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University Microfilms International 300 N 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. l.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 corner 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. ?. 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. University Microfilms International 300 N. Zeeb Road Ann Arbor, Ml 48106 8410423 Rowell, Lois Irene THE REPERTOIRE OF FRENCH LITURGICAL ORGAN MUSIC IN BRUSSELS, BIBLIOTHEQUE ROYALE MS III 926 The Ohio State University PH.D. 1984 University Microfilms I ntern£ltl0n3l 300 N. Zeeb Road, Ann Arbor, Ml 48106 Copyright 1984 by Rowell, Lois Irene 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 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 i^ 8. Print exceeds margin requirements 9. Tightly bound copy with print lost i n 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. Other . University Microfilms International THE REPERTOIRE OF FRENCH LITURGICAL ORGAN MUSIC IN BRUSSELS, BIBLIOTHEQUE ROYALE MS III 926 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University by Lois Irene Rowell, B.A., M.M., M.S.L. * ft * * * The Ohio State University 1984 Reading Committee: Approved By Prof. Herbert S. Livingston Prof. Martha C. Maas nil. r I Advise< i' £ Prof. Keith E. Mixter Department of Music Copyright by Lois Irene Rowell 1984 To the memory of J. D. S. ii ACKNOWLEDGMENTS I acknowledge my deep gratitude to Professor Keith Mixter, my adviser during my years of graduate study at The Ohio State University, and to the other members of my dissertation committee, Professor Herbert Livingston and Professor Martha Maas, for their numerous and constructive suggestions, invaluable guidance, and generous encourage­ ment. I am grateful as well to Professor Gordon Wilson of the Performance Division in the Ohio State University School of Music for his perceptive stylistic criticism of the French classical organ repertoire. I could not have completed this dissertation without the encourage­ ment and support of my colleagues in The Ohio State University Libraries: Olga Buth, Thomas Heck, Martha Lawry, and many others. A particular word of thanks is due Clara Goldschlager of the Interlibrary Loan Department for her assistance in obtaining library materials. I received very helpful information and advice from Bruce Gustafson, whose study of French seventeenth-century harpsichord music provided the initial impetus for this dissertation, Norbert Dufourcq, David Fuller, and Elisabeth Gallat-Morin. My gratitude is also extended to William Pruitt for sharing his knowledge of liturgical music and for his help in acquiring materials that I would otherwise have been unable to retrieve. ill I wish to express thanks as well to the staff of the Bibliotheque Royale, Brussels—in particular to Bernard Huys, Head of the Music Department, and Godelieve Spiessens, Scientific Collaborator—who went far beyond the courtesy of granting permission to study this manuscript by providing specific answers to numerous questions concerning this and other manuscripts in the Library's possession. I wish to express deep appreciation, also, to Mrs. Eleanor Sapp for her careful preparation of the final copy of this dissertation. Finally, my warmest thanks go to my family and friends for their understanding, their belief in me, and their unfailing support. iv VITA 1957 B.A., Music, Pacific Union College, Angwin, California 1963 M.M., Music, University of Southern California, Los Angeles 1964-66 Music Teacher, San Pasqual Academy, Escondido, California 1966-68 Instructor in Music, Southern College, Collegedale, Tennessee 1969 M.S.L., Library Science, Western Michigan University, Kalamazoo, Michigan 1969-70 Periodicals Librarian, Southern College, Collegedale, Tennessee 1970- Music Cataloger and Reference Librarian, The Ohio State University 1984 PU.u., Music History, The Ohio State University, Columbus, Ohio PUBLICATIONS "The Music Collection of Raimund Fugger the Younger: A Bibliographic Study," Journal of the Graduate Music Students at The Ohio State University VII (1978), 36-85. American Organ Music on Records. New Braintree, Mass.: Organ Litera­ ture Foundation, 1976. FIELDS OF STUDY Major Field: Music History Studies in Music History and Literature, Professors Keith Mixter and Herbert Livingston Studies in the History of Music Theory, Professor Burdette Green v TABLE OF CONTENTS Page ACKNOWLEDGMENTS iii VITA v LIST OF TABLES viii LIST OF FIGURES viii LIST OF MUSICAL EXAMPLES ix TITLE ABBREVIATIONS: GENERAL xiii TITLE ABBREVIATIONS: SOURCES xiv TITLE ABBREVIATIONS: EDITIONS xv EDITORIAL PROCEDURE xvi INTRODUCTION 1 Chapter I. SOURCES OF FRENCH LITURGICAL ORGAN MUSIC 9 Printed Sources 9 Manuscript Sources 15 II. A DESCRIPTION OF MANUSCRIPT III 926 34 III. THE COMPOSERS AND THEIR MUSIC 42 The Composers 45 Attributed Works and Concordances 55 IV. THE ORGAN MUSIC OF MS III 926: REGISTRATION AND COMPOSITIONAL TYPES 102 The Influence of Contemporary French Music 102 The Classical French Organ 109 Compositional Types 116 V. THE ORGAN MUSIC OF MS III 926: LITURGY AND TONALITY ... 165 Organ Music in the Liturgy 166 Tonality in the Organ Music of Ms. Ill 926 192 vi Page Chapter VI. CONCLUSIONS 208 THEMATIC CATALOG OF MS III 926 209 BIBLIOGRAPHY 263 vii LIST OF TABLES Table Page 1. Sources of Concordances in Ms. Ill 926 43 2. Attributed Unica in Ms. Ill 926 44 3. Titles of Concordances in Ms. Ill 926 57 4. Organ Music in Ms. Ill 926 According to Class and Genre . 118 LIST OF FIGURES Figure Page 1. Watermark from Ms. Ill 926, Bibliotheque Royale Albert I**, Brussels 35 2. The Eight Church Modes; The Eight Tones, According to Nivers, Traite de la Composition 176 viii LIST OF MUSICAL EXAMPLES Example Page 1. Lebegue (1676), "Duo," AMO IX, 8-9, measures 31-36; "Duo du ler," Ms. Ill 926 [No. 11], folios 31v-32r, measures 31-35 59 2. Lebegue (1676), "Dessus de Tierce ou Cornet," AMO IX, 45, measures 1-11 and 36-43; "Dessus de Trompette de Tierce ou Cornet du 4," Ms. Ill 926 [No. 15], folios 34v-35r, measures 1-5 and 29-33 60 3. Thiery, "Recit," HardouinT, 121; "Du 2. cromhorne Mr. Nivers," Ms. Ill 926 [No. 68], folios 72v-73r 62 4. Nivers (1667), "A deux choeurs," NiversD II, 89; "A deux choeurs 2," Ms. Ill 926 [No. 12], folios 32v-334; Pingre, "Dialogue," BonfilsP, 30 64 5. Titelouze (1626), "Suscepit Israel," Magnificat Quinti toni, AMO I, 134, measures 1-14; "Fuga," Ms. Ill 926 [No. 1], folio 23r; "Recit tu 6e ton," Ms. Ill 926 [No. 2], folio 23r, measures 1-3 69 6. "[Basse de trompette]" Paris Vm 1823, AMO IXa, 268, measures 1-20; "Recit de la basse de trompette," Ms. Ill 926 [No. 27], folios 42-43, measures 1-20 .... 71 7. Lebegue (1678), "Recit du 6e," AMO IX, 143, measures 1-7; "Recit du 6e ton, Ms. Ill 926 [No. 2], folio 23r, measures I-7 73 8. Lebegue (1676), "Cornet," AMO IX, 86, measures 1-14; "Cornet du 8 ton," Ms. Ill 926 [No. 10], folio 30v, measures 1-14 75 9. Nivers (1665), "Duo," NiversD i/l, 16; "Piece duo de Mr. Nivers," Ms. Ill 926 [No. 64], folio 71r 76 10. LebSgue (1676), "Duo," AMO IX, 42, measures 14-18; "Duo du 4y" Ms. Ill 926 [No. 5], folio 25v, measures 14-18 • • 78 11. Paris Vm 1823, "Dessus de Cromorne du 6. ton," AMD IXa, 255; "Du 8 Cromhorne P. Paul Damance," Ms. Ill 926, [No.
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