Inscribing Medieval Pedagogy: Musica Ficta in Its Texts
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INSCRIBING MEDIEVAL PEDAGOGY: MUSICA FICTA IN ITS TEXTS by CLÓVIS AFONSO DE ANDRÉ May 9th, 2005 Major Professor: Dr. Michael Long A dissertation submitted to the Faculty of the Graduate School of The State University of New York at Buffalo in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Historical Musicology Department of Music INSCRIBING MEDIEVAL PEDAGOGY: MUSICA FICTA IN ITS TEXTS by CLÓVIS AFONSO DE ANDRÉ May 9th, 2005 A dissertation submitted to the Faculty of the Graduate School of The State University of New York at Buffalo in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Historical Musicology Department of Music Copyright by Clóvis Afonso de André 2005 ii To my wife and kids Lúcia, Lucas, and Pedro and my brother Paulo de Tarso A. de André (in memoriam) iii ACKNOWLEDGMENTS First, and most significantly, I owe a great deal of gratitude to my advisor and friend, Dr. Michael Long, without whose trust, guidance and constant encouragement this work would never have come to completion. Even where he did not agree with some of my interpretations, his suggestions and immense editing effort always invited more research and a better elaboration of my thoughts, sometimes with an ability to comprehend them even in incomplete stages of articulation—there are just no words that could thank him enough. The other members of my committee, Dr. Martha Hyde and Dr. Peter Schmelz, were also immensely helpful with insights and suggestions to improve on my work, and I am grateful for the time and energy they spent in further revising my prose, as well as for the motivation and privilege they granted me by agreeing to serve as members of my committee. Owing to a number of practical and bureaucratic constraints, neither Dr. Long nor the other committee members received a copy of my dissertation draft until shortly prior to the deadline for deposit. Therefore, I duly apologize to them and to the reader for any remaining errors of grammar and syntax, or other unidiomatic resonances of my native language of Portuguese in the text. Also, I wish to thank for the help received from various scholars who have generously granted me copies of their papers (even when I was living abroad, and could not attend to their lectures), and for the opportunity of exchanging some correspondence on iv particular issues of the dissertation. In this respect, I would like to cite Margaret Bent, Mariamichela Russo, Eleonora Beck, Stefano Mengozzi, Peter Urquhart, Elizabeth Kotzakidou-Pace, and Sigrun Heinzelmann—who I hope will forgive if I do not mention their academic titles. Other distinguished professors (and above all friends) have also honored me with their contributions, and valuable advice within and outside their area of expertise (from theoretical and methodological approaches to linguistic issues), in several of the formative stages of this project: John Clough, Gary Burgess, James Patrick, Christopher Gibbs, Rebecca Maloy, Francesca Behr, José Luiz Martinez, Fernando José Carvalhaes Duarte, Hildebrando de André, John Spindler, and David Frew. Of invaluable aid I must mention the librarians and staff of the UB Music Library, who helped with their friendship and exceptional work: Nancy Nuzzo, Rick McRae, John Bewley, James Coover, and Joanne Dudak. This work would also not have been possible without the online databases (SMI, TFM, TME, and TML) under the general direction of Thomas Mathiesen in the Center for the History of Music Theory and Literature at the Indiana University. These databases and the UB Libraries online system, were of particular help when I had to move back to Brazil (from Sept. 1999 onward), where I have very limited access to scholarly works and treatises in general. Despite those limitations, it was also essential to count on the support of my current employers, for which I been serving as Professor of Music History, in charge of a three-year Survey at Faculdade Santa Marcelina (since Sept. 2000) and of a four-year Survey at Faculdades Integradas Cantareira (since Sept. 2004), both in São Paulo. The v deans of these institutions granted me a three-week leave for the dissertation defense (from late April to mid May), even though the academic semester in Brazil ends on June 30th. Three most significant grants also allowed the completion of this dissertation: the generous provision of a Dissertation Fellowship from the College of Arts and Sciences at the University at Buffalo (in 2003); a travel Grant on Cultural Diversity from the American Musicological Society (which covered my expenses during the Boston Meeting in 1998) without which I would not have been able to attend important sessions dealing with the subject of this dissertation; and finally, the extended and honorable Doctorate Grant provided by the Brazilian Government through the Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) from 1995 to 1999. My warmest thanks is due to my wife, Lúcia Ramos, for her learned support, welcome criticism, love and self-sacrifice throughout the seven or eight years from the first conception of this project to its completion. Nothing would have been conceivable or have any meaning without her, nor without the additional inspiration provided by the love and laughter of our two sons. Finally, I wish to thank my mother and father, Clarisse Parisotto and Bruno, for without their loving and caring support I would never have made through this point in my life. My father is also responsible for many discussions and opinions about rhetoric that were essential to my comprehension of the subject, as well as for discussions about judicial issues regarding the Corpus iuris civilis which, I hope, will come to fruition in a further elaboration of the present work relating musica ficta to medieval law. vi TABLE OF CONTENTS DEDICATION . iii ACKNOWLEDGMENTS . iv LIST OF FIGURES . x LIST OF TABLES . xiii ABSTRACT . xiv EDITORIAL NOTES . xvi SYMBOLS . xviii BIBLIOGRAPHICAL ABBREVIATIONS . xx GENERAL ABBREVIATIONS . xxiii vii INTRODUCTION . xxv SUMMARY OF CHAPTERS . xxxvi CHAPTERS CHAPTER 1 — THE GAMUT, MUSICA FICTA AND MUSICA RECTA (i) The Gamut: A Presentation and Overview . 1 (ii) Musica ficta versus Musica recta . 13 CHAPTER 2 — PRINCIPLES OF HEXACHORDAL SOLMIZATION (i) Deduction of Hexachords . 39 (ii) Stages of Solmization . 50 (iii) Recognition and Reading of Hexachords . 59 (iv) Equivalence Between Hexachords . 75 (v) Refutation: Resistance to Hexachordal Solmization . 93 (vi) Working beyond the limits of the hexachord . 107 CHAPTER 3 — MUTATION: THE BASICS (i) Mutation (basic concepts) . 111 (ii) Mutation (basic cases, processes and guidelines) . 133 viii CHAPTER 4 — MUTATION: IRREGULAR TYPE, FICTA-SPECIES, AND POSITION OF FICTA-SIGNS . 160 CHAPTER 5 — PERMUTATION . 187 CHAPTER 6 — TRANSMUTATION . 222 CHAPTER 7 — FIGURES OF SOLMIZATION AND FIGURES OF RHETORIC: THE MUSICAL DISCOURSE . 252 CHAPTER 8 — ISSUES OF TERMINOLOGY: FORGING TERMS, DEFINITIONS, AND CONCEPTS IN MODERN SCHOLARSHIP (i) Generic Definitions: The Audience Considered . 273 (ii) Particular Terminology: Accidentals Versus Ficta-signs . 296 (iii) Particular Terminology: Other Terms Versus Ficta-signs . 311 BIBLIOGRAPHY . 323 ix LIST OF FIGURES CHAPTER 1 FIGURE 1.1 – Recta-Gamut (post-Guido d'Arezzo) . 2 FIGURE 1.2 – "Ut queant laxis" . 6 FIGURE 1.3 – "Trinum et unum" . 12 FIGURE 1.4 – "Domine qui operati sunt" . 24 FIGURE 1.5 – "Alliga Domine in vinculis" . 25 FIGURE 1.6 – "Beatus servus" . 27 CHAPTER 2 FIGURE 2.1 – "Puer natus" . 61 FIGURE 2.2 – "Omnes de saba" . 62 FIGURE 2.3 – Recognition of hexachords (fifth-span, no explicit semitone) . 64 FIGURE 2.4 – "Ut queant laxis"—solmization of -hexachord . 67 FIGURE 2.5 – Recognition of hexachords (fifth-span, no explicit semitone) . 74 FIGURE 2.6 – Octave equivalence . 76 FIGURE 2.7 – "Accueily m'a belle" (contratenor), by Phillippe Caron . 77 FIGURE 2.8 – "Kyrie eleison," from Mass XI "Orbis factor" . 78 x FIGURE 2.9 – "Ave Regina caelorum" (contratenor)—(Gallicus 1458/64) . 79 FIGURE 2.10 – "Ave Regina caelorum" (contratenor)—(Gallicus 1458/64) . 81 CHAPTER 3 FIGURE 3.1 – Mutation (from - to -hexachord) . 143 FIGURE 3.2 – Mutation (from - to -hexachord) . 143 FIGURE 3.3 – Mutation (from - to -hexachord, forced by ficta-sign) . 147 FIGURE 3.4 – Mutation (from - to - to -hexachord, forced by ficta-sign) . 148 FIGURE 3.5 – Mutation (various)—(Guerson [ca. 1495]) [original notation] . 150 FIGURE 3.6 – Mutations (various)—(Guerson [ca. 1495]) [transcription] . 152 FIGURE 3.7 – 'Indirect' mutation on rest—"Garrit gallus" (mm. 54–60) . 158 FIGURE 3.8 – 'Indirect' mutation on note . 159 CHAPTER 4 FIGURE 4.1 – Recta- and Ficta-mutation—"Navré je sui" (refrain), by Du Fay . 169 FIGURE 4.2 – Ficta-mutations . 172 FIGURE 4.3 – Functions of ficta-signs—(Ornithoparchus 1517) [original notation] 174 FIGURE 4.4 – Functions of ficta-signs—(Dowland 1609), revised version of Ornithoparchus's example [original notation] . 175 FIGURE 4.5 – Functions of ficta-signs—Dowland's revised version of Ornithoparchus's example [transcription] . 176 xi FIGURE 4.6 – Functions of ficta-signs (ficta-mutation) . 178 FIGURE 4.7 – Functions of ficta-signs (ficta-mutation) . 179 FIGURE 4.8 – Functions of ficta-signs (ficta-mutation) . 181 CHAPTER 5 FIGURE 5.1 – Stepwise permutation—(Marchettus da Padova 1317/18) . 193 FIGURE 5.2 – Stepwise permutation—"Garrit gallus" (mm. 54–60) . 196 FIGURE 5.3 – Permutation by leap—(Gaffurius 1496), first solution . 199 FIGURE 5.4 – Permutation by leap—(Gaffurius 1496), alternative solution . 203 FIGURE 5.5 – Permutation by leap of fifth (fa/fa)—(Ramos de Pareja 1482) . 213 FIGURE 5.6 – Permutation by leap of fifth (mi/mi)—(Ramos de Pareja 1482) . 215 FIGURE 5.7 – Alternative mutations on leap of fifth (re la re and ut sol ut)— (Ramos de Pareja 1482) . 217 FIGURE 5.8 – Permutation by leap of tritone (fa/mi)—(Ramos de Pareja 1482) .