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Uniiiversiv Micidnlms International INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. UniiiversiV M icidnlms international 300 N. Zeeb Road Ann Arbor, Ml 48106 8526255 Sovik, Thomas Paul MUSIC THEORISTS OF THE BOHEMIAN REFORMATION; TRANSLATION AND CRITIQUE OF THE TREATISES OF JAN BLAHOSLAV AND JAN JOSQUIN The Ohio State University Ph.D. 1985 University Microfilms I n ter nation el 300 N. z ee b Road, Ann Arbor, Ml 48106 Copyright 1985 by Sovik, Thomas Paul All Rights Reserved PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark V 1. Glossy photographs or pages. 2. Colored illustrations, paper or print. 3. Photographs with dark background V 4. Illustrations are poor copy ______ 5. Pages with black marks, not original copy. 6. Print shows through as there is text on both sides of page. 7. Indistinct, broken or small print on several pages 8. Print exceeds margin requirements ______ 9. Tightly bound copy with print lost in spine _______ 10. Computer printout pages with indistinct print. 11. Page(s) ___________ lacking when material received, and not available from school or author. 12. Page(s) ___________ seem to be missing in numbering only as text follows. 13. Two pages numbered . Text follows. 14. Curling and wrinkled pages ______ 15. Dissertation contains pages with print at a slant, filmed as received _________ 16. Other_________________________________________________________________________ University Microfilms International MUSIC THEORISTS OF THE BOHEMIAN REFORMATION; TRANSLATION AND CRITIQUE OF THE TREATISES OF JAN BLAHOSLAV AND JAN JOSQUIN DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Thomas Paul Sovik, B.A., M.A. ***** The Ohio State University 1985 Dissertation Committee: Approved by Dr. Burdette Green Dr. Norman Phelps A • Adviser Dr. William Poland School of Music Copyright by Thomas Paul Sovik 1985 To Pamela and Sarah Elizabeth XI ACKNOWLEDGMENTS I wish to express my sincere appreciation to Dr. Burdette Green for his guidance, insight, and patience throughout this research. Thanks go to the other members of my advisory committee, Drs. Norman Phelps and William Poland, for their suggestions and comments. The technical assistance of Dr. Jiri Hochman is gratefully acknowledged. Ill VITA 18 October 1953 ............... B o m - Youngstown, Ohio. 1974 ......................... B.A., Ashland College, Ashland, Ohio. 1974-1981 ..................... Graduate Teaching Associate, School of Music, The Ohio State University, Columbus, Ohio. 1975 ......................... M.A., The Ohio State University, Colunibus, Ohio. 1981 ......................... Doctoral Research in Czechoslovakia. 1982 ......................... Instructor, School of Music, The University of Northern Iowa, Cedar Falls, Iowa. 1982-1984 ..................... Director of Yamaha Education Systems in Central Wisconsin. FIELDS OF STUDY Major Field: Music Theory Music Theory: Professors Marshall Barnes, Burdette Green, and William Poland. History of Music Theory; Professors Burdette Green and Norman Phelps. Music History: Professors Richard Hoppin, Alexander Main, Keith Mixter, and Gordon Wilson. IV t a b l e o f c o n t e n t s DEDICATION................................................... ii ACKNOWLEDGMENTS ............................................. iii VITA ........................................................ iv LIST OF F I G U R E S .............................................. viii LIST OF PLATES ............................................... x PREFACE .................................................... xi PART I - THE COMMENTARY CHAPTER PAGE I. INTRODUCTION............................. 2 Protestantism in Bohemia-Moravia....................... 2 The Utraquist Church ................................... 2 The Jedncta bratrska ................................... 9 II. THE BIOGRAPHY OF JAN BLAHOSLAV . ...................... 12 Blahoslav's Early Years ............................... 14 Blahoslav as Author and Editor ......................... 24 Blahoslav as Educator and Publisher ................... 33 Conclusion............................................. 38 III. ARGUMENTS REGARDING THE IDENTITY OF JAN JOSQUIN ........ 39 The Hypothesis of Pavel Frantisek Gabulka ............ 39 The Hypothesis of Josef Jirecek ...................... 41 The Hypothesis of Otakar Hostinsky .................... 44 The Hypothesis of Ladislav Dolansky ................ 51 The Hypothesis of Vladimir G r e g o r .................... 57 The Hypothesis of Frantisek Bartos .................... 58 The Hypothesis of Ivan Vavra .................. 59 Conclusion............................................. 62 CHAPTER PAGE IV. MUSIC THEORY ACCORDING TO JAN BLAHOSLAV AND JAN JOSQUIN ........................................... 64 The Hexachord S y s t e m ................................... 70 Solmization and Mutation ............................. 80 Notes, Ligatures, Intervals, and Rests ................... 86 The Mensural S y s t e m ................................... 93 Syncopation, Coloration, andHemiola .................... 98 Additional Notational Figures ......................... 101 The T o n e s .................... 105 Transposition ......................................... 112 Conclusion............................................. 114 PART II - THE TRANSCRIPTIONS AND TRANSLATIONS NOTES ON THE TRANSCRIPTIONS AND TRANSLATIONS.................. 118 The Editions ..................................... 118 The Procedures........................................... 125 THE MUSICA OF JAN BLAHOSLAV ................................... 129 To the Reader ( 1 ) ....................................... 131 To the Reader ( 2 ) ....................................... 133 Chapter 1 About the Differences Among Singers ........ 136 Chapter 2 Upon What Music Depends ...................... 138 Chapter 3 About Vocables ........................... 141 Chapter 4 About K e y s ................................. 144 Chapter 5 About the Transformation of the Six V o c a b l e s ................................150 Chapter 6 About the Manner and Shape of the Notes . 161 Chapter 7 About Pauses ............................... 169 Chapter 8 About the T a c t ..............................172 Chapter 9 About the Mensural Si g n s ..................... 175 Chapter 10 About the Tones ..............................181 THE MUZIKA OF JAN JO S Q U I N ..................................... 200 Dedication............................................... 203 E p i g r a m ................................................. 208 To the R e a d e r ........................................... 209 Chapter 1: About Vocables ........................... 213 Chapter 2: About Ke y s ................................. 220 Chapter 3: About the Mannerand Form of the Notes . 225 Chapter 4: About Mutation ........................... 236 Chapter 5: About Transposition ....................... 256 VI PAGE Chapter 6 About Characters ........................... 267 Chapter 7 About Solmization........................... 275 Chapter 8 About Tones ................................. 289 APPENDICES A. Chronological List of Blahoslav’s Writings .............. 299 B. Facsimile of P. F. Gabulka’s Note Attached to Josquin’s Muzika ...................................... 306 C. Hymns of the Samotulsky kancional Used as Examples in Blahoslav’s Musica and Josquin's Muzika ............... 307 D. Transcription of the Polyphonic Examples Used in Blahoslav’s Musica and
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