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University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Department of Music The Two-Part Conductus: Morphology, Dating and Authorship by Jacopo Mazzeo Thesis for the Degree of Doctor of Philosophy May 2015 1 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Music Thesis for the Degree of Doctor of Philosophy THE TWO-PART CONDUCTUS: MORPHOLOGY, DATING AND AUTHORSHIP By Jacopo Mazzeo The conductus repertoire was widely cultivated between c.1160 and the late thirteenth century, and it comprises Latin texts set to both monophony and polyphony. Unlike the organum and the motet, the conductus does not normally exploit any pre-existing musical or poetic material. This makes the polyphonic share of conductus material the first newly composed, coherent repertoire for more than one voice. This thesis focuses on the two-part conductus. It aims at exploring the authorial and historical context in which it was created, analysing and categorising the interaction between its syllabic and melismatic sections, and describing its development over the life span of the corpus. The conductus is introduced and presented within the broader context of music of its time. It is argued that most of the extant testimonies of conductus were subject to several stages of reworking, and a multitude of personalities are credited with the creation of the repertoire as a whole. Furthermore, the study discusses some particular cases of contested attribution and proposes new authorial identifications. The analytical description that follows challenges the current view of the polyphonic conductus as a rigid juxtaposition of syllabic cum littera and melismatic sine littera sections. Such a sharp division does not take into account the complex structure of the syllabic cum littera music. The analytical study consequently undertaken describes all melismatic features of the two-voice conductus. Two groups of melismas are identified. The first, framing caudae, typically covers a structural role. The second, internal caudae, interacts actively with all the components of the song: text, meter, rhymes, and meaning of the poem. The last section of this work examines the evolution of the use of melismas throughout the lifespan of the genre. The study is accomplished by building on the previous analytical investigation, diminishing ambiguities due to the relatively small sample of datable songs. The terminal cauda results being the main feature of the repertoire, initially set to all stanzas. The initial cauda was instead either set to all stanzas or not used at all. The approach to framing caudae becomes more flexible after the end of the twelfth century. Internal caudae were instead always used by conducti composers. Table of Contents ABSTRACT .................................................................................................................... iii List of Tables................................................................................................................... vii List of Figures .................................................................................................................. ix List of Musical Examples ................................................................................................ xi List of Manuscripts ........................................................................................................ xiii Declaration of Authorship .............................................................................................. xix Acknowledgements ........................................................................................................ xxi Introduction: The Conductus............................................................................................. 1 Defining and Exploring the Genre ................................................................................ 2 Musical, Historical, and Theoretical Sources ................................................................ 5 Treatises .............................................................................................................................. 11 Notation, Modality, and Rhythm ................................................................................. 14 Overview of Chapters .................................................................................................. 19 1. Who Wrote the Conductus? ..................................................................................... 25 1.1. Conductus Poets ............................................................................................... 28 1.1.1. Pre-Notre Dame Poetic Material in the Conductus Repertoire ........................... 37 1.1.2. Contested Attributions and Identifications .......................................................... 41 1.2. Conductus Composers ...................................................................................... 49 1.2.1. The Early Thirteenth Century and the Role of the Order of Friars Minor .......... 52 1.2.2. The Conductus in Italy after 1250 ....................................................................... 64 1.2.3. Evidence from the Fourteenth Century: Johannes de Perchausen ...................... 67 1.3. Generic Interplay: Quisquis cordis et oculi, Vite perdite me legi and Occitan Contrafacta .................................................................................................................. 70 1.4. Conclusion ........................................................................................................ 87 2. Conductus Morphology: Syllabic and Melismatic Music ....................................... 91 2.1. Typologies of Caudae: Framing Caudae and Internal Caudae ....................... 91 2.1.1. The cases of In rosa vernat lilium and Ista dies celebrari .................................. 96 2.1.2. Peculiarities of Framing Caudae and Internal Caudae ..................................... 109 2.2. Differences between Cauda and Musica sine littera ...................................... 120 2.3. Benedicamus Domino ..................................................................................... 131 v 2.4. The Punctus Organi ....................................................................................... 138 2.5. Conclusion ...................................................................................................... 151 3. Dating .................................................................................................................... 153 3.1. Introduction to Datable Conducti ................................................................... 153 3.2. Multiple Dating and Music Borrowing .......................................................... 165 3.3. Celebrative Conducti ...................................................................................... 176 3.4. Crusades and Relics........................................................................................ 192 3.5. Other Datable Conducti .................................................................................. 201 3.6. Conclusion ...................................................................................................... 206 Conclusion .................................................................................................................... 209 Appendix ....................................................................................................................... 213 Texts .......................................................................................................................... 213 Database and Two-Voice Datable Conducti ............................................................. 261 Caudae Analysis ................................................................................................................ 263 Datable Two-Voice Conducti ............................................................................................ 287 Graphs ....................................................................................................................... 291 F ......................................................................................................................................... 293 W1 ...................................................................................................................................... 299 W2 ...................................................................................................................................... 309 Ma ...................................................................................................................................... 314 Bibliography.................................................................................................................
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