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Hughes, Richard Vaughan (1996) the Ritus Canendi Vetustissimus Et Novus of Johannes Legrense: a Critical Edition with Translation, Introduction and Notes on the Text

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Hughes, Richard Vaughan (1996) the Ritus Canendi Vetustissimus Et Novus of Johannes Legrense: a Critical Edition with Translation, Introduction and Notes on the Text Hughes, Richard Vaughan (1996) The ritus canendi vetustissimus et novus of Johannes Legrense: a critical edition with translation, introduction and notes on the text. PhD thesis. http://theses.gla.ac.uk/1262/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] i THE RITUS CANENDI VETUSTISSIMUS ET NOVUS OF JOHANNES LEGRENSE A CRITICAL EDITION WITH TRANSLATION, INTRODUCTION AND NOTES ON THE TEXT by RICHARD VAUGHAN HUGHES IN TWO VOLUMES SUBMITTED TO GLASGOW UNIVERSITY, THE FACULTY OF ARTS, IN FULFILMENT OF THE REQUIREMENTS OF THE DEGREE OF DOCTOR OF PHILOSOPHY MARCH 1996 VOLUME ONE (c) RICHARD HUGHES 1996 MISSING PAGES ARE BLANK IN ORIGINAL THE RITUS CANENDI VETUSTISSIMUS ET NOVUS OF JOHANNES LEGRENSE A CRITICAL EDITION WITH TRANSLATION, INTRODUCTION AND NOTES ON THE TEXT by RICHARD VAUGHAN HUGHES ABSTRACT During the last forty years, many new editions of medieval and Renaissance music treatiseshave appeared;these replace the older editions, many of which are accommodatedin the anthologiesof Martin Gerbert and Edmond de Coussemaker. The aim of the presentwork is to provide for the readera modem edition of Ritus Canendi from which Coussemaker'sfrequent misreadingshave been removed. The late Professor Albert Seay'sown edition, published in 1980, also contains errors, many of which remain seriousenough to mislead the reader, and it was on thesegrounds that a re-working of the Latin text was felt to be justified. The work also contains a full English translationof the Latin text, in the belief that such treatisesshould enjoy as wide a readershipas possible. The process of translation has involved the presenteditor in a study of such word usageas is relevant, and this in turn has provided an insight into Johannes'unnamed sourcesand influences. The footnoteswhich are accommodatedunder the English text attempt to identify such sourcematerial, as well as provide specific referencesmade by Johanneshimself. Where a Greek sourceis identified, the reader is referred to the secondvolume of Andrew Barker's Greek Musical Writings for translations into English. These sourcesare for the most part accocrm th cd in my Additional Sourcesand Obsenvtiions,as are eorr eius from specific ucsagcs from Ritus Canendi when thesehave beentr2nsb ed by of n. The Introduction can be readwithout refatnce to the full tact. since it contains ample quotations from the body of the utatuc, with the original Latin accommodatedin the footnotesin all cases. Two maininfluences are identified in theIntroduction. 1. The long tradition of the medievalspeculative treatise is ekarly rcimscnted. Here the emphasisis on Reason.and the closerelationship tctwccn musical interval and mathematicalratio as portrayal in the legen4luyPythagont. If one is to view Johannes'work solely within this context. he is seenas a true Padua's conservative,for he mountsa strongattack againstMuchetto da anui- Pythagoreanviews, and in particular his equaldivision of the whole tone and his ensuingchromaticisms. The views of mcxkrn coi *iicnutots on Johan standpointare also here discussed. 2. The Introduction also portraysJohannes as put of that spirit of enquiry which characterizedRenaissance humanitm, for he txcomcs the first to seekto interpretaspects of Greek music theory as dcuritxxt in the Dr Mticslcoof the sixth century theorist and philosopherIlocthius. iarticututy signif csnt hue Is Johannes'inspirational graspof the basisof tloethius' rt lrs: a summaryof the medievalperception of thesemodes provides the context vºhcttby incongruities in Johannes'text arc kkntir". ant the obsesvitiortisof trcent writers commentedupon. The combinationof Medievaland Remits zt cc inftuencctwithin the trrxü, e result in an interestingtwo way process:iotanncs" ir:terprtt *tont of the GrvCk scalarsystems are madein the light of the medievalcxpctiencr. but it is his ' preoccupationswith theseinterpretations which lead him to overlook someof the classicfeatures of medievalmodal theory. The notion of species(the classificationof which dependsupon particular ways of filling in intervals accordingto tonesand semitones)becomes the recurrenttheme of the entire treatise,not only in theoretical,but in practical matters. VII CONTENTS VOLUME ONE PREFACE ix INTRODUCTION 1 ChapterOne 3 JohannesLegrense Chapter Two 13 Aspects of Greek Theory in Boethius' De Musica and in Ritus Canendi 13 Sound, Pitch and Interval 15 Intervals and PythagoreanRatio 19 The Greek Perfect Systems 26 Greek Tonality and Boethian Modality 30 Johannes'Own Perception of Greek Theory 38 Chapter Three Medieval Modal Theory 47 The Octave SpeciesUsed to Explain 'Irregular' Chants 52 Aspects of Modal Theory in Lucidariwn 55 ChapterFour Theory and Practice 63 The Monochord 63 The Solmization Processas an Aid to Singing at Sight 66 Simple Counterpoint 75 ADDITIONAL SOURCESAND OBSERVATIONS 83 BIBLIOGRAPHY 101 VOLUMETWO THE TREATISE 115 Its Structure 117 The Manuscripts 118 Manuscript Characteristicsand Relationships 120 Editorial Practice 123 ABBREVIATIONS USED IN THE APPARATUS CRITICUS 125 ABBREVIATIONS USED IN THE ENGLISH TEXT 126 THE TEXT AND TRANSLATION 129 ix PREFACE The last forty years have witnessedwhat can be regardedas a Renaissancein the field of musical studiesin that the old editions of medieval and Renaissance music treatiseshave begun to be viewed with more critical eyes. Gerbert's eighteenthcentury collection, and the nineteenthcentury Coussemaker anthology, are no longer regardedas definitive editions which make up a large corpus of musical literature, and which provide an invaluable insight into both theory and practice during the Middle Ages and beyond. The aim of the presentwork is to provide for the reader a critical edition of JohannesLegrense's Ritus Canendi from which Coussemaker'sfrequent misreadingshave been removed. A study of the late ProfessorAlbert Seay's own edition of the treatise-publishedin 1980-has shown that this version too contains errors, many of which remain seriousenough to mislead the reader, and it was on thesegrounds that a re-working of the Latin text was felt to be justified. Nevertheless,I am indebted to ProfessorSeay's work on the treatise, not least for his transcription of Johannes'word setting 'Ave mitis ave pia', and for his details of the contentsof the manuscriptswhich accommodatethe original text. The presentedition also containsa full translationof the text, in the belief that such treatisesshould enjoy as wide a readershipas possible. The processof translation has involved the presenteditor in a study of such word-usageas is relevant, and this in turn hasprovided an insight into Johannes'unnamed sourcesand influences. The Notes which accompanythe English text attempt to identify such sourcematerial, as well as provide specific referencesmade by Johanneshimself. Where a Greek sourceis identified, the readeris referred to the secondvolume of Andrew Barker's Greek Musical Writings for X translationsinto English. My Additional Notes and Observations towards the end of Volume One contain comments on specific passagesfrom Ritus Canendi when thesehave been translatedby others, togetherwith further sourcesand fuller quotations. This work is accommodatedin two volumes: the first contains the Introduction, the Notes and the Bibliography, the secondthe full text and translation. The Introduction can be read without referenceto the text itself, since it contains ample quotations from the body of the treatise,with the original Latin accommodatedin the footnotes in all cases. My thanks are due to ProfessorPatrick Walsh and Doctor Warwick Edwards, both of Glasgow University, for their infinite patience and wise counsel, to Elizabeth Rendall for typing the script, to Michael Whittles for scanningand re- formatting the text, and to my wife Glenys for her invaluable help with the proofreading: her advice on style and content has always been gratefully received. Here too I acknowledge the kind interesttaken in this project by Professor Calvin Bower and Professor Dolores Pesce,and for their respective observationson the Boethius manuscript Vat. Lat. 5904, and Guido D'Arezzo's Regulae rhythmicae. I would finally pay tribute to the late Mr Frederick Rowlands, sometime Senior ClassicsMaster at Grove Park Grammar School for Boys, Wrexham. Without his scholarly teaching, the idea of embarking on this project could never even have been entertained. I W INTRODUCTION 3 CHAPTER ONE JOHANNES LEGRENSE The year of Johannes'birth must remain a matter for conjecture, but since Ritus Canendi, according to Johannes'own testimony, was written during the papacy of Pius II (1458-62), we can conclude that he was born during the first half of the fifteenth century: I do not mention theseissues because of a wish to introduce new practice, but rather through a desire,under the Papacyof Pius II, to renew within God's Church the true, concise, and indeed easily mastered practices of the ancient fathers as regardssounds and pitches.' The school in Mantua which he later
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