I: Jac~on's fetter to Novack. Tim Jackson,
Connollystr. 3 Cl12,
8000 Muenchen 40, BRD
20 Dec. 1985
Dear Prof. Novack,
Enclosed please find the notes and bibliography for my paper. Some of the notes are incomplete because I have been unable to obtain certain books here in Germany. I am aware that the version of the paper I sent you contains tyvus. Some of the most important:
Part II, p. 42, see Ex. 8b not 2b.
Part III, p. 12, bottom line: rising "sixth" instead of "third".
Part III, p. 28, 6th line from the top of the page, Ex. 25a instead of
14a, etc.
Dr. Leuchtmann, the Lasso specialist, has read the paper and made many helpful suggestions. I am looking forward to greatly expanding the paper - perhaps into a short book since I have had many new insights.
I hope this letter finds you in good health. Wishing you and your wife all the best for the new year, sincerely,
- 1 Notes to Part I
1. Leo Steinberg, The S xuality of Christ in Renaissance Art and Modern
Oblivion, New York: Pantheon, 1981, p. 108.
2. Knud Jeppesen, Der Palsetrinastil und die Dissonanz, Leipzig:
Breitkopf und Haertel, 1925, p. 69. English translation, The Style of
Palestrina and the Dissonance 2nd ed'tion, London: Oxford University Press; reprinted, New York: Dover Publicat'ons, 1970, p. 84.
2b. Felix Salzer, Sinn und ivesen der abendlaendischen Mehrstimmigkeit,
Vienna: Saturn-Verlag, 1935.
3. Jeppesen, ibid.
4. Deryck Cooke, The Language of Mu ie,
5. Ben"to R~vera, "Harmonic Theory n Musical Treatises of the Late
Fifteenth and Early Sixteenth Centuries," Music Theory Spectrum, 1 (1979), pp. 80--95.
6. Saul Novack, "Fusion of Design and Tonal Order in Mass and i'lotet
Josquin Depres and Heinrich sa e", The Mus~c Forum, Vol. II, New York, 1970, pp. 187-26?-; "The S' gn' ficanee of the Phrygian i'lode n the History of
Tonality," Miscellanea Musico ogica: Ad laide Studies in Musicology, IX
(977), p. 82-127; "Tonal Tenden ies in Josquin's Use of Harmony,"
Proceedings of the International Josquin-Fest'val Conference, lew York, 1972, pp. 313-333; "The Analysis of Pre-Baroque i'lusic," in Aspects of P e-Baroque
Music, edited by David Beach, New Hav n: Yale University Press, 1983, pp.
118-131.
7. Novack, "The Analysis of Pr -Baroque Music," p. 131.
8. The German term 'Akkord' has the tonal connotations of the Engl"sh
- 1 term "triad". However, the Italian 'ac rdo', fr m \"hi h the German 'Akkord' is derived, means either 'Stimmung' ('tuning') or 'Zusammenk1ang' ('sounding together').
9. Brian Vickers, "On the Practicalities of Renaissance Rhetoric," in
Rhetoric Revalued, edited by Brian Vickers, Binghamton, New York: Center for
Medieval and Early Renaissance Studies, 1982, pp. 133-138.
10. Or the fourth below by transposition.
11. Novack, "The Significance of the Phrygian Hade in the History 0
Tonality," ibid.
12. Orlando di Lasso, G-A., IX, pp. 49-52; see Appendix, Ex. 2.
13. David Stern, "Tonal Organization in Modal Polyphony," Theory and
Practice, Vol. 6, No.2 (1982), pp. 23-28.
14. Stern, ibid., pp. 23-28.
15. Stern, ibid., pp. 6-8, use the term "back reI ting".
16. Novack, "Fusion of Design and Tonal Order in t'1ass and ~10tet
Josquin Depres and Heinrich Isaac," p. 189.
17. Novack, "Fusion of Design and Tonal Order in 1ass and Motet
Josquin Depres and Heinrich Isaac," the analysis of Josqu"n' j"1issa Pange
Lingua, pp. 220-231, especia" ly Exs. 12-21.
18.
19. Rivera has shown that by the end of the fifteenth century, theoretical discussions suggest tha composers were no longer thinking in exclusively in t rms of th tenor-cantus framework; see Rivera's "Harmonic
Theory in Musical Treati es of the L te Fifteenth and Early Si. leenth
Centuries," Music Theory Spectrum, 1 (1979), pp. 80-95. Even a cursory study of Josquin's music re 1 numerous fourths between tenor and cantu.
- 2 impossible in two part compos· ion. For a rejection of the tenor-discant theory in ~1achaut, see Daniel Leech-I-Jilkinson, "~1achaut 's 'Rose', 'Lis' and the Pro lem of Early Music Analysis", Music Analysis 3 (1984), pp. 9-10.
20. See also the final cadence of Kyrie 1 of the t1issa de Beata Virgine.
21. Jeppesen, The Style of Pal strina and the Dissonance, ibid.
22. Salzer, Sinn und VJesen der abendlaendischen Hehrstimmigkeit, p. 24.
23. Leonard Nathan, "Gascoigne's 'Lullabie' and Structures in the Tudor
Lyric", in The Rhetori_ of Renaissan e Poetry, edited by Thomas O. Sloan and
Raymond B. Waddington, Berkeley: Un'versity of California Press, 1974, pp.
58-72.
24. I~inrich Schenker, Neue Musikalischen Theorien und Phantasien, vol.
3, D r Fr ie Satz, Vienna: Universal Edition, 1935, p. 51. English translation by Ernst Oster, Free Composition, r~e\{ York: Longman Inc. , 1979, p. 26.
25. See Oster's Note *6, Fr"e Composition, p. 93.
26. Schenker, Neue Musi lischen Theorien und Phantasien, vol.
3, Der Freie Satz, Vi nna: Universa Edition, 1935, p. 150.
27. Oster, re Composition, p. 93.
28. Schenker, N ue Musik lisch n Theori n und Phantasien, vol.
3, Der Freie Satz, p. 161.
29. Oster, Free Composition, p. 99.
30. Schenker, Peinrich, Ne e Musil alischen Theorien und Phantasien, vol.
3, Der Freie Satz, p. 151.
31. Ost r, Free Composi ,'on, p. 94.
32. Schenker, Neue Musika ischen Theorien und Phantasien, vol.
3, Der Freie Satz, p. 161.
- 3 33. Ernst Oster, Free Composition, p. 99.
34. Schenker, Heinrich, Neu ~1usikalischen Theori n und Phantas'en, vol.
3, Der Freie Satz, p. 162
35. Ernst Oster, Free Composition, p. 99.
36. Felix Salzer, Structural Hearing: Tonal Coherence in Music, New York:
Charles Boni, 1952.
37. Salzer, Structural Hearing, p. 223-224.
38. John Rothgeb, "Design as a Key to Structure n Tonal ~1usic," in
Readings in Schenkerian Analysis and Other Approaches, edited by Maury Yeston,
New Haven: Yal University Press, 1977.
39. Rameau, Traite de l'Harmonie, facsimile edited by Erwin R. Jacobi as
olume 1 of The Complete Theoretical Wr'tings, American Institute of
Musicology, 1967, p. 162.
40. My translation.
41. Rameau, ibid, p. 332.
42. Rameau, Treatise on Harmony, transla ed by Phillip Gossett, New York:
Dover publications, 1971, p. 349.
43. See also Ramea 's discussion o· fugual inver ion discussed in Part
III of this essay.
44. Woelfflin, Classic Art,
45. For a discuss'on of the qualitat've diff rence between musical rhetoric in the Renaissance and Classical styl s, see Part II.
46. See Heinrich Schenker, Neue Musikali chen Theorien und Phantasien,
Teil II, Kontrapunkt, Bd. I, Stuttgart und Berlin: J. G. Cotta'sche
Buchhandlung Na hfolger, 1910, r ntrapunk , Bd. II, Vienna: Universal Edition,
1922.
- 4, 47. Steinberg, Ope cit., p. 109.
48. Willi Hess, Missa Solemnis by Ludwig v n Be hoven, introdu tion by
Willi Hess, Zurich: Edition Eulenburg, pp. V and XI.
49. In Frieberth's version, these words were taken hy the soprano. The
~ triadic ascent a1-c#1-e2 is absent. I have not yet had the opportunity to examine the autograph sources.
50. Edward Lowinsky» Secret Chromatic Art of the Netherlands Motet, 1st edition, New York: Columbia University P ess, 1947, p. 35.
t s to Part II
1. Brian Vickers, "Figures of Rhetor'c/ Fioures of Mu ic?",
Rhetorica 2 (1984) p. 44.
2. Vickers, ibid, p. 43.
3. Wilfrid Mellers, Bach and the Dan e of God, Oxford: Oxford University
Press, 1981.
L See Carl Schachter, "Motive and T t in Four Schubert Songs", in
Aspects of Schenkerian Analysis, edited by David Beach, New Haven: Yale
University Press; the discussion of the role of Fx=G~in Schubert's 'Nacht und
Traueme', pp. ; also my dissertation on Strauss' last songs (to be completed
1986) .
5. Here, I follow Kirkendal I s distinction bet\,·een "iconology" and
"iconography"; see Warren Ki kendale, "'Circulatio'-Tradition, I ~laria
Inctans', 2nd Josquin as lusical Oro tar" , Acta IJusi 01 gica Sf> (1984) p. 90,
Nate 157.
c:: 6. \'Jarren Kirkendale, "Beethovens Missa soler.mis und die rhetorische
Tradition", in Ludwig van Beethoven, edited by Ludwig Finscher, Darmstadt,
1983, pp. 52-97.
7. Wilfrid Mellers, Beethoven and the Voice of God, Oxford: Oxford
University Press, p.
8. Kirkendale, "Reethovens Hissa solemnis und die rhetorische Tradition", p. 80.
9. Mellers, ibid., p.
10. See Rudolf Flotzinger, "Vorstufen der musikalisch-rhetorischen
Tradition im Notre Dame Repertoire?", De Ratione in Musica Festschrift
Erich Schenk zum 5. Mai 1972, Kassel, 1957, pp. 99-103. Also, Willem Elders,
" uillaume Dufay ao:: Husical Orator", TvM, 31 (1981) pp. 1-15; however, see
Kirkendale, "'Circulatio'-Tr dition, 'Haria lactans', and Josquin as ~1usicCll
Orator", p. 83, Note 95.
11.
12. Hans Lennebero ' "Johann l1attheson on Affect and Rhetoric in i1usic," JHT 2 (1958 , pro 2.04-2.05.
13. Kirkendale, "'Circulatio'-Trad'tion, '~raria lactans', and Josquin as
Musical Orator", p. 69.
14. See Fred Lehrdahl and Ray Jackendoff, A Generative Theory of
Tonal'ty, ambridge, Massachusett The MIT Press, 1983.
15. Brandes, Heinz, Studien zur musikalischen Figurenlehre im 16.
Jahrhunder , Berlin, 1935.
16. Burmei ter, Joachim, Musica Poetica, Rostock, 1606, facsimile edited by Marlin Ruhnke, Kes el: Baerenreiter, 1955, pp. 59-60.
17. Vi kers, "Figures of Rh toric/ Figures of r1usic?", Rhetorica 2 (1984)
- 6 p. 26.
18. Sist r ~L Joseph, Shakespe re' s [Jse 0 the Arts of Language, Ne\oJ
York, 1947.
19. Richard Lanham, A Handlist of Rhetorical Terms, Berkeley: University of alifornia Press, 1968.
20. Knud Jeppesen, The Style of Palestrina and the Dissonance 2nd edition, London: Oxford University Press; reprinted, New York: Dover
Publicat"ons, 1970.
21. Hans-He"nrich [Jng r, Die B_ziehung zwischen Nusik und Rhetorik im
16.-18. Jahrhundert, Wuerzbu g: Konrad Tr" "tsch Verla8, 1941, p. 80.
22. Kirkendale, "'Circulatio'-Tradition, 'Haria lactans', and Jo quin as t1usi lOrator", p. 92.
23. Klrkendale, ibid.
24. Kirkendale, ibid., pp. 84-90.
25. Claude Palisca, '" Ut oratoria rlUsic The Rhe ori 1 Basis 0
Husi al ~1annerism", "n The ~1eaning of Nannerism, edited by F. \V. R bin on and s. G. Nichols, Hannover, 1972, pp. 7-61.
26. Martin Ru nke, Joachim Burmeister. Ein B itrag zur Musik ehre urn
1600, Kassel: aerenreiter, 1955.
27. Palisca, ibid., p. 41.
28. Palisc , ibid., p. 37.
29. Kirkendale, ibid., p. 90.
30. Dery k ok , Vindica ons,
31. Cooke, The L ngu ge 0 ""USl. . ,
32. C I e, ibid .• pp. 137-13.
33. See the di ussion 0 this problem in Pa I.
- 7 34. Leo Ste'nb rg, The Sexu lity 0 Christ in Renai sance Art and Modern
Oblivion, ew York: Pantheon, 1981, p. "
35. Steinberg, ibid.
36. Steinberg, ibid., p. 35'.
37. See Appendix, Ex. 1. Guenther Graulich (Die Motette, Eine Sammlung
Geistlicher Alter Mei er, I, 532, Antonio Lotti, Crlcifixus a 8 Voci,
Stuttg rt: Ha nssler Verlag, 1967), states that the Crucifixus dates from
1717-1719. It is contained in a 4 voice Credo.
38.
39. Heinrich Schenker, Neue Musikalischen Theorien und Phantasien, Teil
III, Der Frei Satz, Vienna: Univer a1 EdiLion, 1935. English ranslation by
Ernst as r, F ee Composition, New York: Lon man Inc., 1979.
O. Jonas, Oswa d, Einfuehrung in die Lehre Heinrich Schenkers, revised edition, V'enna: Universal, 1972, tran lated by John Rothg b as an
Introduction to the Th ory of Heinrich Schenker -- The Nature of a Musical
Work of Art, ~ew York: Longman Inc., 1982.
41. Schenker, ibid., p.I+; Os.e .. ,ib·I~" p.3.
42. K'rkenda1e, ibid., p. 70.
43. Kirkenda e ib'd .• p. 69.
44. Brian Vickers, "On the Practic Ii t . es 0 f .enai sance ~he tor' c, " in
Rhetoric Revalued, edited by Brian Vickers, Binghanton, New York: nter for ledieval dEar y Renai sance Studi 1982, pp. 133.
45.
46. Lee A. So runo, Handbook to Sixteenth-Centllry ~hetoric, Lonoon, 1963.
47. 13u ler, Gre",ory G., "Fugue and Rhe ri ", JOllrnal of 11usic Theory, 21
(1977), pp. 79-92 and also p. 99.
- 8 48. Vick r, "On th Practi alit· s of Renai nee hetor"c," pp.
136-137.
49. Sonnino, ibid., p.
50. Sonnino, ibid., p.
51. Brian Vickers, Classical Rhetori _ in English Poetry, London, 1970.
52. Vicke s, Classical Rhetoric in English Poetry, p. 103.
53. Toft, Robert, "'Musick a sister to Poetrie': Rhetorical artifice in the passionate airs of John owland", Early Music, May 1984, pp. 191-199.
54.
55. Unger, ibid., p. 69.
56. Vickers, "On the Pr cticalities of Renaissance Rhetoric," p. 138.
57. Geoffrey Le ch, A Lingll· ti Guide to En8lis Poetry, London:
ng~ans, 196 , p. 30.
58. L ech, ib·d., p. 31.
59. Sist r H. Joseph, ·bid., p.
60. He·nri h \-loeH lin, Classic Art, p.
61. Leonard Na he.n, "Gascoigne's 'Lullabie' and Structures in the TUGor
H Lyr·c , in Th Rhetoric of Renaissan e Petry, edited by Thomas O. S10el1 e.nd
R-ymond B. Waddington, B rkel y: Univer ity of California Press, 1974, pp.
58-72 .
62. athan, ibid., p. 61.
63. Nathan, ibi ., p. 68.
64. N than, ibid., p. 69.
5.
()... Notes to Part III
1. The problem of Burmeister's two conflicting interpretations of the ambitus of In me transierunt Qre not discussed by Ruhnke, Palisca, or Meier.
Ruhnke, Joachim Burm ister: Ein Beitrag zur Musiklehre um 1600, Kassel:
Baerenreiter, 1955, p. 163, is aware of the discrepancy betwe n Burmeister's description of the ambitus of the bass and the structure of the bass in the motet; however, he fails to mention Burmeister's earlier interpretation in
Music autosched"astike. Palisca, "'Ut oratoria musica': The Rhetorical Basis of Nusi al Nann rism", in The ~1eaning of r1annerism, edited by F. \J. Robinson and S. G. Nichols, H nnover, 1972, p. 61, mentions Bur~eister's earlier interpretation in footnotes w"thout further comment. Meier, Die Tonarten der klassischen Vokalpolyphonie, Utrecht: Oosthoek, Scheltema and Holkema 1974, p. 46, ignore the problem en irely!
2. Joachim Burme" ter, Mu ica Poetica, Rostock, 1606, facsi~ile edited by
Martin Ruhnke, a sel: B erenreiter, 1955, p. 48. (CHECK! see also p. 49!)
3. Palisca, "bod., p. 60-6l.
4. Palisca, ·bid., p. 60.
5. Meier, ib·d.
6. Note the future perfect; this subtlety is missing fro~ Palisca's translation.
7.
8. Pali ca, ibid., p. 60.
9. Ros nd, Ellen, "The Descending Tetrac oro: An Er.lbl m of ament,"
Musical Quarterly, 65 (1979), pp. 346-359.
10.
- ]0 11. See Orlando di Lasso. Surgens Jesus. for 5 voices. G.-A. V, p. 60:
"Surgens Jesus. Dominus n ter. stans in medio discipulorum suorum, dixit: Pax vobis. alleluya!" The aposiopesis occurs after the \vord "dixit"; Angelus ad pastores ait f r 5 voices. G. -A. III. p. 139. "Angelus ad pastores ait:
Annuntio vobis. gaudium.magnum". Again. the aposiopesis is after the word
"ait". G.-A. XV. p. 18. "Et verbum caro factum est. et habitavit in nobis .....". the aposiopesis occurs after factum est. Here. its meaning is different than in the previous two examples. There it served to highlight the words of the speaker (Jesus, the Angels). In this case. the aposiopesis has a deeper significance; it represents the ineffable mystery of the incarnation.
12. Hans-Heinrich Unger. Die Bezi hung z\-risch n Nusik und Rhetorik im
16.-18. Jahrhundert. Wuerzburg: Konrad r'litsch Verlag. 1941. pp. 70-73.
13. Ung r. ibid .• p. 72.
14. Georg Buelow. "Rhetori and ~Iusic". The New Groves Dictionary of
Music and Musicians. London. 1 80. XV, pp. 793- 803.
15. Palisca. ibid., p. 42. Palisca simply reports: "A more significant omission is the unorthodox leap of a minor sixth. frowned upon by the counterpoint rule books. with which the ~ubject begins."
16. Knud Jeppesen. Th Style of Palestrina and the Dissonance 2nd edition. London: Oxford Univer i Y Press; reprinted. New York: Dover
Publications. 1970.
17. Hugo Leichentrit eschichte der ~1otette. Leipzig: Drucie lind Verlag von Breitkop£ und Haertel. 1908. p. 90.
18. See Part 1.
19. Boetticher. Orl ndo di Lasso. Kassel: Baerenrei er Verlag.
1958. p. 223 Note 62.
- 11 -.. 20. Brian Vickers, "Figures of Rhetoric/ Figures of ~lusic?", Rhetorica 2
(1984) pp. 21 and 29ff.
21. Vickers, ibid., p. 29-30.
22. Rameau, Traite de l'Harmonie, p. 340.
23. Rameau, Traite de l'Hamonie, English translation by Phillip Gossett,
Rameau: Treatise on Harmony, New York: Dover Publications, 1971, p. 356.
24. See Part II.
25. See Oswald Jonas, Einfuehrung in die Lehre Heinrich Schenkers, revised edition, Vienna: Universal. 1972, pp. 6-9, for examples from
Beethoven through Brahms. David St rn in "Schenkerian Theory and the Analysis of Renaissance Music", unpublished article, 1984, has observed that Schenker himself was aw re of linkage technique in the old masters. See also, Charles
Burkhart, Charles, "Schenker's 'Motivic Parallelisms"', Jr1T 22 (1978), pp.
145-175.
26. Joa him Burmei t r, Musica Poetica, Rostock, 1606, facsimile e ited by Martin Ruhnl'e, Kassel: Baerenreiter, 195, pp. 61-62. Exa~ples are found in Tulerunt Dominum meum, for s'x voices, G.-A. XIII, p. 14ff., "Hulier, quid
"..-- ploras? : the Pathopoeia motive D-Eb-D is combined with the epithet of the falling third!
Heu, quantus dolor for five voices, G.-A. Xl pr. 51-53, "quantus do or", the Pathopoeia motive D-Eb-D.- Jesu, nostra r_demptio for six voices, G.-A. XIII pp. 18ff.," rudelem ,..---...... mortem patiens", the Pathopoeia m tive D--Eb-D.
Convertere Domine cAptivitatem l10stram for double choir (eight voices) G.-A. XX pp. 67-H., "et Oebant", D-Eb-D---- er.lbedded in th motive. o heatum hominem for five voices, G.-A. IX pp. 32-33, "0 beatui11
- ]2 hominem", the rising semi-tone f' 0 re representing "bl ssed" 3ives rise to Fff,
CIf, and G#.
27. Leo St inberg, The Sexuality of Christ in Renaissance Art and Nodern
Oblivion, New York: Pantheon, 1981, p. 71.
28. David Stern, Three Works by Josquin des Prez: Studies in the Tonal
Structures of Renaissance Mu ie, unpubli hed Master's dissertation, 1984, pp.
65-113.
29. Stern, ibid., p. 69.
30. Stern, ibid., pp. 72-73.
31. Stern, ibid., p. 87.
32. Kellman, Herbert, "Jos uin and the Courts of the Netherlands and
France: The E idence of the Sou ces", Proceedings of the Internatio al
Josqui -Festival Conference, ed' ed b Ed ard Lowinsky, New York, 1972, p.
208.
33. Boetticher, 1401fga g, Orla do di Lasso, Kassel: Baerenreiter Verlag,
1958, p • 190 .
34. George Euelm-l, "Rhetoric and ~~us' ", The New Croves Dictionary of
Music and ~ll1sicians, London, 1980 I XV, pp. 793- 803.
35. Haar, James, "False Relation and Chromaticism in 16th-Century Husic",
JAMS 30 (1977), pp. 391-3 2.
36. Haar, ibid., p. 413.
37. See Saul Novack, "Fusion of D sign and Tonal Order in r1ass and Mot
Josquin Depres and Heinrich lac", Til t':usi Forum, Vol. II, Ne\,r York,
1970, pp. 238-239, Ex. 27.
38. Heinrich Schenker, N ue Musi .lischen Theorien und Phantasien, Teil
II Kontrapunkt, Ed. II, Vi nna: Univer a1 Edition, 1922, see pp. 44'.
-D 39. Patrick McCreless, rev:i_ew of Aspect of Schenkerjan An3lysis, edited
by David Beech, New Haven, 1933, in JAMS 29 (1985), p. 173. ~ -10. 4l. Leo Steinberg, The Sexuality of Christ in Renaissance Art and Modern
Oblivion, New York: Pantheon, 1.981, p. 50.
42. Steinberg, quoting St. B rnard's cond sermon on the Song of Songs, ibid., p. 55.
43. Steinberg, quoting P pe Honorius I, writing in 634 to the Patriarch of Constantinople, ibid., p. 18.
44. Steinberg, ibid., p. 47.
45. Steinbe 8, quoting St. Bernard, ibid., p. 55.
46. Steinberg, ibi ., p. 52.
47. New Testament: John, 1:1-5.
48. feli Salzer, Sinn und !-les n der abendlaendischen ~lehrstimmigkeit,
Vienna: Saturn-Verlag, 1935, p. 230
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