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37<F Aisid M . HZ-Li CADENTIAL SYNTAX and MODE in THE 37<f AiSId M. HZ-li CADENTIAL SYNTAX AND MODE IN THE SIXTEENTH-CENTURY MOTET: A THEORY OF COMPOSITIONAL PROCESS AND STRUCTURE FROM GALLUS DRESSLER'S PRAECEPTA MUSICAE POETICAE DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By David Russell Hamrick, B.A., M.M, Denton, Texas May, 1996 37<f AiSId M. HZ-li CADENTIAL SYNTAX AND MODE IN THE SIXTEENTH-CENTURY MOTET: A THEORY OF COMPOSITIONAL PROCESS AND STRUCTURE FROM GALLUS DRESSLER'S PRAECEPTA MUSICAE POETICAE DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By David Russell Hamrick, B.A., M.M, Denton, Texas May, 1996 Hamrick, David Russell, Cadential syntax and mode in the sixteenth-century motet: a theory of compositional process and structure from Gallus Dressier's Praecepta musicae poeticae. Doctor of Philosophy (Musicology), May, 1996, 282 pp., 101 tables, references, 127 titles. Though cadences have long been recognized as an aspect of modality, Gallus Dressier's treatise Praecepta musicae poeticae (1563) offers a new understanding of their relationship to mode and structure. Dressier's comments suggest that the cadences in the exordium and at articulations of the text are "principal" to the mode, shaping the tonal structure of the work. First, it is necessary to determine which cadences indicate which modes. A survey of sixteenth-century theorists uncovered a striking difference between Pietro Aron and his followers and many lesser-known theorists, including Dressier. The latter held that the repercussae of each mode were "principal cadences," contrary to Aron's expansive lists. Dressier's syntactical theory of cadence usage was tested by examining seventeen motets by Dressier and seventy-two motets by various early sixteenth-century composers. In approximately three-fourths of the motets in each group, cadences appeared on only two different pitches (with only infrequent exceptions) in their exordia and at text articulations. These pairs are the principal cadences of Dressier's list, and identify the mode of the motets. Observations and conclusions are offered regarding the ambiguities of individual modes, and the cadence-tone usage of individual composers. TABLE OF CONTENTS Page LIST OF TABLES iv Chapter PART ONE: APPROACHES TO ANALYSIS OF RENAISSANCE POLYPHONY 1. INTRODUCTION 1 2. TONAL APPROACHES TO RENAISSANCE ANALYSIS 19 3. MODAL APPROACHES TO RENAISSANCE ANALYSIS 30 4. ECLECTIC APPROACHES TO RENAISSANCE ANALYSIS 42 PART TWO: DRESSLER'S THEORY OF CADENTIAL EXPRESSION OF MODE 5. STRUCTURAL CADENCES IN RENAISSANCE MUSIC 54 6. CADENCE TONE HIERARCHIES IN RENAISSANCE THEORY 68 7. EXPOSITION OF DRESSLER'S STATEMENTS ON CADENTIAL SYNTAX AND MUSICAL STRUCTURE 84 PART THREE: APPLICATION OF DRESSLER'S CADENCE-TONE THEORY 8. CADENCE-TONE ANALYSIS OF DRESSLER'S XVII CANTIONES SACRAE 91 9. CADENCE-TONE ANALYSIS OF MOTETS SELECTED FROM PSALMORUM SELECTORUM (1553-1554) 107 PART FOUR: CONCLUSIONS FROM ANALYSIS AND RECOMMENDATIONS FOR FURTHER RESEARCH 10. REVIEW OF EVIDENCE FOR CADENTIAL EXPRESSION OF MODE 115 11. CONCLUSIONS REGARDING CURRENT SCHOLARSHIP 123 12. AREAS FOR FURTHER RESEARCH 130 xi APPENDIX A: CADENCE-TONE ANALYSIS TABLES 136 APPENDIX B: GALLUS DRESSLER'S PRAECEPTA MUSICAE POETICAE 221 BIBLIOGRAPHY 272 1X1 LIST OF TABLES Page Table 1. Theorists Consulted Regarding Composition of Cadence and Ordering of Cadence Tones (arranged chronologically) 56 2. Theorists Using Semibreve Pulse Exclusively in Cadence Examples 59 3. Theorists Exhibiting a Distinction Between "Simple" and "Diminished" Cadences 61 4. Theorists Representing Cadences as Exclusively Containing a Syncopation Figure and Dissonance 62 5. Comparison of the Three Approaches to Cadence-Tone Theory 69 6. Theorists Supporting the Initium-Derived Cadence-Tone Theory 70 7. Comparison of Cadence-Tone Lists in 1523 and 1529 editions of Pietro Aron's Thoscanello de la musica 71 8. Initium List in Tinctoris's De natura et proprietate tonorum 73 9. Theorists Listing Initiae Without Reference to Cadence 74 10. Theorists Supporting the Kepercussae-Derived Cadence-Tone Theory 76 11. Cadence-Tone List from Johannes Cochlaeus's Exercitium cantus choralis (1511) 78 12. Cadence-Tone List from Gallus Dressier's Praecepta musicae poeticae (1563) 79 13. Theorists Supporting the Zarlinian Cadence-Tone Theory 83 IV 14. Cadences in Dressier's "Venite ad omnes" 137 15. Cadences in Dressier's "Lucerna pedibus meis verbum tuum" 137 16. Cadences in Dressier's "Haec est voluntas ejus" 138 17. Cadences in Dressier's "Vespera nunc venit" .... 139 18. Cadences in Dressier's "Nil sum, miser novi solatia" 139 19. Cadences in Dressier's "Quicquid erit tandem, mea spes" 140 20. Cadences in Dressier's "Ecce ego nob is cum sum" 141 21. Cadences in Dressier's "Fundamentum aliud nemo potest" 142 22. Cadences in Dressier's "Pectus ut in spenso flammorum incedia sentit" 142 23. Cadences in Dressier's "Ego sum lux mundi" 143 24. Cadences in Dressier's "Sic Deus dilexit mundum" 144 25. Cadences in Dressier's "Amen dico vobis" &4 .... 144 26. Cadences in Dressier's "Dixit Jesus mulieri" ... 145 27. Cadences in Dressier's "Corporatis exercitatio paululum habet" 146 28. Cadences in Dressier's "Amen dico vobis" a5 .... 146 29. Cadences in Dressier's "Ego plantavit, Apollo rigavit" 147 30. Cadences in Dressier's "Ego sum panis ille vitae" 148 31. Cadences in Jacobus Clemens' "Domine, non est exaltatum cor meum" 149 32. Cadences in Jacobus Clemens' "Domine probasti me" 150 33. Cadences in Jacobus Clemens' "Exaltabo te Domino" 151 34. Cadences in Jacobus Clemens' "In te Domine speravi" 152 35. Cadences in Thomas Crequillon's "Adjuva nos Deus" 153 36. Cadences in Thomas Crequillon's "Domine, da nobis auxilium" 154 37. Cadences in Thomas Crequillon's "Invocabo nomen tuum Domine" 155 38. Cadences in Thomas Crequillon's "Venite et videte opera Domini" 156 39. Cadences in Nicolas Gombert's "In te Domine speravi" 157 40. Cadences in Nicolas Gombert's "Laqueus contritus est" 158 41. Josquin des Pres' "Domine, ne in furore tuo argas me" 159 42. Cadences in Josquin des Pres' "Mirabilia testimonia tua, Domine" 160 43. Cadences in Josquin des Pres' "Usquequo, Domine" 162 44. Cadences in Elzear Genet's "Legem pone mihi Domine" 163 45. Cadences in Nicolas Gombert's "Salvum me fac" 164 46. Cadences in Maistre Gosse's "Laudate Dominum" 165 47. Cadences in Jean Guyon's "Fundamenta ejus in montibus" 166 48. Cadences in Jachet de Mantua's "Salvum me fac" 167 49. Cadences in Francesco Layolle's "Memor est verbi tui" 168 vx 50. Cadences in Cristobal de Morales' "Inclina me, Domine, aurem tuam" 169 51. Cadences in Adrian Willaert's "Qui habitat in adjutorio" 171 52. Cadences in Claudin de Sermisy's "Domini est terra" 173 53. Cadences in Jacobus Clemens' "Aperio Domine" ... 174 54. Cadences in Jacobus Clemens's "Servus tuus ego sum" 175 55. Cadences in Jean Conseil's "Adjuva me, Domine" 176 56. Cadences in Thomas Crequillon's "Dirige gressus meus" 176 57. Cadences in Thomas Crequillon's "Hei mihi Domine" 177 58. Cadences in Mathieu Gascongne's "Quare tristis es anima mea" 178 59. Cadences in Nicolas Gombert's "Confitebimur tibi Deus" 179 60. Cadences in Nicolas Gombert's "Peccata mea sicut sagitae" 180 61. Cadences in Jacotin's "Credidi, propter quod locutus sum" 181 62. Cadences in Josquin des Pres' "Cantate Domino canticum novum" 182 63. Cadences in Cipriano de Rore's "In convertendo Dominus" 183 64. Cadences in Claudin de Sermisy's "Beatus vir qui non abiit" 184 65. Cadences in Thomas Crequillon's "Cor mundum crea in me" 184 66. Cadences in Thomas Crequillon's "Erravi sicut ovis" 185 67. Cadences in Josquin des Pres' "Beati quorum" ... 186 VI1 68. Cadences in Josquin des Pres' "Caeli enarrant gloriam Dei" 187 69. Cadences in Josquin des Pres' "Domine Dominus noster" 189 70. Cadences in Josquin des Pres' "Domine, ne in furore tuo argas me" 189 71. Cadences in Jean Richafort's "Exaudiat te Dominus" 190 72. Cadences in Thomas Stoltzer's "Saepe expugnaverunt me" 191 73. Cadences in Jacobus Clemens' "Domine clamavi" .. 192 74. Cadences in Josquin des Pres' "Deus in nomine tuo salvum me fac" 193 75. Cadences in Josquin des Pres' "Domine, exaudi orationem meum" 194 76. Cadences in Josquin des Pres' "Domine, ne projicias me" 195 77. Cadences in Josquin des Pres' "Qui regis Israel, intende" 196 78. Cadences in Mathieu Lasson's "In manibus tuis sortes meae" 196 79. Cadences in Pierre de Manchicourt's "Paratum cor meum" 197 80. Cadences in Dominique Phinot's "Exaudiat te Domine" 198 81. Cadences in Claudin de Sermisy's "Benedic anima mea Domino" 199 82. Cadences in Claudin de Sermisy's "Deus, in adjutorium meum intende" 200 83. Cadences in Jacobus Clemens' "Confundantur omnes" 200 84. Cadences in Thomas Crequillon's "Deus virtutem convertere" 201 85. Cadences in Nicolas Gombert's "Inclina, Domine, aurem tuam" 202 viii 86. Cadences in Josquin des Pres' "Benedicite omnia opera Domini Domino" 203 87. Cadences in Josquin des Pres' "Dominus regnavit" 204 88. Cadences in Josquin des Pres' "In Domini confido" 204 89. Cadences in Josquin des Pres' "Laudate pueri Dominum" 205 .90. Cadences in Ludwig Senfl's "Deus in adjutorium" 206 91. Cadences in Jacobus Clemens' "Dominus qui habitabit" 207 92. Cadences in Jacobus Clemens' "Levavi oculos meos" 207 93. Cadences in Nicolas Gombert's "Ad te levavi oculos" 208 94. Cadences in Nicolas Gombert's "Deus ultionum Dominum" 209 95. Cadences in Cristobal de Morales' "Beatus omnes qui timent Dominum" 210 .96. Cadences in Adrian Willaert's "Dominus regit me-Parasti" 211 97. Cadences in Antoine Brumel's "Laudate Dominum de caelis" 212 98. Cadences in Jacobus Clemens' "Fac mecum signum" 213 99. Cadences in Claudin de Sermisy's "Deus misereatur nostri" 214 100.
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