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Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 74-3256 MELIN, William Eugene, 1940- THE MUSIC OF JOHANNES TINCTORIS (ca. 1435-1511): A COMPARATIVE STUDY OF THEORY AND PRACTICE. (VOLUMES I AND II). The Ohio State University, Ph.D., 1973 Music University Microfilms, A XEROX Company, Ann Arbor, Michigan Copyright by William Eugene Melin 1973 THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. THE MUSIC OF JOHANNES TINCTORIS (ca. 1435-1511) A COMPARATIVE STUDY OF THEORY AND PRACTICE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By William Eugene Melin, Mus. B., Mus. M. ***** The Ohio State University 1973 Reading Committee; Approved by Prof. Alexander Main Prof. Norman Phelps / w W i t Adviser Prof. Richard Hoppin, Adviser Department of Music History PREFACE AND ACKNOWLEDGEMENTS In commenting on the present state of musicological research, musicologists have begun to express the view that the recent pro duction of a large corpus of the opera omnia of many composers, both well known and little known, has perhaps obscured another fundamental need— that of the analysis and historical placement of the output of these composers. This is not to say that the many complete editions were not needed; indeed, it is because of these tangible results of much vigorous and fruitful scholarship that the above goal is now more possible than ever before. It is toward the partial achievement of this goal that the present study is offered. This dissertation will deal with the music of Johannes Tinc- toris (circa 1435-1511) and consists of two major parts. A critical edition of the complete works of Tinctoris, based on an examination of the known sources, comprises Volume II. The edition does not include those works that appear only in the treatises, but does include a composition found in another source as well as in a treatise. The first Volume consists of a stylistic analysis of Tinctoris' music. Since a study of this type presupposes the existence of many diverse problems, these will be stated during the course of ii the dissertation rather than in an introduction. If a single "problem" must be set forth here, let it be that of determining what the music of Johannes Tinctoris consists of and what com prises his compositional style. Although Tinctoris was learned in many disciplines, he is perhaps best knoim today as a theorist, for he left to succeeding generations twelve treatises that form what is probably the most comprehensive discussion of music in the early Renaissance. His works, therefore, afford an excellent and rare opportunity to compare theory with practice, and, whenever possible and appropriate, Tinctoris' music will be related to the theoretical discussions in his treatises. Among the many persons to whom 1 am indebted, 1 would like to acknowledge first the members of my family— my wife and two sons— whose sacrifices and patience during the time this project was in progress have been considerable. 1 would like to express my appreciation to Professor Dragan Plamenac, formerly of the University of Illinois, and Professor Leeman Perkins, of the University of Texas, for providing me with personal copies of manuscripts which otherwise could have been obtained only with great difficulty and loss of time, and to Professor Albert Seay, of The Colorado College, for his clarification of certain theore tical points. 1 would like to thank Professor Kenneth Abbott of The Ohio State University, Professor Sesto Prete of Kansas Univer sity, Professor Robert Wittman of Miami University (Ohio), and iii Professor H. C. Montgomery, formerly of Miami University, for their assistance with paleographic matters and translations. To Miss Olga Buth, Head of the Music Libraries at The Ohio State University, I owe a large "thank you" for her valuable assistance and experience in obtaining materials essential to this project. I wish to express my gratitude also to Professor Herbert Living ston, Head of the Department of Music History at The Ohio State University, and to Professors Alexander Main and Norman Phelps, also of the Department of Music History at The Ohio State Univer sity, for their careful reading of the text and their many help ful suggestions. It is, however, to my adviser, Professor Richard H. Hoppin, that I am most indebted for his patient understanding, his penetrating insight and discerning criticism, and his many excellent suggestions, without which this project might never have been possible. XV CURRICULUM VITAE May 5, 1940 ......... Bom; Chicago, Illinois 1962 ............ Mus. B., Lawrence College, Appleton, Wisconsin 1964 ................ Mus. M., cum laude, American Conservatory of Music, Chicago, Illinois 1964-65 ............ Instructor in Brass, Illinois State Univer sity, Normal, Illinois 1965-67 ............. Instructor of Band, Orchestra, Instrumental Music, Scioto-Darby Local Schools, Hil liard, Ohio 1965-69 ............ Instructor in Trumpet, Capital University, Columbus, Ohio 1967-71 ............ Teaching Assistant, Teaching Associate, and Research Associate for the Center for Medieval and Renaissance Studies, The Ohio State University, Columbus, Ohio 1970-71 ............ Part-time Instructor in Humanities, Urbana College, Urbana, Ohio 1972-73 ............ Visiting Lecturer in Music History, Univer sity of Kansas, Lawrence, Kansas 1973— ............ Assistant Professor of Music History and Literature, Lafayette College, Easton, Pennsylvania FIELDS OF STUDY Music History and Literature: Professors Richard Hoppin, Herbert Livingston, Keith Mixter, Norman Phelps TABLE OF CONTENTS PREFACE AND ACKNOIÆEDGEMENTS .................. ii VITA ............................................... V LIST OF TABLES........................... ix LIST OF F I G U R E S .......................... x Chapter I.BIOGRAPHY OF JOHANNES TINCTORIS .................. 1 II. THE NOTATIONAL CHARACTERISTICS OF TINCTORIS' MUSIC . 16 Proportions................................. 17 Proportions of Equality ..... 20 Proportions of Inequality ................ 21 Syncopation............ ................... 58 Other Notational Peculiarities .............. 62 T em p o ....... .......... .............. 66 III. MELODIC AND RHYTHMIC CHARACTERISTICS OF TINCTORIS ' MUSIC ................................. 72 Modal Characteristics....................... 72 Mixtio tonorum and Modal Perfection ....... 78 Coimnixtio t o n o r u m ....................... 84 Melodic Characteristics . 91 R a n g e .................................. 91 Voice Crossing........................... 98 Intervallic Structure .................... 100 Rhythmic Characteristics.................. 107 Parallel Motion....................... 110 Simultaneous Style ......................... 114 Hocket.................................. 114 Non-Quartal Harmony in the Chansons........... 117 Imitation in Tinctoris ' W o r k s ................ 119 vi IV. THE TREATMENT OF DISSONANCE IN TINCTORIS' MUSIC . 137 The Passing T o n e ................. 144 The Suspension................... 148 The Auxiliary T o n e ......................... 153 The Échappée.............................. 157 The Cambiata.............................. 160 The Anticipation........................... 162 Other Types of Dissonance.............. 163 Dissonance Treatment in the Cantus-Firmus Compo sitions ................................ 168 V. CADENCE FORMULAS IN TINCTORIS' MUSIC............. 174 Final Cadences............................ 175 Cadences in Two-Part Counterpoint.......... 176 Cadences in Three-Part