explorations in renaissance culture 43 (2017) 109-139 brill.com/erc Streaming Music into Renaissance Studies: The Case of L’homme armé Kevin N. Moll East Carolina University
[email protected] Abstract College-level courses devoted to Renaissance culture typically put a premium on incorporating primary sources and artifacts of a literary, art-historical, and historical nature. Yet the monuments of contemporaneous music continue to be marginalized as instructional resources, even though they are fully as worthy both from an aesthet- ic and from a historical standpoint. This study attempts to address that problem by invoking the tradition of early polyphonic masses on L’homme armé – a secular tune used as a unifying melody (cantus firmus) throughout settings of the five-movement liturgical cycle. Beginning by explaining the origins and significance of the putative monophonic tune, the paper then details how a series of composers utilized the song in interestingly varied ways in various mass settings. Subsequently it sketches out a context for mysticism in the liturgical-musical tradition of L’homme armé, and points to some compelling parallels with the contemporaneous art of panel painting, specifically as represented in the works of Rogier van der Weyden. Keywords Franco-Flemish polyphony – mass cycle – cantus firmus – pedagogy – L’homme armé – Rogier van der Weyden – mysticism * This paper is a substantially altered version of the South-Central Renaissance Conference William B. Hunter Lecture, delivered in St Louis, mo on March 3, 2011 with the title “Some Straight-Shooting Observations on the Early L’homme armee Masses.” Because the study is being published in a journal that traditionally has been devoted primarily to non-musical studies, effort has been made to refrain here from overindulgence in specialized musical vo- cabulary and to clarify those terms that are used.