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s;iww«TOA^c.uiiari.w! / . 1 \.vi ‘ U.- n > t xAl/^ n « ' ^ 5 , J n 'ri^l m a ).'ïS!jftrt« *B*NaaBawM«aa# Sitsiistl iwçîW'^aïi! Rsssîjrssüi AiftM j?»-a*/..p..--,".i u^-nl'TiJjl.AO-'^w'.rf lu a;w%VA,!ur.vw&Kc;w,Y^^ THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE IDENTIFICATION AND USE OF THE AYE MARIA CANTUS FIRMUS IN SIXTEENTH CENTURY MOTETS VOLUME I A DOCUFÎENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By DENNIS ROBERT MOSSER Norman, Oklahoma 1984 THE IDENTIFICATION AND USE OF THE AVE MARIA CANTUS FIRMUS IN SIXTEENTH CENTURY MOTETS VOLUME I APPROVED BY: Dr. Bruce M. Govich, Chairman Dr.^u^ene ^n-gjico Dr./James Faulcaper /C\VLCcJ Dr. /CUxS^ Dr. Paul Ruggife-fe' DOCUMENT COMMITTEE © 1984 DENNIS ROBERT MOSSER ALL RIGHTS RESERVED ACKNOIVLEDGMENTS The author wishes to express his gratitude for the contributions of the advisory committee: to Dr. Bruce Govich who has guided this project with skill, patience, and understanding; to Dr. Dennis Shrock for his support and constructive critique; to Dr. Eugene Enrico for his constant interest and guidance in the development of the project; to Dr. James Faulconer for his assistance in developing the analytical procedure; to Dr. Irvin Wagner for his continuing support; and to Dr, Paul P.uggiers for his enthusiastic interest and encouragement. Appreciation is also expressed for the contributions of: Dr. Ernest Trumble of the University of Oklahoma for sharing his personal library; to Fr. Stephen Boyd of St. Thomas More Catholic Church for his liturgical advice; to Harriet Burchi11 of the Minneapolis Public Library for assisting in the search for bibliographic information; to Charles J. Ermatinger of the Vatican Film Library at St. Louis University for his assistance in locating microfilm of Vatican manuscripts; to Rev. Theodore Koehler and Br. William Fackovec of the Marian Library at the University of Dayton for their generous interest and research assistance ; and to Jan Seifert and the library staff at the University of Oklahoma for their assistance and support. Finally, a deep sense of gratitude to parents, family, and friends who have offered support, understanding and encouragement. TABLE OF CONTENTS Page ACKNOVJLEDGMENTS........................... iv LIST OF EXAMPLES ........................... viii LIST OF COMPARATIVE ILLUSTRATIONS .... xii LIST OF TABL E S ..............................xiii PREFACE ......................................... X V Chapter I. H I S T O R Y ............................. 1 History of the Ave Maria Prayer .............. 1 Introduction . ................ i Salutation Texts ....... 3 Petition T e x t s ........... .. 18 History of Chant Melodies for the Ave Maria P r a y e r ......... 31 Salutation Chants .............. 31 Petition Chants ................ 34 Summary of Text and Chant .... 65 II. IDENTIFYING THE CANTUS FIRMUS . 66 Use of Text and Melody in Sixteenth Century Ave Maria Polyphony ........ 66 Introduction .................. 66 Text Variants .................. 68 Melodic Variants ........... 73 (Chapter) (Page) Isolating the Cantus firmus in Josquin's Pater noster .... 78 Pater noster cantus firmus . 78 Ave Maria cantus firmus .... 83 Summary of Identification . 85 III. USE OF AVE MARIA CANTUS FIRMUS IN SIXTEENTH CENTURY MOTETS .. 87 Introduction .................... 87 Josquin des P r e s .......... 90 Philippe Verdelot ............. 99 Costanzo Festa .................. 103 Cristôbal de Morales............. 109 Dominico Phinot .................. 113 Nicolas Gombert .................. 118 Adrian Willaert .................. 124 Composition of 1532.. .......... 124 Composition of 1539.. .......... 129 Composition of 1542 . , . 135 Claudio Xerulo ........ 140 Giovanni Pierluiai da -alestrina 1 an Composition of1563 ......... 148 Composition of 1575 ......... 155 Composition of 15 8 1 ......... 161 Composition of 1593 ......... 1 '57 Posthumous Publication . 173 Summary of Palestrina .... 178 Summary of A n a l y s i s ......... 180 IV. SUMMARY AND CONCLUSIONS ...... 191 S u m m a r y ... ................. 191 Conclusions . ................ 193 Implications .................... 194 APPENDIX .............................. 196 BIBLIOGRAPHY ........................... 230 LIST OF EXAMPLES EXA-iPLE Page la. 12th century Advent antiphon . 35 lb. 12th century Annunciation a n t i p h o n ................... 35 Ic. 13th century Annunciation a n t i p h o n ................... 35 Id. 15th century Advent antiphon . 36 ie. I5rh centur\' Annunciation ancipnon ............ 35 If. loth century Advent antiphon . 37 Ig. loth century Annunciation a n t i p h o n ................... 37 Ih. 20th century Advent, Annunciation, and Rosary antiphons ....... 37 2a-l. 12th century Advent response . 38 2a-2. 12th century Annunciation r e s p o n s e ................... 38 2b. 15th century Advent response . 38 2c. 19th century Advent response . 39 3a. 12th century Purification responsoria brevia ....... 39 3b. 13th century Invitatory psalm response. Advent I ....... 39 3c. 20th century Vespers response . 39 Vlll (Example) (Page) 4a. 12th century Invitatory psalm response. Annunciation . 40 4b-1. 13th century Invitatory psalm response. Annunciation . 40 4b-2. 13th century Invitatory psalm response .................... 40 4c-l. 16th century Invitatory psalm response. Annunciation . 41 4c-2. 16th century Invitatory psalm response. Office Bl'M .... 41 4d. 19th century Invitatory psalm response. Annunciation . 41 5a. 12th century Versicle, Assumption .................. 42 5b. 15th century Procession, Assumption ...... 13th century Offertory. Advent IV ......... 43 6b. 16th century Ofreruory, Advent IV ......... 44 6c. 20th century Offertory, Advent IV and Feasts of BVI-; 45 7a. 12th century antiphon for Advent I ................ 7b. 13th century antiphon for Advent I ................ 46 7c. 13-15th century antiphon for Advent I .................. 46 7d. 20th century antiphon for Advent I ................ 47 (Example) (Page) 8. Pater noster, second part— Ave Maria, Josquin .................. 47 9. 13th century processions— acclamation for Christmas . 51 10. 20th century acclamations .... 51 11. Litany of the S a i n t s .......... 52 12. Regina c o e l i ................... 53 13. Psalm Tone I ................... 54 14. 13th century Litany of the Saints .............. 54 15a. 12th century Litany of the Saints .............. 55 15b. 12th century Dominican Litany . 55 15c. 14-15th century Litany of the Saints . ....... 55 15d. 16th century Litany of the Saints , ............. 56 15e. 15-16th century Litany of the Saints ..... ........... 56 16. Sancte Martine ................. 57 17. Fogliano ........................ 57 18. J e p p e s e n ........................ 58 19. Tromboncino ................... 58 20. Aliseda .............. 59 21. L a s s o ................................... 59 22. F o s s a ......................... 60 23. P a l e s t r i n a ...................... 60 24. Litany of Loreto ......... 51 (Example) (Page) 25. Litaniae Dejparae ............... 51-2 26. Litaniae Liber secundus ........ 62 27. Litaniae Liber secundus ........ 52 26. Litaniae de Beata Viraine .... 62 29. Litany of the S a i n t s .............. 63 XI LIST OF COMPARATIVE ILLUSTRATIONS ILLUSTRATION Page 1. Pater noster Chant. 2. Josquin and Ave Maria Chant . 200 3. Verdelot and Josquin 4. Festa and Josquin . 5. Morales and Josquin . 5 . Phinot and Josquin ..... 208 7 . Gonbert and Josquin . ..... 210 8. Willaert— 1532 and Josquin . , 212 9. Willaert— 1539 and Josquin . 214 10. Willaert— 1542 and Josquin . 216 11. Kerulo and Josquin 12. Palestrina— 1563 and Josquin 220 13. Palestrina— 1575 and Josquin 222 14. Palestrina— 1581 and Josquin 224 15. Palestrina— 1593 and Josquin 225 16. Palestrina— Posth. and Josquin 228 LIST OF TABLES TABLE Page 1. Use of Ave Maria Texts by 16th Century Composers 69 2 . 15th Century Ave Maria Compose Sources, Dates ........... 72 3. Chronology of 16th Century Ave Maria Motets . 74 Combinations of Text and Melod in 15th Century Ave Maria Motets .......... Editions of Ave Maria Motets that Use the Standard Text Melody of this Study . 91 6 . Lexicographic Sources of Analyzed Motets . 93 Use of the Cantus firmus in Josauin's Ave Maria 97 Cantus firmus of Verdelot Compared to that of Josquin 102 Cantus firmus of Festa Compared to that of Josquin 108 1 0 . Cantus firmus of Morales Compared to that of Josquin 112 11. Cantus firmus of Phinot Compared to that of Josquin 117 12. Cantus firmus of Gombert Compared to that of Josquin 123 (Table) (Page) 13. Cantus firmus of Willaert— 1532 Compared to that of Josquin . 128 14. Cantus firmus of Willaert— 1539 Compared to that of Josquin . 133 15. Cantus firmus of Willaert— 1542 Compared to that of Josquin . 139 16. Cantus firmus of Merulo Compared to that of Josquin . 145 17. Cantus firmius of Palestrina— 1563 Compared to that of Josquin . 153 18. Cantus firmus of Palestrina— 1575 Compared to that of Josquin . 160 19. Cantus firmus of Palestrina— 1581 Compared to that of Josquin . 165 20. Cantus firmus of Palestrina— 1593 Compared to that of Josquin . 171 21. Cantus firmus of Palestrina— Posthum,ous Com,pared to that of J o s q u i n ...................... 177 22. Cantus firmi of Palestrina: A S u m m a r y ......................... 179 23. Summary of the Comparative TABLES 8-22 Reflecting the Use of Cantus firmi in the analyzed Motets .......... 182 24. Summary of Phrase Alterations Reflected in the 'Comparative TABLES 8-22 ....'. ........... 190 PREFACE