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Medieval Music in Practice Studies in Honor of RICHARD CROCKER Medieval Music in Practice Studies in Honor of Medieval Music in Practice Richard Crocker

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Medieval Music in Practice Studies in Honor of RICHARD CROCKER Medieval Music in Practice Studies in Honor of Medieval Music in Practice Richard Crocker CrockerCover_v16a_MISCCover2013 5/2/13 3:13 PM Page 1 MISC $60.00 8 8 Miscellanea Medieval Music in Practice Studies in Honor of RICHARD CROCKER RICHARD of Honor in Studies Practice in Music Medieval Studies in Honor of Medieval Music in Practice Richard Crocker Richard Crocker once wrote “we understand many things about the history of music—specifically its development—better from the earlier periods.” Since his first publications in 1958, Crocker pio­ neered a radically phenomenological and critical approach to the study of early music and musical style. Medieval Music in Practice: Studies in Honor Studies in Honor of of Richard Crocker brings together eleven essays that take up Crocker’s call to consider the conti­ nuity of medieval and later musical practices in Photo (c) Kathleen Karn Richard Crocker performance, composition, and pedagogy. Two in­ troductory essays open this collection. Judith Peraino surveys the disciplinary questions that RICHARD LINCOLN CROCKER was born Feb­ Edited by emerge in Crocker’s work: What constitutes a co­ ruary 17, 1927 in Roxbury Massachusetts, and Judith A. Peraino herent category of music? What are the “ruling attended Yale University, receiving a B.A. (1950) ideas” of musicology? Richard Taruskin pays trib­ and a Ph.D. (1957) with a dissertation on “The ute to Crocker’s remarkable prescience in the Repertoire of Proses at St Martial de Limoges 1960s of anti­essentialist and anti­universalist ar­ (Tenth and Eleventh Centuries),” directed by Leo guments that characterized “new musicology” in Schrade. Crocker taught at Yale from 1955 until the 1980s. 1963, and at the University of California, Berkeley, Nine further essays focus on repertories from from 1963 until his retirement in 1994. In 1967 his the eleventh century to the sixteenth century, re­ article “The Troping Hypothesis” was awarded the flecting different facets of Crocker’s scholarly first Alfred Einstein Prize of the American Musi­ legacy: Lori Kruckenberg, James Grier, and Margot cological Society, and in 1978 his book The Early Fassler explore the use of medieval chant in the Medieval Sequence received the Society’s crafting of personal and institutional histories; Kinkeldey Prize. In addition to his nearly seventy Sarah Fuller, Margaret Hasselman, and Julie Cum­ publications, Crocker has made a number of ming consider pedagogy, continuity, and intertex­ recordings. His work with with Anne Kilmer on a tuality in Medieval and Renaissance compositions; Hurrian cult song from 1400 B.C.E. (“the oldest Sean Curran, Anna Maria Busse Berger, and Dorit song in the world”) earned him a front page news Tanay examine the material, written artifacts of story in the New York Times (6 March 1974), and Medieval music for information about its contexts resulted in the recording Sounds from Silence: and meanings. Recent Discoveries in Ancient Near Eastern Music Scholars of early music and those interested in (1976). He has also recorded the entire corpus of the intellectual history of musicology will find in 578 Gregorian chants sung from the earliest nota­ these essays new historical discoveries and critical tion on A Gregorian Archive: A Study Edition American Institute of Musicology insights that enrich our view of the practice of me­ (2009). Middleton, Wisc. and Münster dieval music as well as our practice of musicology. http://www.corpusmusicae.com American Institute of Musicology 00i-xiv_1-2_MISC08_FM_v16_MISC-Festschrift 5/1/13 11:43 PM Page II MISCELLANEA Medieval Music in Practice Edited by Judith A. Peraino AMERICAN INSTITUTE OF MUSICOLOGY Paul L. Ranzini, Director 00i-xiv_1-2_MISC08_FM_v16_MISC-Festschrift 5/1/13 11:43 PM Page III Miscellanea 8 Medieval Music in Practice STUDIES IN HONOR OF RICHARD CROCKER Edited by Judith A. Peraino AMERICAN INSTITUTE OF MUSICOLOGY Middleton, Wisconsin 00i-xiv_1-2_MISC08_FM_v16_MISC-Festschrift 5/1/13 11:43 PM Page IV AMERICAN INSTITUTE OF MUSICOLOGY The American Institute of Musicology publishes seven series of critical editions, scholarly studies, reference works, and a journal all dedicated to the study of Medieval, Renaissance, and early Baroque eras. The publications of the Institute are used by scholars and performers alike and constitute a major core collection of early music and theoretical writings on music. For information on establishing a standing order to any of our series, or for editorial guidelines on submitting proposals, please contact: American Institute of Musicology, Inc. Middleton, Wisconsin 800 736-0070 (U.S. book orders) 608 836-9000 (phone) 608 831-8200 (fax) http://www.corpusmusicae.com [email protected] [email protected] © 2013 by American Institute of Musicology, Inc. All rights reserved. No part of this book may be reproduced or transmitted in any form by any electronic or mechanical means (including photocopy- ing, recording, or information storage and retrieval) without permission in writing from the publisher. ISBN13: 978-1-59551-509-4 Cover image: David singing while playing the harp, in the initial to Ad te levavi. Copyright Köln, Erzbischöfliche Dioezesan- und Dombibliothek, Cod. 261, fol. 1r. Used with permission. Printed in the United States of America. 8The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992. Library of Congress Cataloging-in-Publication Data Medieval music in practice : studies in honor of Richard Crocker / edited by Judith A. Peraino. pages cm. -- (Miscellanea ; 8) Includes bibliographical references and index. ISBN 978-1-59551-509-4 (alk. paper) 1. Music--500-1400--History and criticism. I. Peraino, Judith Ann, editor. II. Crocker, Richard L., honouree. ML172.M46 2013 780.9'02--dc23 2013003090 00i-xiv_1-2_MISC08_FM_v16_MISC-Festschrift 5/1/13 11:43 PM Page V Table of Contents Acknowledgments . VII List of Illustrations . IX List of Music Examples . XI Abbreviations . XIII Note on Terminology . XIV 1. Introduction: Richard Crocker and the Practice of Musicology . 3 Judith A. Peraino 2. Ricardus Primus: Praeceptor et Familiaris . 15 Richard Taruskin I. Medieval Chant as Cultural Practice 3. Ekkehard’s Use of Musical Detail in the Casus Sancti Galli . 23 Lori Kruckenberg 4. Adémar de Chabannes and the Sequence at Saint-Martial in the Early Eleventh Century . 59 James Grier 5. Volmar, Hildegard, and St. Matthias . 85 Margot Fassler II. Composing Practices 6. Contrapunctus, Dissonance Regulation, and French Polyphony of the Fourteenth Century . 113 Sarah Fuller V 00i-xiv_1-2_MISC08_FM_v16_MISC-Festschrift 5/1/13 11:43 PM Page VI 7. A Ring of Roses . 153 Margaret Hasselman 8. From Two-Part Framework to Movable Module . 177 Julie E. Cumming III. The Artifacts of Musical Practice 9. Composing a Codex: The Motets in the “La Clayette” Manuscript . 219 Sean Curran 10. Music Graffiti in the Crypt of Siena Cathedral: A Preliminary Assessment . 255 Anna Maria Busse Berger 11. Music in the Age of Dante and Petrarch: The Interrelation between Music, Linguistics, and Poetics in the Fourteenth Century . 269 Dorit Tanay Appendix Publications and Recording Projects by Richard Crocker . 295 Notes on Contributors . 299 Index . 303 VI 00i-xiv_1-2_MISC08_FM_v16_MISC-Festschrift 5/1/13 11:43 PM Page VII Acknowledgments I would like to thank all the authors in this collection for their enthusiasm, diligence, and excellent essays. This project first occurred to me in 1995, when my graduation as a Ph.D. student of Richard Crocker coincided with his formal retirement from the faculty at the University of California, Berkeley. The rigors of entering the job market, and then the job itself, prevented me from moving beyond my initial inquiries at that time. Despite retirement, Richard continued to work with graduate students throughout the years, and it was in conversation with one such student, Sean Curran, that the idea for this volume revived. I thank Sean for helping me get this project underway. I would also like to thank Paul Ranzini for taking on its publication, and Cornell University for financial support. I am especially indebted to Bonnie Blackburn for her work as the copyeditor—a description that hardly does justice to her contribution to this volume, which significantly benefited from her thorough and critical readings, and her expertise in early music. VII 003-014_MISC08-Peraino_v15_MISC Festschrift 3/6/13 1:17 AM Page 3 1 Introduction: Richard Crocker and the Practice of Musicology Judith A. Peraino n 1977 Richard Crocker published a “Viewpoint” in the journal 19th-Century Music I in which he offered his Credo: “we understand many things about the history of music—specifically its development—better from the earlier periods.”1 This modest four-page commentary at the end of the second issue of the journal actually presents a radical statement about the nature of music and musicology, for what we get “from the earlier periods” is kicked out of the comfortable nest of biography, personality, “self- expression,” and shared experience, and thrust into the dangerous yet compelling world of music pure and (not so) simple—what sounds we hear and how we hear them, no matter the historical era or the composer’s intention. Crocker writes: “It is, to be sure, common experience that (in nineteenth-century music) communication of the composer’s original feeling seemed to take place ... Who is to say that the listener’s expe- rience was the same as the composer’s? (For that matter, who is to say it was not?) The point
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