd A 2ndY 5th A r*r 38 5th V -- r— — — :------47 3rdA — --- — --- —— --- — 25 3rd V _r— ---r-— ------19 2nd A — :— ------...... 27 2nd V 16 T o tals ------194 229 89 98 171 154 ♦ - y - down Eyrie: 5«6xA 5thV 3rd A 3rd V 2nd A 2nd V 5 th A* ------27 5th V* * ------30 3rd A------3 3rd V 2.1 ■ 2nd A 11 2nd V 11 §l®rias 5 th A ------27 5thV------42 3rd A ---- — ...... — 9 3 r d V ...... 16 2nd A ------45 2nd V ------.41 Credoi 6 th A ------58 S t h V ------78 3rd A ------22 3rd v ...... 12 2nd A ------— 54 2nd V ------33 Senotus: 5 th A ------17 5 th V ------25 3rd A 2 S r d V ------3 2nd A ------6 2 n d Y ------7 Benedlotus: 5 th A ------5 5 th V ------17 3 r d A ------3 S r d V ------3 2nd A ------9 Sad V 9 54 Chord Progressions (Yon) Agnus Del; 6th A 6thV 3rd A 3rdV 2nd A 2ndV 5thA ------12 5 th V --- — ------______16 3rd A 3. 3 r d V ------8 2nd A-----— ------______go 2 n d V ------16 Totals — — —— — — — _146 208 40 53 145 116 # _ yp . . , . - down 4. ; CADENCES Progressiona In Cadences There are some differences to be found In the cadences of the two centuries. Palestrina used only the progressions IV - I, V - I, and I - V with the V - I progressions pre dominating about 86^ of the time. The total progressions for the entire Mass show that Palestrina used the pro gressions V - I eighty two times, and the progressions IV - I and I - V only six times. On the face of It, the large number of V - I progressions tends to suggest a great many closes, but this is not the case. Palestrina avoids this by keeping a voice moving immediately after the cadence or by keeping movement within the cadence itself. Also, the cadence may be formed in two or three voices while the re maining voices start a new phrase. Yon added the pro gressions I - IV and I - IV - V to the ones used by Pales trina. It is true that he only used the progressions a total of six times, but nevertheless they were used. How ever, the big difference is to be noticed in the use of the progression I - V. Palestrina only used the progression three times while Yon used it twenty six times. Since Yon*a Mass is written more along chordal lines than linear lines, it is probable that the I - V progression was used more often to suggest movement, while Palestrina obtains this effect usually by keeping some voice moving at all times. 36 Cadences Progressions in Cadences (Palestrina) Kyrie: V -I I - IV - I V - I 6 I - V 0 Gloria: IV - I 1 V - I 19 I - V 0 Credo: IV - I 0 V - I I - V Sanctus: IV - I V - I I - V, 1 Benediotus: IV - I 2 V - I S I - V 0 Agnus Dei I: IV - I 1 V - I I - V Agnus Del II: If - I 1 V - I 7 I - V 1 Totals — ---- 6 82 3 m Osdencos Progression* in Cadences (Ton) Eyrie; IV-1 V-I I-V I-IV : I-IV-V IV - I ------0 V - I ------10 I - V ...... — ...... -.....2 : i : w 0 ! Gloria: IV — I 3 v - i ------a I - V ...... 12 I - IV -...... -...... — 0 I-IV - v ------0 Credo: IV ■ ■ ? I I Sanctua% IV V I I . I Benedictus: IV - I --- 0 V - I ------3 " ' ... '.f-' - .. Agnus Dei: V - I — — — — — — — 3 ' : I - V -- — — ------3 ' :: I-IV — ------0 , J . <■» *][* V mrn rnm’mm mm #»'ini''*>► «■•"«* «• ' Total# 38 Frequency of Chord Notes in all Cadence Chorda The chord notes of the sixteenth century cadence and the twentieth oentory cadence also reveal some differences. In both styles the chord containing a root, third, and fifth predominates, but both styles have chords that are peculiar to its own particular century. Palestrina makes use of the chord consisting of the root and fifth while Yon does not once use a chord of this nature. Although the sixteenth century composers were suppressing the use of empty fifths and octaves, their use was sometimes necessi tated by the voice leading, movements of the melody, or imitation. Then, too, they had not quite broken away from the idea that the octave and fifth were the moat perfect sounding consonance. When the third was added to the chord, it was almost invariably major and it was the option of the composer to sharpen the third if it was naturally minor but never to flatten it if it was naturally major.* In the twentieth century we find the seventh of the chord added to the root, third, and fifth used in the sixteenth century. It will also be noted that Yon has several cadences with nothing but the root, third; or fifth of the chord present. This is due to the fact that the voices have been singing in unison and therefore enter the cadence in unison.** i - This alteration was typical of the sixteenth, century. It was a hangover of the idea that the minor third was a dissonance. ** - See Yon •Credo* pages 23, 26. Frequency of Chord notes In all Cadence Chords (Palestrina) Eyrie: R-3rd-5th; R-5th; R-3rd; Root; 3rd-5th , R—3rd—5th — — R - 5th ------4 R 3rd ■ 0 • Root '■ i 3rd — 5 th —————— — ——————————————————————— l Gloria $ - - ' ...... * ’ • * - " ■* ■ ■ ■ R-3rd-5th ———— 8 R - 5 th ------5 R - 3rd ------5 Root ------3 3rd — 5th —————————————————————————————————— 0 Credo: R—3rd—5th ——— 11 R - 5 th ------4 R — 3rd ------0 Root 6 3rd - 5th — ------o Sanctus: R—3rd—5th ———— 3 R - 5th ---- 2 R - 3rd ---- 4 Root 0 3rd - 5 t h ------0 Benedict*#: R—3rd—5th ———— 2 R - 5 th ------0 R - 3rd ------3 Root 2 3rd - 5 t h ------0 Agnus Dei I: R—3rd—5th ———— 2 R — 6 th — — — — —— 1 R - 3rd ------4 Root 1 3rd — 6 th ————— ———————————————————————————— 0 40 Frequency of Chord Hotea in all Cadence Chords (Palestrina) Agnus Dei 11$ R-3rd-5th; R-5th; R-3rd; Root; 3rd-5th R-&pd-»Stla, —— ——6, R-5th ------0 R*»3z*d ------— S . Root ■ ——Q 3rd—5 th 0 Totals "*33 «*—'**»*»—»15 ————28 ———13 ———— 1 41 Frequency of Chord Motes in all Cadence Chords (Yon) Kyrie: R-3rd-5th;Root;Fifth;Third;R-3rd;R-3rd-7th a-3rd-®tia 12 Boot ------— . 0 Fifth ______0 Third ------— ----- 0 R-3rd ______------o R-3rd-7th — — — --- ______o Gloria: R—3rd—5th ——— 7 Root — — -----8 Fifth ------4 Third ------3 R-3rd ------1 R-3rd-7th -— ------— ------— 0 Credoj R—3rd—5th ——— 9 Root ------11 Fifth ------0 Third ------1 R—3rd 5 R-3rd-7th------1 Sanctum: R—3rd—5th — 0 Root ------2 Fifth — ------1 Third ______— ____------0 R-3rd ------2 R-3rd-7th ------0 Benediotue: R—3rd—5 th ——— 2 Root — ______i Fifth ------1 Third ------0 R-5rd ------1 R-3rd-7th 0 4S Freqaemsy of Chord Hotel in all Cadence Chorda (Yon) Agnua Del; E-Srd-#@th|l©ot;Fifth;Third;R-5rd;H-3rd-7th R-3rd-5th ——- 4 Hoot -- - 1 • * - ' w ••• Fifth ------1 Third ' ’' ■ : : • ' » : -. R-3rd ------0 R-3rd-7th W^«*eeeS'W^*«W*»W***ww*W*«** — 'Xa# iw ****•»* ■*<&#••»'** •«»*► ■ Q ^ ■ - . T" 1 " ' , . v: ;'n r 7? / ry i. \ y' *: : .e ZC.Y Frequency of Chord Notes in-the Final ' f Oedence Chorda The final cadence chords of the two Masses reveal one marked difference.- Palestrina, in his Mass, uses the chord containing only the root and fifth m r e often than any other type of chord. Mext in frequency appears the chord containing the root, third, and fifth, and lastly, the chord oontaining the root and third alone. When Palestrina chose to use the third of the chord in a final cadence, it will be found that he made it major if the natural mode would have made it minor. Ton never uses a cadence chord containing only the root and fifth. And there we have our marked difference — Palestrina using the chord containing only the root and fifth most frequent ly, and Ton never using the chord. In Yon*a Mass, the chord containing the root, third, and fifth appears more often than any other type of chord. The chord moat frequently used next is that which contains only the root of the chord. Bext is that which contains only the fifth of the chord, and, lastly, the chord oontaining the root and third. The chords that contain only the root or the fifth in them are the result of voices entering the cadence in unison.* Since Yon’s Mass was written in the major key, all the * - See "Missa Solemnls," Yon, pp. Y, 6, 10, 16, 30, 33. 44 oadenM chords are naturally major. If, however, the key had been minor, the oadenee chorda might very easily have been minor si nee the minor sounding cadenoe has become . ^ thoroughly entrenched in the harmonies @f the twentieth century. Preqoeney of Chord llofcea in tho : (Palestrina^ Kyrie: R-5rd-#m R - 5th R - 3rd *#****«**»«.#»*»*» % Gloria* R—3rd—5tb 0 Credo * "* * . R—Grd—Gth *»«»"»*»— —*»"» 2 a - 6th — ------0 ]!%'«» -a#**###*****'#*#*****'****'"*""'"***—-*»"»*''*4»*»*»*»***»«»*»****»**'*»*»***» 0 Smnot##*. '' "" — .- .... - - - i R*»5rG"»5tli «*«»'"**"***'«»«*** G - - " - - - ^...... R — 5th *—*— 1 -R — 3rd 0 .- - ' - <: Benedlctus: R*3rd—6th *«»*.«<— *.-*, % R *» 5th «#*a*a»*^*#**«***a*m;*«»*»*»«»**m,**«»«»*» Q -.. ^ — 3rd % Agnua Bel I: R«*3fdl*5th 0 Agnus Del II: R—3rd—5th 1 R ** 5th *»*»4»«*4»#»a»«»*»*,«»*»*»*M**»*p*»i*,**.*»**.**G \.. -- ' - - . . r . - . -. ^ .. . i 46 Frequency of Chord Notes In. the Final Cadence Chorda (Yon) . . . ' .T - ,'.n _ ' $ < '' . : " Kyrle: R-3rd-6th| Root; Fifth; R-3rd 'R^3rd-6th/— 2'= . - ^ ' ' - - ^ Root 0 . / Fifth . e»^-*****M**&*..#.*.^-----i.*-*. 0 ' ' '''' ".''I,"- - - / - k - - - - Gloria: "R-3ra-5th — - 1 " ; v 1- , R@Q^ *»*»*»***»«»#»«*«*«****»***»«» 0 Fifth ****«»*#*» ** e»«**»#4f*"«*«»"**»*"«»«»~*«*****..l. -/ -- r'' ^ . ... . / - -r -fy .M > Lhe Credo; - - " R^3rd^»5th g .... .: -.. '' / \ _ Root 1 Fifth'"'"". *w**Aa#**##4»**^—**—*«»##«»**#**.0?^. -- _ .'.\.r/, R*»5rd «m— **4**»m.*— 1 Ssnot*#: .R*3rd-5th^~---;0 ' ^ T --ms' /*'»,;1 Root --- 1 -'" Fifth "'..******— 1 '". L,, y R—3rd *»4»**»«,*»*.*—*»*M* @ Benedlotue; " ' R«*3rd-@th *— .'0- .. - Root *»«»«»*»*»«***«*«**"*»**«»«**» 0 Fifth : " *»*«» —— *4W»**&e»*m**#**»*.i**#*»#*m»«»*.**«*«».l' . . ' % R«*3rd . «»*»*»*«»**»m***»*«**.*»«*«»*»«»*,**»w»**m»4»«»***»«**»*»a»**.m. Q Agnus Dai: R*5rd-8th **** 1 : Root **»*—*»*.*— «»**.—*.«» 1 ".' -Fifth / '*»*»**,***»**»«,«»—+*M****«,*.—*,*^*i,#* Q :':" u R—3rd '*»*»*»****»-*^*»*""*"*"***«»«*****»*******»-*»*»»*"*#"»"*«**»*»*»*»*» Q ". " : -: '\ .'/ .. T: .' ^ ; :- : ; -' " . 1 - - .' - - : -. - - '. '-pi , i- " ***. » -.*.~_r" -4- * ' ^ v 4* Looking at the chord types of the two Masses, the comparison reveals that quite a harmonic change has taken . ; f ■ V ' . . . -I-■ v : ; L ' ; ■ • , ; place between the sixteenth century and the twentieth century. In both Masses chords are built on all degrees of the mode or scale, but there the similarity ends. During the sixteenth century, we find that only triads are employed with an occasional passing seventh while the twentieth century Mass freely employs the seventh as a bhwdal tone. To the seventh Is sometimes added the ninth and so oooasionally we find a ninth chord in evidence In : '' ' " - " "* ' - - ^ ■ • - ''-■ '*»" a, ' '1'V ' — ■' < f ».«* , ' the twentieth century Mass. The seventh was considered ■ • ■ . .■ ' ■ ■- , discordant during the sixteenth century and consequently it was only employed as a passing tone. Inversions are ... ' - ' / . - / y, ..J y y.2, ^ .'T' - -y.? ' - also more freely used in the twentieth century than in the sixteenth century. Palestrina uses the first inversion V freely but the second inversion is very rarely found. In " ■ : . a ■ / ... . ; ;■ . > , ■ ' . "* ■, the twentieth century. Yon uses the first and second in- • '" • " - ' . - ' . : ; - - ■ ' ': '-*v hf.: :• J version of triads freely. The third inversion of seventh chords is used sparingly. Third inversions are used more ' : . A . . , : A : . ' ' .A - ,:A ' -:-T'AAA freely in the secular music of the twentieth century because - : ' A ., - - .'AA'i 'A , .. , A ^ A "" a more intricate and florid use of the harmonies may be employed in the secular style than in the sacred style. ,. A. . A ... - -- : '.:A, % '.-A.'A " % e third inversion is not barred from use though so we find that Ton uses this inversion in a small degree. Palestrina uses Musics Pi eta to produce a major triad which will almost invariably be found in the cadence. It produces the effect of a cadence in a new tonality, but since modulation.was not known in. the sixteenth century as we know it today, it can only be considered as a - v: f . > cadence on that «»ea . ♦ . - chromatics to produce denlnettt formations of other tonalities, and augmented and " ‘ modulation results from the use of chromatios and acci dentals in the twentieth century. The two composers build their chords from different approaches. Palestrina*s first consideration is the line of the voices. Prom the line of the voices the harmony is formed. Many passing tones and suspensions are used in the separate voices and thus the total effect is a constant weaving in and out of the voices — a constant movement out of which grows the harmony and chords of the Mass. Ton Starts out from the harmonic basis. With the harmony al ready established, the line of the voices then follows. Because of this, fewer passing tones and suspensions are used and thus the movement of the voices does not seem as constant (and it can truly be said that it is not) as it does in Palestrina*s Mass. The feeling of Ton*a Mass is chordal while that of Palestrina*s Mass is linear. 4* Chord Types (Palestrina) 1. Chords are built bn all degrees of the mode. 2. Triads only are used with on occasional passing seventh. 3. First inversions are very frequent, but the second inversion is very rarely found. - ■ " V • . ■ ■ "$■ " - - f 3 • 4. Musics Ficta is used a great deal. This produces the ? effect of a cadence in a new tonality. Palestrina only uses Muslca Ficta F#, C#, and fif. 5. In the course of building chords, Palestrina uses many passing tones and suspensions. Thus, chords are reached by first starting with lines and finally arriving at the chord. W*": - '. , . > - ,. ' . - ' . - ' 50 1* Chorda are built on all degrees of the scale. 2. Triads and seventh chords are freely used and an Occasional ninth chord is found. • 3. First and second inversions are frequent, but the third inversion la used si»ringly. 4. Modulation to new tonalities is very frequent. , Dominant formations of other tonalities are used and chromatic raising and lowering of notes within the chord is found to a very large degree. 5. The Mass; is built along chordal lines instead of the linear method and thus fewer passing tones and sus pensions are used. Yon builds from a chordal basis r and the lines of the different voices spring from this basis. ■- ■ " / '->:i ' - \ .. " -- -..... , - .. ^ .'zrr.? . ' .-r',": . '' .. ' - '' ^ : Ir'I-fri' ./A; ' ' . . - : ; ' . - " c: . . - - "v ; < 5Y ; ' /'Y V Y\: * V. ^ .X/.. ' 1 ^ ^ i: .. ' ' r-;Y ' :: y . ' VY .. '%.Yr#y Y-, V : F? - ' -:: 51 ■ " . ; r ..s'. Passing Notes - ; : : • . . ■ ■ 4- ;*" '.r •; : % ■ The Mass representing the sixteenth century has a great many more single passing tones than that of the twentieth century and because of this we have the decidedly linear feeling in the Palestrina Mass. From the chart, it will :.... ■ ' ' ' -v .• ’ . ■ ■ V . • v: ; • *. ' 2 be noticed that Palestrina used the greatest number of passing notes singly and unaccented which is the reason for the constant weaving in and out of the voices. No votes is held very long on any one note and it is constantly ■ ': . . ' ■ ■' - : . ■ : ' " ■ . ' :' " ’ ' ■ . V moving to new harmonies through the medium of passing notes. ' ' '' - - - " \ : ' ; ■ " -" ' , • . . - v •' v :' . . - . .* ■ - ■ - Palestrina used very few accented passing notes as the sum ' ■ ' ' - ■ " ' ' - ; e 1. ' ■ V _ : ■: : . ; ; ' . total for the entire Mass was only nine, single and double. \ - ^ - . ; - \ . .. - . The sum total of the single unaccented passing notes was ■■■ ■ - - ■ V : ■ . ■ ' ■ : three hundred and twenty six which clearly verifies the - ■ - - - ' - ■ - ' ■ " fact that Palestrina started with lines and thus arrives ' ■ " - - - : ■ " ' ' V - : ■ ' . . : ' ■ ' ' " at tiiords. Palestrina also used a greater number of un accented single passing notes in the downward direction than in the upward direction. This might be accounted for by the fact that a great many suspensions were used and ■ - ' - - - ' ' ■:1 ■' . . ■ in the resolution a downward progression naturally results. Ton, in the twentieth eentury, uses less passing tones and consequently turns out a Mass with less movement — a Mass with harmony as its basis. Passing tones in the twentieth oentury Mass were merely inserted to move the a s voice from one harmony to another. Yon*e greatest use of passing notes was of the single unaccented nature» but he also used a larger number of double unaccented notes then Palestrina. This is caused by a 'Mviai"being made in the tenor part a number of times and the two parts singing in thirds. Also contributing to the double passing notes is the accompaniment which the writer felt should be included in the analysis because of the large number of times solo passages are used. The accompaniment is very choral in ; - :- . - r its nature, so when the solo passage occurs it is very much like a five part vocal passage. Palestrina’s Mass is an- :r ' " % - tirely a eappella with no solo passages, so the accompani ment was included in the Yon Mass to compensate for the other voices in the solo passages. Yon also used a greater number of accented passing notes than Palestrina. The sum : -.. s ^ total of accented passing notes used was thirty one as against Palestrina’s nine. It will be noticed that Pales- trina avoids the accented passing note in an upward pro gression while Yon uses it in the upward progression as much or more than he does in the downward progression. ------...... j (Ssss-Esr Single Double (Simultaneous) Accented Unaccented Accented Unaccented Kyries Wp——— 19 1 tO H Down-. 11 IQ Gloria: ■ %___ 1 l Q Down- 2 34 H H ^ M* tO O)H tO Credo : Up— -- , 37 Down- 3 ^50 Sanctus: Up-- 9 Down- 26 Benedictus: Upr— 1 28 Down- 12 Agnus Dei Is Up— mmm 9 Down- 13 Agnus Dei IIs T Up——— i 18 S Down- 29 Total——Up—— 2 1S1 2 m Down 5 its O 15 SUHl #»*#«& 54 * (ton) -A' - : ' - ^ Single Double - ■ iSs^r-; :?:• (Simultaneous) Accented Unaccented Accented Unaccented . r ■ . : . y -y Kyrle• ITp--- 0 ■ ' 2l - r • %. ‘ - " ? - 16 y Down- 2 13 3 10 . \ ' \f: r- - " r Gloria: . Up— 4 ^ ; 0 . . ‘ - . 4 >■ i Btown- 6 4 0 0 . r.% 4% y:' : ■ Credo: Up-- : 5 i 42 ■' • , "6 .: '' •22 .y ' • • Down- 3 @0 2 12 '■ ’ ' : - - .r . • Sanetua: Up— - ' ■r. :. 15 — 0 ■ " 3 . Down- 0 3 0 0 "r f . . Bonedlctuei Up——— 0 .;r. 8 1 3 ■ W w n - 0 5 0 0 - ' - - .'/j.r x. rr, .1- Agnus Dei: Up— - 4 ■ • 4' ■ . 0 7 Down- 0 1 1 1 ' • r . ■ , ■ ■ •• Tot al— Up— 13 104 1 55 ' Ikwn 11 56 6 1 23 Sum total -- . : : 1 r.%., , . : : ■ • ' - - . : ; 1 ‘ .'L ■ . -r- \ : -- -"Vf" k-j-T , .'1 I \ Sir. '. 1- -; - ..9 , r ,.j 55 Suspensions : i . , - ' . ■ ' ' , Hero, perhaps moro than in any other phase of the ' - ' 5. . - ' . . ' ■ ■ . ... '' ' . analogy, one of the biggest differences is shown between the two centuries. In his Mass, Palestrina truly reveals ' ■ ■*.______•: ■ ' ' . ' . . ' the art of perfect contrapuntal technique, which reached its peak during tho sixteenth century. Through the use of suspensions we find first one voice and then another holding previous harmonies before entering into harmony with the other voices. Each voice is more or less inde- pendent of the others and therefore when one voice is rising to a suspension the other voices are continuing to move. When tho other voices stop their movement, the '' ' ' ... tho suspended voice moves into the harmony and thus the inter- looking and weaving of the voices continues. Palestrina shows a preference in the not® he chooses to suspend. His first preference is the root with 90 suspensions which gives it a ratio of 3 to 2 over the fifth. His next : r. _. / -. ' - r . f A: ft: ' '. preference is tho fifth with 59 suspensions, and, lastly : . . .: : ■ . •" : -...... ■ : ■ - the third with 48 suspensions. Yon, on the other hand, shows a preference for the fifth. He suspends the fifth 17 times T,tilch gives it a 2 to 1 ratio over the root. The next choice is the root with 9 suspensions, and following this la the third with 4 suspensions. Since the seventh was used in the twentieth century Mass, m find the seventh used as a suspension twice in Yon’s Mass. Considering the total suspensions used (single, double, and decorated) we find the totals of the Palestrina Mass completely overshadowing the Yon Mass. Palestrina used a total of 159 single suspensions against the total of 24 for Yon’s Mass* The double suspensions for Palestrina’s ttaas was 19 while those in the Yon Mass totaled only 4. Of the suspensions used in their respective[Masses, Palestrina used the decorated suspension 35 times while Yon only used it 4 times. From the total suspensions used, which was 178 for Palestrina’s Mass and 28 for Ton’s Mass, we can definitely sec that the intricate contrapuntal technique of the sixteenth century no longer exists. The decline In the use of passing notes and suspensions places the emphasis today on harmony Instead of counterpoint. Interesting and colorful harmonies seem to be the ala of present-day composers while writing a good melody for each voice which would be independent of the other voices yet harmonious with them was the aim of the sixteenth century composer. Ho to suspended Hoot Third Fifth Root 5 Third —————•— 3 Fifth, 9 Gloria: lots suspended Roots ——————— ————— 18 Third — ——————————————————— 12 ■ Fifth ——————————————M#——— ig— IS Credo: Hot® suspended ■' /. ' ' ^Root -————————— ——— 32 Third —————————— — ————— —— 14 F i f t h ------— ------— IT Senetest Note suspended Root — --—— — — 7 Third —— — ———— ——— ——————— 5 Benedictus: Hote suspended T Third *******»«»» 3 Fifth 1 Agnus Dei X; Hote suspended ■ Root ————————————— 12 Third — — — — — — — ———— — 6 Agnus Del II: Note suspended ' 1 Root 9 Third ' «•«••• «*•••• W W W 5 Fifth s 58 (Palestrina) Kyrie: Single Double ] Single suspenaiona ------15 Double ** . — — ———————————— 1 Gloria: Single suspensions ----- 39 Double w ———————————————— 3 Decorated * .— ————————————————————————— 4 ( ' " _ - - - « ... — "" Single suspensions---- 61 Double * ■ 5 Deoor at ed ^ — —————— 15. Sanotus: ' - .• ': ■■ - ■ ■ ■■ ■ ■ ■ - Single sttspeneione — 17 Double . **. — ————— ———————— 2 Decorated " - . ' -----— ------— ----- 4 - - ■ .... 1 Benedietua: ...... - - ■ f Single auapensions---- 10 Double ** ——— — — — —————— 2 Deoorated - * -— ------————— 0 Agnus W 1 Is . Single auapenalona---- 17 Double ” — ------3 Agnus Del II: : - ■ Single auapanaions — — — 10 - Double " . . ------3 Decorated * ------1 Totals------159 ----- 19 — ------35 Sun total —— —— — —— ————— — — ———— — —— 178 59 Kyriei Root Third Fifth Seventh Hot® suspended : % 'Boot 4 T h i r d ------1 Seventh -- —*—— m*— g Gloria; Hot® R o o t ---- - 0 Third 1 8®vonth 9 Credo: ■■ Rote suspended . . . . : Root —————— 5 Third q 0 Sanctus: Kote suspended ...... n Root — — 1 Bene dietus: ... _ Hot© suspended -■ m, mm am mm ^ Seventh — ------@ Agnus Dei: ' Note suspended ; " .... _ . ^ Root X . ' Zbird-—— **—***—— 2. - — . , F i f t h ------1 Total* » @ ^ — *»«* 2 GO ns ' • : • su1 ^ 0: Kyrie: Single Double Decorated SJjigle suspensions — ■——— 5 Double . ' ” . 5 . - ' - Decorated ^ #»*»—*»*»*»«* «*».*«* wwh* •»**■•••*«•*—••«*■*»•*• 2 ' T4 - ' - ' - Gloria• ■ .... • ■' , - i :: • . " ' . •' : Single suspensions ----- 4 . Double n 0 "■ ' ' ' •. ■,: » ‘ • ■ 1 ' : ■■■■ . .. ' " ' "• Credo: ■>: :*c ' - - ' ; ■ ' : ■ %' ' ' Single suspensions — ---- 8 Double : ------— - X - = >. 4 Decorated 9 • — — ------— ----- 2 ; •„ . ■ " - : f ‘v : ^ « .. . Senotusj Single suspensions — — — 3 Double ■” . .*«— -— — r-— - 0 ’ ■ - ■• Decorated * q . '. .. ..y . < Benedletua: ■ ■ ■ ■■ ' . ■ - . . . ' / . . . ■ : : ■■ v .. Single a us pons ions — — -- 2 Double • ------w. «-.,0 - ..' • Decorated 9 0 - % . y L. % . . 1 Agnus Del: , \ o y . Single sus$^nii®na -----— 4 Double ^ — -- -.v.------0 1 " , ■ ■ ; . 1 ; ' ■ ■ ' ' : , ’ '' \ . .. ' : Totals — — • . , ' ' ; . - ' -= : ' . Sum total — * . . _ ... . - v < ,c- '..- . *. '; ; . : - ' ' V . -- ’ = : . ■ . ' In order to determine the the V ‘ ■■ ■.’ ...... " ■- v _ . ■-...... passing notes are used, an wo sections the Masses was made. The complete analogy of the passing ' ' ' - ‘ - tones in the two Masses reveals that Palestrina used a v ’ ■ ; : '■ \ . ' / ! ■ - • . ' : larger per cent of passing tones than Yon, but in this comparison of the two sections a variation in the per centage of passing tones is shown. In the ’Credo* of the two Masses the percentage of passing tones used by the two different composers is very close. Palestrina used passing tones 7j6 of the time while Yon used passing tones &$ of the time. This is probably due to the fact that Yen uses the solo voice quite frequently in the •Credo* as well as three part singing in the male voices. Palestrina, in the ’Credo* of his Mass, uses the four voices at all times, I.e. no solos are given to any one of the four voices, and therefore the passing tones are used as they are throughout the whole composition — to keep the voices moving, weaving, and overlapping in a seemingly never ending pattern. The percentage in the ’Benediotus’ of the two Masses is quite different. Palestrina uses passing tones 14^ of the time while Yon uses them *1% of the time. Palestrina continues to write in the flowing linear method using passing tones to keep 62 the voices lines and at the while Yon drops the •Benedictua1 of his Mass into a slower, more solemn movement. The full chorus is used and the section is written along chordal lines. The toioes move along 1vertically* Instead of horizontally' and therefore fewer passing t - , . . ' ■ - ■ • " - — - ; ■..•- — • - ■ - —- - . ■ Third Fifth «»***»**'$**»* *»*»*»****.«**» *.*,*,— —*.—***.— 4:84; Flf|»ll #*«#«m#*m*#m*«*»«*****"**.m.*##*******'*»****«***w*.^^#. *.*.*.***» 315 Total Chord T o n e s ----- 612 — -- 484 ------315 Total of all Chord Tones' ------1411 T_ y - " B R Passing T o n e s ------102 J ^ ------. ' ' Banedl ctus$ Boot w 156 Third 125 ftl% #m «»«#*» miwaw**.*.****.*— * * ^ — *»^,— ***»*— *,.*»-*# «w»m #***#»***«,** 60 Total Chord T o n e s ---- 156 ------123 ----- 69 Total of all Chord Tones ------— ---- 343 ) 14^ * * * Passing Tones ---- 49 ) 64 Chord Tonea in Comparison with Passing (Ton) cf-er' ' . ': " eppd#i 't : ■■ Wot Third Fifth Seventh Root 871. ^ , ' Of-. T h i r d --- —— 40* t: Fifth -.—«—»■»— * 're s&t'l- Ssionth ------ Total Chord Tones ™ 571 - ^ 0 1 — 380 — 61 - .. ... - c L #? L ' Total of all Chord Tones ... 1413 • « * «* ISl'l' . - - . • » - ■ *4 " ' . " ■ ; ' " SS'": ' Benediotua: ■- ' : ■ - ' • " :. "- . : ■ • • . Root — ------102 Third — 61 Fifth 8$ 4 . v Seventh — — — — — .-T— — — r— . 8 . - Total Chord T o n e s --- 102 — - 61--- - 56 — ----8 • ■ • , ' / - - . ■' . ‘ .• T " " " " »• Total of all Chord Tones-— — ----- — - 228 \ n « n passing Tones — ------— 17 ) ^ ' 1 . • ;; ■ . • ' » " • • . . : '.V; . ...:. . : ■ ." - -.i, - ' -4%, . it i# In ' , ... ■ ' . ' ’ . : : . " : V • : ,. " -r- : - - • ■ • ... ■ . ■ . .' • . : . ' .:V . -.V a-"' . i j ar? ' -- .. : -- J. ... y The development of the opera shows its effect in the . ■ ' ' ■ ; ' ' : : :, ■ : ' ■■• use of voices. The opera brought about the development - ' : ' ■ - ■ ' . ' ' ' ; - of the voice as a solo instrument. With the advent of iL. ^ ' : ' - ... ' . .. . the opera in Italy, emphasis was placed upon the solo qualities of the voice. The singer that could embellish the melodic line with intricate and florid figures was considered to be an outstanding artist. Before this time, about the only solo voice that could be considered as such was that of the chanter. However, the chanter could hardly he considered as a soloist because the text was the paramount thing witti the music subservient. The essential qualities of a good chanter were the ability to pronounce Latin well and to have good articulation of speech. The chanter followed no certain note values or rhythms, being guided only by the dictation of the mood In the text and the syllables of the words themselves. Palestrina uses no solo voices or anything resembling a chant. The primary aim is to keep the melodic flow of the four lines moving in a beautiful network of contra puntal design. When any solo passages occur, it is in the form of a quartet or trio with the same idea pre dominating. Ton uses the solo voice quite frequently in his Mass. The number of times that he uses the solo is 66 almost as great as that of the chorus although the solos are not of as great length. Y/hen he does use the solo voice, it will be noticed that he prefers male voices for the part — three times the solo is given to the tenor and nine times to the bass. At no time in the entire Mass Is a solo given to the female voice. ; . ' - .. .. . ' ' ' ' '' " - / ...... '' . . ' ' . - ■ - • - - ' ■ '■ * ' " ' • • * - ' . • - ' ■ ' -- . . - : ■■ ...... - .. ------; ; ' • . - _ - ■ :..*•• • *■ : '■ f ‘ • - ' •' ■■ Eyries Chorus Quartet of Solo Voices Gloria: Chorus — Quartet of Solo Voices Chorus tr* % Credo: Chorus _ Quartet of Solo Voices Chorus------Quartet of Solo Voices Chorus. -r t Sanctua: V ' ' . Ghorua — I Benedlctus: Trio of Solo Voices (Sop., Alto, and Tenor) — Chorus Agnus Del I: Chorus — Agnus Dei IX: 4 ^ a-'v;' Chorus (5 part) lures 5 f 68 (Yon) *1* K*rie: , :\.k^ - Ohorua - Tenor Solo - Chctrus - Olorla: OlMMrXlB . T Tenor Solo — —————— — :::::::::::: % Z l l Z l l Chorus -----—-— --———— — # Bass Solo Chorus 8 Bass Solo ————— . ------8 3 7 ___ - : rr. _ - , : - ■ ■ ..Bass. Solo .— — — — Tenors and. Basses ------33&S3 *]?»****'***""*»**'***""***"»#**»*******"''!*"**'***» ***"«* 0 Tenors and Basses ———————— 8 i Qiorus ——— —— 59 no a sure s \ ° M * M r e s Sanotus$ '-X' T'f rr% Chorus —————————————— ■ ' —-■ ' - Bass Solo Benedlotus: :i ’ " . ‘ - • - '• . (moms ------23 measure Agnus Del: M s s Solo — — Chorus (Bepaat above) Bass Solo —— 4 m Chorus ------18 In order to get a comparison of the melodic Intervals used by the two composers, an analysis was made of the - . . . . " "■ largest section ('Credo*) In the two Masses. On the . . „ , V - ;: - , : . ' . ' *: : ■ ■ . ■ • " '■ ' ' whole, the melodic Intervals of the two Masses do not . - , - j 1- ~ ' vary to any great extent. Palestrina uses a larger : ■ ■ r ■ ■ . i » -; •. •• T. ■ ■ .. ■■ '' ■ ■' of Intervals than 7cm, but this Is probably due to the ..... I,. \ f: ' fact that he keeps the voices moving most of the time. Looking at the various Intervals, the chart shows that . - - , - -. : . . , [ . , ..T. both writers used the interval of a second more than any other Interval by a large per cent. This is probably due to the large number of passing tones and suspensions used, especially by Palestrina. The most pronounced difference will be found in the interval of a third. Palestrina uses the skip of a minor third up more frequently than any other type or third and Ton uses the skip of a minor third • : ' . :• • ■ - ' ■' .. . : ...... ' down more frequently than any other type of third. The total number of thirds (up and down) used by Palestrina is almost of equal proportion -— 80 up and 81 down. Ton, ■ ■ . . ' . . , ■ .■ ■ . I ' i. ■. ' on tim other hand, shows a decided preference for thirds .. .. ' : '■ ' " in a downward direction. He uses a total of 12 thirds (major and minor) in an upward direction as against the total of 87 thirds (major and minor) in the downward direction. Some differences are also revealed in the *0 interval of a perfect usee the fourth up over the fourth down by a ratio of 4 to 3. This is probably accounted for by the large number of eedenoes in root position. In the twentieth century Mass, inversions were used more freely and Yon uses the interval in a more equal proportion, the ratio being 4 to 4. The Interval of a perfect fifth In the two Masses is about proportIonally equal in Its althou^i Palestrina uses more fifths than Ton. The inter- , ' If"', val of the major and minor sixths and major and minor sevenths is almost negligible In both Masses. Ton uses the Interval of a sixth (major — one, minor — two) In an upward direction three times while Palestrina does not - - -' * * - . -- c.t use the interval of a sixth or seventh in a single instance. A smooth, flowing, singable melodic line was the aim of the sixteenth century composer and since skips of a sixth and seventh were not considered as smooth and singable as the other intervals, they were not used. The almost negligible use of them today gives affirmation to this idea. The interval of an octave is used more in the twentieth century Mass than in the sixteenth century Mass by a ratio of 2 to 1 71 Melodic Intervals CPalestrina) Credo: ■ Total Major m 293.------< Minor 3rds Major — * 46 Minor Total. Perfect 5th# 24 —**' , 0 ——————— ■ 0 0 ——————— 7ths Major 0 Minor *"1 0 Octave 6 r - . . ■ Credo: t-J ■ . .. 2nds Up Down Total -- --- 207 -- 104 -— -— 84 — — aso — — 291 —:::::: S . ' - - ■' : . f t MS jOr * WwWWr*MWMe*» ^ *■* 33 - Minor ------7 -— jpot&l —————— 12 —— - t v ::::::: -H . - '' . ' . •. 4ths ------18 - — —— 18 —! 5 the Perfect Total ^ f - ' - .. . . 6tha ' 0 - 1; : f 3 ' "5> — ---- 3 • - \ "ar ^ irt*, 1,:". ' % - - %. . ' : . - _ . = . " . ' ". : ' ' . ; r CV. 75 - , -■ ■ - - - . ■’ • ;• ■ . • ' : v ; ' Rhythms Used ' : • • •. . Prom the chart, it will be noticed that the 1Credo1 : ’ , /'•. - ' / .. ■■■ '■ - ' " .. of eeoh. Mass was again used to obtain a sampling of the r y ; r" . '-y / ^ ' v. rhythms used by the two composers. The largest number of ihythm# used was the division of the whole note into halves and quarters, The rhythm f f led all other rhythms with tbs rhythm f next in frequency. The chart y ■ • • ' ' "o* .- ; ■ v ~ ... ■. will disclose that the two composers used these two rhythms .... _ . ^ ; - r;.:;. *.r , ■; - the greater per cent of the time with variations of these rhythms Interspaced here and there. Some of the rhythms ■ ■ ■ - ' .■ ' . - -y y ' : -' ' . ... :: used by Yon were not used by Palestrina and vice versa. Yon used the rhythms f T and f * i&ioh Palestrina did not use at any time. An examination of the 1 Credo ** In the Yon Haas will reveal that these rhythms wore used in phrase endings. Yon frequently brought all voices to a close so that the solo voice could be used. Palestrina never used the solo voice (except in a quartet) and, there fore, we usually find the close In the cadence. Rhythms used by Palestrina and not by Yon are the more intricate ones that are suitable in keeping the voices moving in that flowing, florid, weaving, linear style which is so characteristic of the sixteenth century. For example, * See pages 17, 18, and 21 in the '‘Miasa Solemn]a^ by Yon. 74 the rhythms C \ ’ f f ' \ C=f and fill—) are need by Palestrina to achieve this movement.* Yon uses approximately three rhythms that are new. The rhythms T r $ > \ f' » and 7 U do not aPP®ar in the sixteenth century style. Otherwise, the rhythms of the ' -- : -'-2 ^ composers are quite alike. Rhythms of exact likeness will he found in both Masses and rhythms that appear to he different will be found to be only a slight variation of some preceding rhythm. In some Instance a peculiar rhythm will be found, but It is usually found only once or twice throughout the entire section. * see pages id, go, and S3 in the wtelssa sine nomine" by Palestrina. 6 75 Paleatrios Grtdoi 38 ■ — —- 247 — 326 — 17 — 15 — 14 — 62 — 64 — 0 — 0 — 0 — 12 — 4 — - - f 1 LLJ' 0 1 — — u f f r 0 1 — . . . . ^ f • ilD' 0 25 — . . . . f f r • I 13 — # ^ 0 r # . . . . u r 12 — t 0 - . . . . r f u 4 — . . . . f . f 0 -* 4s Palestrina " L- ' ' V : Ton Credoi Credo: 1 — -- V ' I I 1 . ' It# 4r . - ' . '■ ; : " - ' » ' ? ^ - . - - . ■' - - ! “V. • . •. : '■. . .. ' Li - Kr ' ' - - ' . ; .• - . ' j i*;; r..k;.-- ; .. ; ' - "■ ^ i ■' '* '' : : ' ' - »' l'.-» * . ' , - ' Y .' ..: : j - . ; - ' ”• ' .... .■ -■ ■ ■: .. ; , ■ - • - ‘ . ' . . ■ ■ - :■..•■.•:■ . ■ • ■ '.■■■■■ ■ ■ • ...... 77 Modulations . ' ... ■ ..•■■■■• , ; ■ • ’. , ■ ' ' - In speaking of modulations, perhaps it would he well to define the term in relation to the two centuries under . : >■: , ' "f - . ■ " ' ■- Y" .. ' observation. In the twentieth century, modulation means a change from one tonality to another tonality of near relation without a noticeable break in the melody or ' ' '' - * ; ' '' ■ < , r - ' ■ '■ ' : . . ; " ' - harmony. Modulation, as such, was entirely unknown to the - ' V ' ■■.-r - ' . ,, •' " ' ;• " (i. ' '... - sixteenth century composer. As Morris says, "During this period, modulation did not mean a shift from one tonality to another - such conception by writers of the sixteenth century was entirely foreign to them. Yihat is meant is simply that a cadence has been formed on a given note, in a position where its csdentlal character is unmistakably felt."2. Therefore, the cadences that were formed on a given note in the Palestrina Mass have been termed as a modulation for the convenience of comparison. The Paleatrinlan modulation gives the effect of a change in tonality, but on immediate return is always made to the original tonality. Because it does return immediate ly and abruptly to the original tonality, it cannot be con sidered as a modulation in the same sense that we consider a modulation in the twentieth century — it is truly just a cadence on a given not*. Palestrina uses 45 such modu lations throughout his Mass with the greater number of them 1. Morris, R. u., Contrapuntal frechniqi 73 taking place in the tonality of the relative major. Yon uses 50 modulations in his Mass and they are true modu lations in the twentieth century style, that is, a definite , l " : ' - - - ' change in tonality is felt each time that a modulation is made. Yon Modulates moat frequently to the dominant of the original key (E Major) with a few modulations to the relative major, relative minor, parallel major, arxi paral lel minw. In the longest section, the *Credo*, a nice transition takes place through the diminished triad, 0, B^, to bring it back to the original key of E Major. 4 .v r1 ■ „!■ f 1 ’ ‘ . ' 4 79 Modulations (Palestrina) V of \ far Dorn. Subdom. Rel. Maj. Rel.Maj. Maj Kyrie:— 1 modulation. r Key - F Major , • Modulates to; Dominant 1 Gloria:— 10 modulations. Key - d minor ' Modulates to: 3utvdominant a******»«.***#«#**##* Relative Maj. — V of Rel.,- Ma j. Credo:-- 18 modulationa. Key - d minor Modulates to: , , Relative Ma j # __ V . of Rel. Ma j.. Parallel Ma j . - 1 Sanotus:-- 4 modulations. Key - d minor Modulates to: Relative Maj. — ------— — - • - •.'••• . ■ . . Benedictua3 modulations. ■- * ' ’ Key - d minor Modulates to: . ' Relative Maj. Parallel Maj* 1 Agnus Dei I;- 4 modulations. Key - d minor Modulates to: 3.8 t#3eXr8 BSfll j • mmmmmiMft m> «► * ww.e* mmmm-mmmrn ^ V of Rel. Maj. ------1 Parallel Maj. l Agnus Del II:- 6 modulations Key - d minor Modulates to: lLf%t#lV0 M© j S ww* mm weiMiiBk weB-ww w w mm 2 V of Rel. Maj. 2 Parallel Maj. ————— —— — — —————-——— 1 Total Modulations — — 1 — — 1 •— — 27 — --12 — 4 MOd?Ydn)°na Eyrie:— 2 modulations Key - E Major o# minor back to E Major ) Gloria:— 2 modulations -- Kay - E Major Modulations are: ...... E Major to a minor ) a minor back to E Major ) Credo:— 16 modulations Key - E Major » ...... ' : ■ ■ Modulations are: . E Major to (G#) Major — -T— Mediant Major (Enharmonic) Afr (G#) Major to B Major ------Mediant Major to B Major to E Major — ---- Dominant to Tonic E Major to B Major ------Tonic to Dominant B Major to e minor ---- Dominant to Tonic minor e minor to E Major — ---- Parallel Major E Major to B Major — ---- Tonic to Dominant B Major to E Major — ----- Dominant to Tonic E Major to B Major — Tonic to Dominant B Major to E Major — - ---- Dominant to Tonic E Major to B Major — — — Tonic to Dominant B Major to e minor ------Dominant to Tonic minor e minor to g minor } g minor to BP Major ) Transition BP Major to D? Major ) DP Major to E Major ) Sanetua:-- 2 modulations Koy - E Major Modulations ares E Major to B Major — Tonic to Dominant B Major to E Major — Dominant to Tonic 81 Bonedictust-- 6 modulations Key - E Major Modulations are: E Major to B Major *###***»#»*»***»*»**«#*»» xonlo t?o _ ____ B Major to E Major ------— Dominant to Tonic E Major to Q# Major Q# Major to g# minor IIIII.IIIIII Parallel^minor g# minor to B Major B Major to E Major ...... :: to^xonio Agnus Dsl:— 2 modulations Key - e minor Modulations aro; e minor to B Major Tonic minor to ■-i- : . Dominant ■ . 'v :;; B Major to E Major ------Dominant to Tonic '- . , ^ V.:': , : • / CONCLUSIONS The comparison reveals that techniques of the sixteenth century are quite dormant In tiie twentieth century., In its place, freer harmonic oonatruotlon is used with the more colorful and modern harmonics of the twentieth century the predominating factor. However, the comparison reveals some similarities In that chord progressions, rhythms, melodic intervals, and form are considerably alike in the two centuries. In these elements of composition, the similarity indicates that the twentieth century still adheres to the sixteenth century style. The chord progressions* indicate that Palestrina chose seconds and thirds in root movement over that of fifths by a ratio of 5 to 4. This is probably due to the use of IV - V - I frequent movement of the harmony from one degree of the . mode to the next degree of the mode. A little later, the fugue in the hands of Bach reached its highest stage of development and the root movement during this period, as a general rule, was in favor of fifths over that of seconds and thirds by the ratio of 3 to 2. In the twentieth * - See page 31 I distribution in the movement is encountered. Ton shows nk preference as to root in his Mass is a 4 to 4 ratio of fifths against seconds and thirds. % The rhythms of the two centuries show ho great varia tion in their use.* Both centuries show a decided preference for the rhythms and : . These two rhythms lead all other rhythms in both centuries with other rhythms of a similar nature being used by both ? writers. Of course, each writer used a few rhythms that were peculiar to the century in which they were used, but the great majority of the rhythms are alike in character or only a slight variation from one another. The melodic intervals** in the two centuries show a very marked similarity. Both centuries use the interval of a second more frequently than that of a third. The " similarity here is probably due to the choral nature of the compositions. The interval of a second, third, fourth, fifth, and octave are considered the most singable in both centuries, hence the similarity. The form discloses the most marked similarity because <• See page 75. See pages 71 - 72 the form of the Me a 3 has remained unchanged since Its origin;* Both Masses contain six main divisions and each division In both Masses is In essence almost the same. Ihe similarity shorn herewith is in all probability due ' to the fact that the Masses are sacred music of the Catholic Church and therefore this element has carried .... over from the sixteenth century to the twentieth century. In the sixteenth century, the musical treatment of each section was as follows. Each portion of the text had an individual theme which was derived from the theme of the Mass. This was imitated more or less strictly in all voices before the next portion of the text was introduced with its theme. These sections thereby combined to make a series of fugal expositions. Homophonlc passages were sometimes used in the longer sections. Therefore, since the Mass, in form, text, and manner of use, is today the ' ' gamo as it was from its origin, the greatest changes are found in the modern harmonies and the method used in , writing them. f. L,! ? ; The differences that are to be found between the sixteenth century and twentieth century. Maaees lie in this fact. The cadences, chord types,•passing notes, suspensions. use of voices, and modulation# bring out quite a change in * - See page £3 . the two styles. The cadences* of the two centuries show- • change in that Palestrina used a great many cadences containing only the root and fifth of the chord. While the sixteenth century was trying to get away from empty fifths and octaves, nevertheless there Was still the hangover from previous epochs that the third was a disso nance. All the cadences of the twentieth century Mass contain the third of the chord (except in eases where the voices have been singing in unison and thus enter the cadence in this manner) and also the cadence of the twentieth century contains the dominant seventh chord while the sixteenth century cadence never used the seventh in any form other than that of a passing note. Chord progressions in cadence** during the sixteenth century Show a decided preference for the V - I progression. Progressions are used more liberally in the twentieth century. ' .. ' The chord types of the two centuries are different In that a freer use of harmony is allowed in the twentieth century. While the sixteenth century is limited to the use of triads in root and first inversion, the twentieth century uses the seventh chord and all inversions of both 5 - See pages 36 - 46. ** - See pages 36 - 57. 8S the triad and use of Mualoa Plots for being limited to the five notes n , o # , si’, b ^, =na A h while the twentieth of the mode for the The passing tones latter, reveal the most comparison. This is due positions — Palestrina'a is Yon*s is ohorda!. sixteenth century Mass requires notes and suspensi the t went loth century Mass d. notes and suspensions. Without the passing notes, the weaving together of the voices in their Intricate florid patterns could never be attained. And without the sus pension, the composition could not give the retarded feeling at certain points which the suspension creates in certain voices; that is, one voice holding a preceding harmony while the other voices novo into the new harmony, then it also moves into the new harmony with the other voices. The use of suspensions in the twentieth century Mass is almost negligible in comparison with that of the - . ■ ,. - ■. * - See pages 53 _ 60. 87 that of resolution is not found in the twentieth century;' Mass. ' Wp to the advent of opera, the principal aim of com posers was to keep the melodic line of each voice flowing in a smooth progression that blended with the other voices and at the same time was a melody within itself. In looking at the sixteenth century Mass, therefore, tro find that this is precisely what Palestrina did throughout the Mass - kept each voice moving in an independently flowing melodic lino, yet harmonious with the other voices. After opera came into being, the solo voice was used more and moro until today it Is used almost as often as the chorus although not as great in length. There are no solos in the sixteenth century Macs, except in the form of a quartet while the twentieth century Mass uses the solo voice quite extensively throughout the composition. Modulation has made quite a change between the two centuries, in fact, modulation has come into being since the sixteenth century. Modulation, as we understand it in the twentieth century, did not exist in the sixteenth century. In the sixteenth century, modulation was a foreign term to the composers of that time and the only form of modulation during that time was literally a cadence on a given note. The cadence listener a feeling of the immediate return all feeling of the new tonality. In the Mass, a true tonality is made, the new Is established in the lation takes place. The polyphonte compositions of the sixteenth century were written entirely a oappelle and thus were performed unaccompanied. It was during this period that a cappella singing reached its peak and since then it has been more and more pushed into the background. In the twentieth century Mass, the organ accompaniment is used. The accompaniment is written in choral style, and at times there are reminiscences of the a cappella style because of the chorus singing a few measures unaccompanied, but the majority of the Mass usee accompaniment, a M so it is with the greater per cent of twentieth century compositions. To the listener, these two Masses will probably reveal their greatest differences in polyphonic technique and harmonies. The Mass of Palestrina truly discloses why the sixteenth century is called the golden age of poly phony. From the beginning of the Mass to the end of it. 1 4 1 U 4 . U - ' - BIBLIOGRAPHY 1. Coates, Henry .'a:. ■ * , V> ______v ' , E. P. Dutton and Co., Inc., 1938. Dickinson, 3. Grove ta^Dlctlonary of Music and^Muslclana. 4. . a: : New York, rrlntlce - Hall, Inc., 1939. 5. Lemalre, Le Chant, aea princlpes et son hlatolre. 6.Morris, R. 0. Contrapuntal Technique. >'■ ■ Oxford at the Clarendon Press, 1922. V. V. Pierluigi, Giovanni, da Palestrina "Missa sine nomine,M , s : . : New York, J. Fischer & Bro., 1930. Sullivan, Rev. John F. The Visible Church. New York, P. 9. Yon. Pietro A. ''His s a Solemnis , " New York, J. Fischer & Bro., 1925. n m -3,0 /O . L £3 90 0 1 uu i 283988b