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Studies in the History of the Cadence Caleb Michael Mutch Submitted In Studies in the History of the Cadence Caleb Michael Mutch Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 1 © 2015 Caleb Michael Mutch All rights reserved 2 ABSTRACT Studies in the History of the Cadence Caleb Michael Mutch This dissertation traces the development of the concept of the cadence in the history of music theory. It proposes a division of the history of cadential theorizing into three periods, and elucidates these periods with four studies of particularly significant doctrines of musical closure. The first of these periods is the pre-history of the cadence, which lasted from the dawn of medieval music theory through the fifteenth century. During this time theorists such as John of Affligem (ca. 1100), whose writings are the subject of the first study, developed an analogy between music and the classical doctrine of punctuation to begin to describe how pieces and their constituent parts can conclude. The second period begins at the turn of the sixteenth century, with the innovative theory expounded by the authors of the Cologne school, which forms the subject of the second study. These authors identified the phenomenon of musical closure as an independent concept worthy of theoretical investigation, and established the first robustly polyphonic cadential doctrine to account for it. For the following three centuries theorists frequently made new contributions to the theorizing of the cadence in their writings, as exemplified by the remarkable taxonomy of cadences in the work of Johann Wolfgang Caspar Printz (1641-1717), the subject of the third study. By the early nineteenth century, however, cadential theorizing had largely ossified. Instead, authors such as A. B. Marx (1795- 1866), on whose writings the fourth study focuses, only drew upon the concept of the cadence 3 as was necessary in their treatments of newly emerging theoretical concerns, especially musical form. In order to elucidate and corroborate this historical framework, the dissertation’s chapters undertake close readings of the doctrines of musical closure put forth by John of Affligem, the Cologne school, Printz, and Marx. The theoretical contributions contained in these sources are interpreted and contextualized in light of the non-musical discourses upon which they draw, and through interrogation of the relationship between the cadential ideas they espouse and contemporaneous musical practice. In doing so, the dissertation reveals discontinuities in the concepts and functions of cadential doctrines in historical music theories, and provides new possibilities for understanding and experiencing musical structure. 4 TABLE OF CONTENTS LIST OF EXAMPLES ................................................................................................................................ iv LIST OF FIGURES ..................................................................................................................................... vi ACKNOWLEDGMENTS ....................................................................................................................... vii INTRODUCTION ...................................................................................................................................... 1 CHAPTER 1. MUSICAL CLOSURE, GRAMMATICO-RHETORICAL DOCTRINE, AND CHANT: JOHN OF AFFLIGEM ..................................................................................... 14 1.1 The Analysis of Speech Structure in Classical Rhetoric ........................................................ 16 1.2 The Grammatical Doctrine of Punctuation in Antiquity and the Early Middle Ages ......... 24 1.3 Grammatical and Rhetorical Elements in Musical Discourse before John of Affligem ....... 34 1.4 John of Affligem and the Application of the Distinctiones to Music ....................................... 46 1.5 The Transmission of the Doctrine ................................................................................................ 66 1.6 Conclusion ...................................................................................................................................... 70 CHAPTER 2. POLYPHONIC CLOSURE IN THE RENAISSANCE: THE COLOGNE SCHOOL ........................................................................................................ 72 2.1 The Term Clausula Formalis ........................................................................................................... 75 2.2 Precedents of the Cologne School’s Theory ............................................................................... 85 2.3 The First Stage: Three-voice Cadences in the Opus aureum and Musica ................................. 91 i 2.4 The Second Stage: Four-voice Cadences in the Musica and Tetrachordum musices ............. 102 2.5 Triadic Tonality and Cochlaeus’s Sixth Rule ........................................................................... 106 2.6 Cadential Doctrine and Compositional Practice ..................................................................... 122 2.7 Conclusion .................................................................................................................................... 137 CHAPTER 3. MID-BAROQUE CLAUSULA DOCTRINE: PRINTZ AND HIS PREDECESSORS ..................................................................................... 140 3.1 German Cadence Theory before Printz .................................................................................... 142 3.2 A Ramist Theory of Cadence ...................................................................................................... 154 3.3 Printz’s contribution .................................................................................................................... 165 3.3.1 Voice-specific Cadences ....................................................................................................... 166 3.3.2 Cadence and Mode: Propria/Peregrina .............................................................................. 171 3.3.3 Perfect/Imperfect Cadences ................................................................................................. 175 3.3.4 Totalis/Dissecta ...................................................................................................................... 177 3.3.5 Desiderans/Acquiescens....................................................................................................... 181 3.3.6 The Sedes ................................................................................................................................. 192 3.3.7 An Inchoate Theory of Phrases ........................................................................................... 199 3.4 Conclusion .................................................................................................................................... 202 ii CHAPTER 4. A. B. MARX, BIOLOGY, FORM, AND CADENCE .................................................. 205 4.1 The Roles of Cadence in Music-theoretical Discourse before A. B. Marx ............................ 206 4.2 A. B. Marx’s Conception of Cadence ......................................................................................... 216 4.3 Form and Cadence in Marx’s Music Theory ............................................................................ 225 4.4 Organicism and Marx’s Theory of Form .................................................................................. 238 4.5 Changes in the Nineteenth Century .......................................................................................... 247 4.6 Conclusion .................................................................................................................................... 258 BIBLIOGRAPHY .................................................................................................................................... 264 APPENDIX .............................................................................................................................................. 283 iii LIST OF EXAMPLES Example 1.1 “Tribus miraculis ornatum diem,” antiphon for the feast of Epiphany ................... 44 Example 1.2 “Petrus autem servabatur,” antiphon for the feast Vincula Petri ............................... 53 Example 1.3 “Homo quidam erat dives et,” antiphon for the feast of the second Sunday after Pentecost ................................................ 59 Example 1.4 “Erat Petrus dormiens inter,” antiphon for the feast Vincula Petri ............................ 61 Example 1.5 “Transeuntes autem primam et,” antiphon for the feast Vincula Petri ...................... 64 Example 1.6 “Ecce nomen Domini,” antiphon for the feast Nativitas Domini ................................ 67 Example 1.7 Melodic ending formulas from Wollick, Opus aureum, f. F4v ..................................... 69 Example 2.1 Three-voice clausulae from [Cochlaeus], Musica (ca. 1505), f. C5r ............................. 96 Example 2.2 A two-voice clausula from Ornithoparchus, Musice active micrologus, IV.4, f. L4v ......................................................................................... 97 Example 2.3 Clausulae on mi ............................................................................................................... 100 Example 2.4 Four-voice clausulae from Cochlaeus, Musica (1507), f. F4v ..................................... 103 Example 2.5 Cochlaeus’s Sixth
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