-S-7
STYLIST IC EVOLUT ION OF TIE MOTET THROUGH
THE SIXTEENTH CENTURY WITH EMPHASIS
ON THE STYLE OF PALESTRINA
THESIS
Presented to the Graduate Council of the North
Texas State Teachers College in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
By
Merl V. Cornelius, B. M.
Denton, Texas
August, 1948 TABLE OF CONTENTS
Page LIST OF ILLUSTRATIONS ...... , . . . . iv i
PREFACE 0 . . . . 9 . * * 0 0 . . * * . . . . * * * V Chapter I.RELIGIOUS MONODY . 1
II. RELIGIOUS POLYPHONY THROUGH TfE THIRTEENTH CENTURY ...... - + . * * * . . . . 10
III* THE MOTET IN THE FOURTEENTH AND FIFTEENTH CENTURIES . . * -. . . . * * * * . . . . . 20 Isorhythmic Motet Burgundian School Flemish School
IV. A SKETCH OF PALESTRINA'S LIFE GIVING DATES OF HIS . IOTETS . . - 9 ...... 30
V.OTHE STYLEJOFPALESTRINA. - -- ... '.. 36 Notation Welody Rhythm and. Meter Harmony Dissonance Counterpoint Vocal Style Form
VI. STYLISTIC ANALYSIS OF ASSUIPTA EST MARIA BY PALESTRINA...... 50 Form Thematic Procedure Music Ficta Cadence Melody Dissonance Rhythm and Meter Vocal Style
APPENDIX. * . 0 0 9 - * . - - - 0 - - * . . * . . * . 63 BIBLIOGRAPHY. . * * * * * * * * * * * * * * . * . . 92 0 iii LIST OF ILLUSTRATIONS
Figure Page
1. Staff and Clefs Used in Gregorian Notation . . 3
2. Single Notes in Gregorian Notation ...... 3 3. Neumes . . . . * . * , * * * . . . * . * . * * 4
4. Ecclesiastical Lodes ...... 5
5. Rhythmic Modes of Thirteenth Century . . . . . 13
6. elodic Motives Used in Thirteenth Century
v4otets . . . - - - ** * * * * * * . * . . . 15
7. Usual Clef Arrangement in the Sixteenth - *...... 36 Century .* . - - . . * *
8. Transposition Clefs Used in the Sixteenth
Century . . - * . - -* . . *...... 36
9. Comparison of Melodic Outlines of Gregorian Chant and Palestrina ...... 39
iv PREFACE
The mass and the motet are the most important musical components of the Catholic liturgy. The development of vocal polyphony in the Medieval Period culminated in the perfection of these fory s in the sixteenth century. The purpose of this thesis is to give an account of the development of religious monody and polyphony that led to the inception of the motet in the early part of the thirteenth century; to show the development of the motet through the sixteenth century; to give a more detailed analysis of the style of Palestrina; and to emphasize the analysis with a stylistic examination of a Palestrina motet.
V CHAPTER I
RELIGIOUS MONODY
The body of religious music, known as plainchant, or more specifically, Gregorian Chant, enjoys one of the longest
continuous histories accorded to any one form. Some contro-
versy exists concerning the origin of the chant. One school of thought favors the Greek influence, and another adduces the chant to the tradition of the Jewish Synagogue.1
There is also considerable controversy concerning the rhythm of the chant. In this thesis the findings of the
Solesmes School will be taken, for the most part, as final, because their interpretation was made the official view of the Catholic Church by the Motu ropriq of Pope Pius X in
1903; hence, the Solesmes concept is the only one that has utilized its findings in satisfactory performance. The return to medieval tradition of the chant is recognized by lay scholars as the product of Solesmes efforts.2
Sunol, one of the Solesmes scholars, divides the history of Gregorian Chant into four periods,3 formation, perfection, decadence and revival. The first period of formation extended
1W. Apel, Harvard Dictionary of Music, p. 309. Ibid.,p. 310.
3 G. Sunol, Textbook of Gregorian Chant, p. 173. 1 2
from 312 A. D. to the pontificate of Pope Gregory (590-604). Pope Gregory accomplished the organization and codification of the existing chant, hence, it bears his name. The second
period, 604-1200 A. D. was characterized by the dissemination
of the chant and establishing schools, notably those at Metz,
Germany, and Saint Gaul, France. In the eleventh century the monk, Guido d'Arezzo, perfected the four-line staff which is
still in use today in chant notation. Guido is also appar-
ently the first to use solmisgtion in the Christian era in a 4 practical way. The period of decline extended from 1200 to 1850. The Medicean Edition of the chant, published in 1614, destroyed the integrity of the melodies. The chant also suffered because of the increasing popularity of polyphony, and in the latter part of the period, because of .the increas- ing tendency toward florid and operatic styles of composition. The last period began about 1850 and extends to the present. During this period scholars, both religious and lay, have attempted to restore to the chant its original tradition and integrity. It is the Benedictines of Solesmes that receive credit for the instigation of this revival. The school has been under the leadership of Dom Gueranger (1805-
1875), Dom Pothier (1835-1923), and Dom Mocquereau (1849-1930).5
Their present leader is Dom Gajard.
4 G. Reese, Music in the Middle A , p. 151. 5W. Apel, 2. cit., p. 68.
. 0, 3
Modern staff notation of Gregorian chant has been in
general use since the fourteenth century. However, the notes
had assumed the shapes shown below during the latter part of
the twelfth century.6 Since it is still in use today, it is
relatively easy to find texts and other books giving ample information on this notation.
The staff contains four lines using a movable "do" clef on either of the top two lines and sometimes on the third line, the "fa" clef on third line and occasionally on the top line as shown in Figure 1.
Am
Fig. l.--Staff and clefs used in Gregorian notation
The chant uses variously shaped notes, all equal in time value, regardless of shape. (Other considerations alter their duration,) The punctum is the only note used alone when only one notA is given to one syllable. (See
Figure 2) The function of the liquescent is to facilitate pronunciation on the part of the singer, particularly, the diphthongs and the consonants m, n , and 1.
Punc tum Rhombus
Virga ILiqueseent J Fig. 2.--Single notes in Gregorian notation
6 Reese, _. cit., p. 275. 4
In addition to these single notes there are other notational signs called neumes (Figure 3).
Poiv'-fieiw7Pj Ps;ri c-cidl'& q'//A?
Msubcqs Ch,,rc5 T'iIs #'stte as 0' fA6 e'ef /C 4(s cm cus -r- q I- M t s eo
Fig. 3.--Neumes
The notes in the neumes all have equal value, with the exception of the two or three"notes preceding a quilisma (.4 ) which are slightly retarded, and the second note of the
salicus which is always prolonged. 7
The origin of plainsong notation is a matter of conjec- ture. Reese believes this notation originated in the Greek and Latin grammatical accents. The tonic accent , indi- cating an elevation in voice, became the virga; the grave accent t\t, indicating a lowering of the voice, became the punctum.8
The development of the staff as a device to indicate the intervals followed an erratic pattern of experimental efforts.
For the most part these efforts were concerned with the use of Greek and Latin letters in conjunction with the neumes without the aid of' a staff. The modern staff had its
7 A. Klarmann, Gregorian Chant, p. 16. 8Reese, . cit., p. 132. 5
beginning about the first of the eleventh century. A red
line was used to indicate "F". -Later another line was
added to indicate "0". With these resources Guido dArezzo perfected the staff. It was not universally employed until the fourteenth and fifteenth centuries. The melodic framework of the Gregorian chant is based
on the Ecclesiastical modal system. This system of eight modes "seems to have appeared as early as the time of Pope Gregory, 9 the Great." These modes had the form shown in Figure 4.
FM r
xo) e F/e) b n,
Fig. 4 .--Ecclesiastical modes
The difference between a mode and its hypo, or dominant mode, is the range and the dominant. There are also certain melodic idiomatic characteristics of each mode, which are the
9 K. Jeppesen, Counterpoint, p. 59. 6
result of efforts to avoid the tritone.10
There are four types of Gregorian chant: (1) psalmocic, in which many syllables are on the pitch; (2) neumatie, in which one syllable is on a group of notes or a neume; (3) syllabic, in which one syllable has one note; (4) melismatic,
in which one syllable had many notes. (See Appendix, Examples 1-4.) In the Ordinary of the Mass the "Kyrie" is neumatic or moderately melismatic; the "Gloria" and "Credo" are psalmodio. The "Sanctus," as a whole, is either syllabic or moderately neumatic, but the first of the tree utterances of the word "Sanctus" is often treated melismatically. The "Agnus Dei" is either syllabic or moderately neumatic.ll'
What follows is a brief resume of the theory of rhythm of the chant as conceived by Dom Mocquerpau, as leader of the
Solesmes 1 2 school, and by Dom Gajard, the present choir- master at Solesmes.
The rhythmic divisions are the time groups, binary and ternary, the incise, member, phrase and period. All the notes are of the same duration unless altered by one of the following signs: the horizontal episma (-) retards the note or groups it affects; the dot (o) which usually doubles, sometimes triples the note it follows; the vertical episma (i)
10 Reese points out that these formulas are a better aid in determining the mode than scale structure.
Reese, p. cit., pp. 183-184.
12D. Gajard, Th Rhythm of the Plainsong, pp. 1-67. 7
which marks the ictus, and the quilisma (*) which retards the note which precedes it.
Rhythm, or movement, is achieved by alternate arsis, or rise, and thesis, or fall. Both the text and melody possess these characteristics of rhythm. The arsic-thesic pattern of the text may or may not coincide with those of the melody. The first note of each group of two or three notes bears an ictus, not always indicated, which defines this group. The ictus may be arsic or thesic. The attempts of the Solesmes scholars to define their theory are not readily understood. For that reason the definition of Dom Sunol, Monk of Montserrat, is given in full.
The rhythmical ietus is simply a voice, "dip" of the an alighting place sought by the rhythm intervals at of every two or three notes in order to renew or sustain its flight until it reaches final its resting place. The ictus must be divorced from an idea of force. or lengthening In itself out.. it may be strong or weak; it only gains its dynamic or quantitative value from that the note happens to correspond to it. If the chances ictus to be strong by its position, it does appropriate not the intensity thus bestowed upon it its stress extends to the whole of the compount time which it commands, and it keeps only the function of an alighting or resting place. It can be readily understood that this must be so in order to safeguard the unity of the compound beat.1 3 One unit containing an arsis and thesis or rise and fall makes up an elementary rhythm:ZJ. A thesis followed by an arsis composes a compound time:IJt Composite rhythm is
13 Sunol, . cit., p. 73. 8
formed by the mutual relation of the measure of units of compound time.
The rhythmic ictus of the text falls on the final
syllable. To comprehend to the fullest extent the concept of the Solesmes group, it is necessary to listen to Solesmes performances, recordings of which are available.1 4
The "trope" and "sequence" no longer enjoy the same usage as Gregorian chant, but had an important influence on the development of the motet. These two related phases of chant developed in the eighth and ninth centuries.
Generally speaking, a trope is a melism in the chant literature to which a text has been added, making it a syllabic section rather than melismatic. "Sequence" is the name applied to the trope on the melisma of the final syllable of the Alleluia. The sequence more nearly crystal- lized into a definite form than the other tropes. Not only were texts added to the already existing chant, but long melodies were added to the jubilus (final syllable). These were broken up into melodic strophes to enable the singers to breath. In performance each strophe was repeated, with the exception of the first and last, resulting in the form a bb cc dd ee ff g.
14 It is of interest to note that Gajard says that Moquereau further develops the ideas of Pothier, one of the early Solesmes scholars, in respect to the ictus, whereas Reese interprets Pothier as asserting that the rhythm of the text is the predominating influence which was later discarded by Moquereau. 9
The sequence became a very popular form in the Catholic Church. Since it was performed only after the Alleluia to which it had been added, the Church felt it to be a pollution to uniformity of the liturgy. Consequently, in the Council of Trent (1154-1163) all but four of the sequences were banned.
The early sequence texts were unmetrical and unrhymed. During the later period of their development, last half of the twelfth century, the sequence text was both measured and rhymed. Previously the strophes varied in length, but the composer, Adam de St. Victor, more or less simplified the structure and wrote sequences in which the lines are of more regulated length.15 (See Appendix, Examples 5 and 6) 15 Rp. Reese, j. ,Pp.151 CHAPTER II
RELIGIOUS POLYPHONY THROUGH THE THIRTEENTH CENTURY
In Fusic in the Middle _EReese gives a summary of the
various theories which attempt to account for the fact that
fourths and fifths are the first intervals to appear in the earliest polyphony. One that seems to enjoy considerable
favor is that of Dom Anselm Hughes of the Solesmes School.
Hughes believes that it was a result of the "sequaelae" com-
positions in which each section was repeated by an antiphonal
choir at the fifth above. Reese's theory is that the impulse
toward polyphony came from at least two sources: the desire of the singers with different ranges to sing at comfortable pitch levels, and the varying of a melody by people intending to sing it simultaneously.
There are several early documents that show that the composers considered the value of using two different pitches sounding simultaneously, but the earliest one that contains enough material to make it possible to determine the nature of such music was the ninth century manuscript Musica
Enchiriadis. The term applied to the music was "organum." More than one type of organum is described in Iusica
Enchiriadis: strict ~oranum at the fourth or fifth, in which the vox organalis is a fourth or fifth below the vox
10 11
principalis throughout the piece; composite organum in which
the vox organalis is doubled at the octave above and the vox principalis is doubled at the octave below; and tree organum,
in which there was oblique motion from the unison until the interval of the fourth or fifth was reached and continued to the "cursus" or coming together of the voices in unison at the end. (See Appendix, Examples 7, .8, 9.)
The next document that discusses organum is the eleventh century manuscript Micrologus, by Guido d'Arezzo. In this account, organum at the fourth only is allowed. Guido advo- cates the use of free organum for itself rather than as a means of avoiding the tritone. The minor second is prohibited and no interval larger than a fourth is allowed in the ver- tical relationships.
The Winchester Trper (eleventh century) gives evidence of a major change in the composition. The vx organalis is now above the vox principalis. In Musica by Cotton even more radical developments take place. Organum may be organized partly in fourths and partly in fifths. Cotton also describes organum in which a crossing of voices is allowed, and two and three notes are allowed in organum against the principalis.
At no time during the era of organum did the composers seem bound to follow the rules too closely. The tendency to observe the practice of contrary motion seems to have been fairly well established by the middle of the eleventh century.
The function of organum was much the same as the trope-- 12
to decorate the chant, and was applicable especially to the
sequence, but was used with other tropes as well as the principal body of chant literature.
The melismatic organum of the Winchester Troper evolved into a more complicated sustained-tone style of composition.
The earliest examples of the sustained-tone style are con- tained in four early twelfth century manuscripts emanating from the monastery at St. Martial in Limoges, France. (See Appendix, Example 10.) With this new style the need for a method of determining the time value of notes became more pressing. The composers indicated by various means which notes were long and short: by the position of consonances at certain points, writing the music out in score, and word accents. These necessarily vague methods resulted in time values determined by the performer.
As indicated in Chapter I, the shapes of the neumes had been fairly well standardized in the latter part of the twelfth century. These neumes then became the basis for the development of notation of time duration.
This transition in the function of the neumes was accom- plished largely by Perotinus and his contemporaries of the
Notre Dame School. The ligatures, which were used for the notation of the xtflismatic style were giyen certain time and metrical connotations. Figure 5 gives the six rhythmic modes, in modern notation. The ordo indicates the number of times the pattern is repeated before a rest. The system came into general use at the end of the twelfth century.
First ordo Second ordo Third ordo
Mode1 t Jd J J|jj r 1 IJJI I Mode II |Y I ) JJ IJ 7
Mode III 1 , k I ), J
Mode IV . . Mode V , . l, I, Mode VI JJ .Jb)Py gmi:gy"P.1! i "1 Fig. 5.--Rhytbmic modes of thirteenth century
The School of Notre Dame, dominated by two names,
Leoninus and Perotinus, contributes the final link between
the tenth and eleventh century style and that of the thir- teenth century. Leoninus was the author of Magnus Liber
Or i de Graduali et de UAnthonari, a cycle of two part organa for the liturgical year. In these organa the note- against-note style and sustained-tone style are found in the same composition. In some of these pieces the organa must use one of the rhythmic modes. This measured organa became known as "discant.t Leoninus melodies contain no broken triads and rarely contain a melodic leap larger than a third. He also made use of many sequential patterns. The metrical sections which were marked off as a result of using the free and measured styles in juxtaposition were called
W. Apel, Notation of Polyhonic usic, p. 230. 14
"clausulae"; since they were subject to the rhythmic modes
they were called "discant clausulae." (See Appendix,
Example 11.)
Perotinus later wrote clausulae to be substituted for
those of Leoninus and for those sections of free organum in
sustained-tone style. These organ and discant are made up
of a liturgically derived tenor (sustained note) and free
organum in a second part (duplum) and sometimes a third and fourth part (triplum and quadruplum). All parts sing the same melismatic syllable.
The tenor in Perotinus's new clausulae is put in a reiterated rhythmic pattern. Each part has a sharply defined independent rhythm. The upper parts assume less importance melodically, and they do not constitute parts of different timbre, but are, for the most part, for equal voices. Another feature which makes an appearance in these compositions is a canon-like technique, which is a result of exchange of parts.2
A situation now existed similar to that facing the per- formers of the long melismatic jubilus in the alleluia and other sections of the Mass. The trope arose from the diffi- culty of learning these long textless sections. It was during the early part of the thirteenth century that the idea of the trope was applied to the long sections of the "discant
2 Reese, Music in the Middle . The preceding portion of this chapter is summary of material on the subject from Chapter 9 and a portion of Chapter 11 of Reese. 15
clausulae" which resulted in the motet. 3
The word motetus (from the French "mot" meaning word) was applied to the texted duplum of the clausulae. The chief traits of the motet were (1) multiplicity of text and (2) a tenor with a pre-existent and liturgical melody and text that is disposed in a reiterated modal rhythmic pattern. Later the whole composition was called by this name. The tenor was written on the lowest staff on the score, but was not neces- sarily the lowest sounding part. (See Appendix, Example 12.)
Since the tenor was merely borrowed, the upper parts occupied most of the composer's attention. Each part was to be composed so that it might be performed alone satisfacto- rily. Consequently, the emphasis was on a smooth melodic line. The steady modal rhythm brought about a unified out- line in the melodies, entire melodies consisting of a succession of such motives as shown in Figure 6.
Fig. 6--Mlelodic motives used in thirteenth century motets
There is a tendency for the phrase of the early motets either to descend or to circle around a center. In the latter part of the century this motif idea was gradually dropped and ascending phrases became more frequent, the composers
3. Tischler, The Motet in 13th Century France. This work is summarized in'the ensung o rtion o thI9Thapter. 16
beginning to favor variety to repetition. The bare modal outline of the earlier motets is smoothed out by splitting
the modes. All of the motets in this century are strictly modal.
The predominate use of a particular pattern in the
tenor seems to have been caused by the fact that Perotinus,
or another influential Notre Dame composer had chosen this
formation and it was adeepted by later composers. Theo- retically the tenor could be chosen from any of the litur- gical melodies. However, in actual practice the composers
seem to have limited themselves, since some of them are found in the tenor of several motets. One of these is In
Saeculum. In the three collections he transcribed, Tischler counted this tenor in use forty-five times. In nearly one- half of these it is in a three note figure:j. J.I.tI. In one-fourth, it is a five note group:)JSJ tlJ.*i. The rest are in various other patterns in triple meter.
There were three problems confronting the composer of motets in the thirteenth century: (1) equality of length of parts, (2) combination of modes, and (3) good harmony. The melody of the tenor is often repeated or partly repeated to make it the same length as the newly composed upper parts.
Another solution to the problem of length was to extend the last note of the tenor with a "longae.tt
There were two general considerations that governed the modal relationship of the parts: (1) only related modes were 17
used in parts of one motet. The first mode was related to
the fifth and sixth modes; the second to the third, fourth,
fifth, and sixth modes. The fifth and sixth modes were related to all the others. (2) A lower part does not move more quickly than a higher part and usually moves more slowly,
The upper parts follow the tenor phrasing or they may
be opposed to it in a more or less independent phrase arrange-
ment of their own. Sometimes all but one of the parts follow
the tenor and that one contrasts with them and bridges the rest in the tenor part.
The third problem, that of providing good harmony, is
governed in the thirteenth century by practically the same
considerations as those of the twelfth century organa and
discant clausulae. The perfect consonances were the unison,
perfect fourth, fifth, and octave. The fourth was not con-
sidered consonant enough to begin or end a piece, the fifth
being the chief consonant over the fourth. The intervals
considered as imperfect consonances were major and minor
thirds, The thirds came into general use through their use
as passing tones on secondary beats. Parallel thirds were. used in crossing voice parts.
The following intervals were considered as imperfect dissonances: major sixth, minor sixth, minor seventh, and major second. The perfect discords were the minor second, the tritone, and major seventh. When the nmsic was in three 18
parts the third and fourth were the, principal intervals used.
The sixth was used on weak beats frequently, but did not acquire recognition as a consonance.
The chords on secondary beats could be dissonant if
they were a result of passing notes, changing note groups,
or repetition of the preceding note or from the anticipation
of the succeeding dissonance in the same or another part.
Each part was free to pursue its own passing, changing, or repeating dissonance without regard for any other part.
This often resulted in the harshest of dissonances on the secondary beats. The most important dissonance on the weak beat is caused by passage of contrary motion found most often in the form -- Suspensions were used on the strong beat. Dissonance could be caused on the strong beat as a result of the sequential or motival melodic patterns.
Of the Latin texts of the thirteenth century motets, approximately seventy-five percent have a relation to the feast to which the tenor belongs. About the same number are based on discant clausula, and many have the same texts as the discant clausula from which their music is derived. A large part of the motets show the trope influence in that the word of the tenor is often worked into the text of the other parts.
Each part had a different text. During the middle part of the century the practice of using French texts in the upper part was begun. The subject matter of the texts of 19
the texts of the same motet range from the God Father and
Jesus to drinking songs and social conditions. During the
third quarter of the century the French language enjoyed a
complete monopoly in the motet compositions.
During the course of the last quarter of the century
the general character of the motet was changing under the
leadership of Franco de Cologne. The tenor continued to be
a reiterated rhythmic pattern, but additional sources were
drawn upon to furnish a greater variety. The triplum was
gaining more importance melodically and independence in its
rhythm as a result of being written in smaller note values.
The thirteenth century motet did not exist in form, but
rather as a style of composition, since there is no struc-
tural basis as we know it today, for the compositions.
However, certain motets were written in patterns that were
later recognized as the rondeau, viralai, and ballade. (For
examples of the thirteenth century motet style, see Appendix, Examples 13 and 14.) CHAPTER III
THEMOTET IN THE FOURTEENTH AND
FIFTEENTH CENTURIES
Fourteenth century music was called Ars Nova from a
treatise by that name by Phillip de Vitri. Thirteenth cen-
tury music was then referred to as Ars Antijua.1 The "New
Art" concerned itself predominately with secular music because of a weakening of the influence of the Church. The
clergy of the times were generally regarded with scorn and derision because of their ignorance and open corruptness.2
This state of affairs plus the devastation of the Black
Death and the Hundred Years War between France and England3 may help to explain why sacred music shared the lack of
interest in all things pertaining to the Church during this
century. Another contributing factor was the split in the
Church which resulted in a dual papacy (Avignon and Rome) from 1378-1418.4
This dearth of sacred music in the fourteenth century no doubt contributes to the fact that modern music lexicographers
1H. Miller, An Outline Hjtor of Music, p. 27. 2 H. McKinney and N. Anderson, Music In History, p. 194.
lbid.., p. 196. Miller, R. it., p. 27. 20 21
have given little or no consideration to the motet of this period,5 which is known as the isor4ytbmic motet.
Isorhythmic Motet The isorhythmic motet has many features that are similar to the thirteenth century motet, noticeable particularly in the tenor. The tenor has a liturgical source, i. e., is derived from the main body of Gregorian chant, and it has a reiterated rhythmical pattern. Each one of these patterns is called a'telea." They are much longer and are free of the modal restrictions of the century. Often the melody of one telea may be set to a new rhythm to form a new telea.
Some fourteenth century theorists made a distinction in the rhythmic repetition (telea) and melodic repetition which they called "color."
In some of the motets of the period the isorhythmic procedure is found in all the voices or in parts of them.
There are two principal composers of motets in the fourteenth century--de Vitri and Machaut. There are eleven motets ascribed to the former but only four of these can be
authenticated. Hocketing is one of the outstanding charac-
teristics of these pieces. There are three types of hockets.
5 Among those historians who do not mention the four- teenth century motet are McKinney and Anderson, Finney, Lan$, and Wooldridge in the Oxford History of Music. Conse- quently Reese remains the chiefTThnd moVrelTble source on music of this century. It is from Reese, Music in the Middle Ages, that material on the fourteenth century moEt~TE taken. 22
In the first, each melody-note is repeated; in the second, the melody-notes are sung alternately without repetition.
In the third type, the truncation occurs between groups rather than individual notes and there may be rhythmic over- lapping of parts.
Do Vitri's motets have fuller harmony than the thir- teenth century motets, but harmony still does not predom- inate. (See Appendix, Example 14.)
Machaut has twenty-three motels credited to his name.
All but three of these have at least an isorhythmic tenor.
In ten of the twenty-three, the tenor is repeated in dimi- nution. Many of the upper parts have isorhythmic tendencies, although they do not follow this procedure throughout. (See
Appendix, Example 15.)
The texts of the upper parts are more closely related than the thirteenth century natets and they are in the same language--either French or Latin. The tenor is sometimes textless, and in such instances is probably intended to be played by instruments. The subjects of the text may be religious, moralizing, political, or romantic. The top part has the chief melodic interest.
The English motets of the fourteenth century show little advance over their French contemporaries, with the exception of the melodies, which are more pleasing to modern ears and show more careful attention to voice leading. They, too, used the isorhythmic idea. 23
In Ars Nova, de Vitri discussed the new rhythmic pro- cedure. It will be recalled that the rhythmic modes of the thirteenth century were all in triple meter. Do Vitri des- cribes two new modes that replace the six of the earlier period. They are the perfect mode and the imperfect mode.5
There are three phases of each: mood, time, and prolation.
The mood governs the division of longs into breves; the time governs the division of breves into semibreves; prolation governs the division of semibreves into minims. If the mood, time or prolation is perfect, the division is by three; if they are imperfect, the division is by two. This method of rhythmic procedure was followed until about 1550.
In addition to imitation in canon as a result of exchange of parts, which was observed in the preceding cen- tury, canon in the modern sense was used.
Finney believes it was during the Are Nova period that the composers discovered that the cadential effect of one voice moving down a whole step and another up a half-step produced a more positive feeling of finality.
As a result of greater independence of voice parts, new rules governing their relation were sought. The first of these was the prohibition of consecutive fifths. The second rule called for alternate perfect and imperfect consonant intervals. This resulted in a greater use of music ficta to
6TMorley, A Plaine and Easie Introduction to Practical lusicke, pp. 112-119. 24
alleviate the use of the minor sixth which was considered a dissonance.
The writing of motets in the isorhythmic style continued
down through the first part of the fifteenth century. The
early composers of the fifteenth century, Dunstable and
Dufay, wrote some isorhythmic motets. These motets may
serve as the transition from the fourteenth century to the fifteenth century. It was in their works that the short and
agitated rhythmic members in the style of Machaut were replaced by "wide-spanned arches of melody." 7 (See Appendix,
Example 16.)
The successor to the Ars rova style of composition in
the fifteenth century is the Burgundian School, the principal composers being Dufay and Binchois. Some of the lesser lights are Grasart, de Lantius, Fontaine, and Grenon.8 In contrast to the fourteenth century, the Mass outlived the motet as the favored form of liturgical composition.9
Burgundian School The Burgundian style was influenced by the style of the
English School, under the leadership of Dunstable, who was
7 R. Picker, "Polyphonic Music of the Gothic Period," Musical Quarterly, XV (1929), 505.
8 H. E. Wooldridge, Oxford Histor of Music, Vol. II, p. 41.
W. Apel, Harvard Ditonar of Music, p. 104. 25
as well known on the continent as in England*O The various
contributions of Dunstable may be listed as follows:1 1 (1) a greater understanding of the use of the third and fifth as the
result of "faux-bourdon" in England. This technique conisted
of alternating the third and fifth, intervals for which the
continent had a traditional aversion,1 2 and omitting many of
the harsh discords and empty perfect concords. (2) He
restricted the use of discord to suspensions and passing tone
of the strong and weak beats respectively. (See AppendiX,
Example 16.) In addition it may be noted that his motet has
three voices which sing the text and there is an absence of
the "cantus firms" in the tenor, which has the rhythmic freedom of the other part.
Dufay's early compositions, written before 1437, were
written in the isorhythmic style, but from that year on his
music shows the definite influence of Dunstable.13 In addi-
tion to the technique observed in Dunstable's music, Dufay
and fellow Burgundians (1) made use of the 7-6-1 melodic
cadence, (2) completely discarded polytexuality, and (3) made
less use of the "cantus firmus," or borrowed tenor, than
10
England was then in possession of what is now a part of northern France. 12'Van der Borren, "A Light of the Fifteenth Century-- Dufay," Musical 9Quarterly, XXI (1935), 281.
13 T. Finney, A Histor of Music, p. 135. 26
formerlyJ14 This practice comes back into popular use with the composers of the Flemish School. Dufay also shows a preference for the upper voice which carries the melodic burden. In his Alma Redemptoris Mater the lower parts may be assigned either to voices or instruments.1 5 (See Appendix,
Example 17.)
Flemish School The Flemish School (ca. 1450-1600) was the successor of the Burgundian School. The principal composers of the
Flemish School are Ocheghem (1430-1495) and Obreit (1430-
1505), who were contemporaries, Josquin des Pres (1450-1521), who assumed the leadership of the school after Ocheghem's death in 1495, Peirre de la Rue (1460-1518), Mouton (1470-
1522), Phillip de Monto (1521-1603), and Orlando de Lasso
(1532-1594).16
Much of Obrechtts music is concerned with the rhetoric of newly developing techniques of canon in its various forms of augmentation, diminution, inversion, and cancrizans. His chief contribution, then, is technical, rather than artistic, but nonetheless an important contribution, in that it made available to his successors his advancement in technique for artistic purposes. This interest in canonical procedure
14H. Miller, o. cit., p. 31.
15 McKinney and W. Anderson, 2. .cit.,p. 204. H. Miller, M citl., p. 32. 27
further liberated the motet from dependence on the "cantus firmus.t"tl Since Ocheghem devoted his efforts along other lines the example of the contemporary motet is by Obrect.
(See Appendix, Example 18.) Josquin des Pres was the outstanding composer of the fifteenth century.1 8 There was a progressive tendency in this century to rely less on the borrowed "cantus firmus."
However, in those compositions where it was used, there is more freedom in making it fit the composers' use. This is noticeable in des Press Mass L'Homme Arme. The "cantus firms" is an old French popular song.1 9
From Dunstable to Josquin des Pres, the most important developments may be suamed as (1) imitative technique, (2) freedom of parts, (3) increased awareness of propriety of chordal structure * An opening in familiar style could now be substituted for the fugal style. And (4) the language of all liturgical music is Latin.
The example of the des Pres motet Absolom fili mi
(Appendix, Example 19) exhibits the skeletal procedure that later became a feature of the motets of Palestrina.2 0
Since there is a very limited amount of material
T. Finney, p. cit., pp. 141-142. 18Ii, 8Ibid.,p. 143. 19Ibid , p. 146.
.E. Wooldridge, of. cit., Vol. II, p. 83. 28
available on this period, it would be well to include in this chapter these additional general characteristics of
the Flemish School in general listed in An Outline History
of Music by Miller: (1) four-voice polyphony predominates.
(Three voice polyphony predominated in the Burgundian School.)
(2) A bass part is added, giving a lower register to the
music. (3) There are more complete triads and sonority.
(4) Alteration of sections of familiar style with sections
of more rhythmical independence--which later developed into
the fugal style. This is a feature of the later Palestrinian
style, as is (5) the duet style, in which voices are treated
as pairs, in fugue-like entrances. (6) The 7-6-1 cadence disappeared and was replaced with cadences similar to the modern authentic and plagel cadence, as well as the various modal cadences.
There remains one factor in the development of the
Palestrina motet. It is Jeppesen's theory that the
"frottola," an early sixteenth century secular form influ- ence the final stages of the polyphonic style. It was in this form that composers first began to change their atti- tude toward the text. They were trying, for the first time to "give words living spirit by means of tones." Tonal interpretation of the text was more advanced in the secular forms, particularly, the madrigal in which Palestrina was adept. It remained for later centuries to see this idea developed in sacred music; but it quite easily is seen in 29
the motets of Palestrina. 2 1
21 K, Jeppesen, Counterpoint, pp. 17-18 CHAPTER IV
A SKETCH OF PALLSTRINA'S LIFE GIVING
DATES OF HIS MOTETS
Giovani Pierluigi de la Palestrina was born toward the
end of 1525.1 Palestrina is the name of the town where
Pierluigi was born, and as happened many times in the pre- ceding centuries, he became known by that name.
As a youth he was choirboy in the cathedral of his native town. In 1554, the residing bishop in Palestrina
was given the post of Archpriest in the basilica of Santa
Maria IMaggiore in Rome. It was probably due to the influ- ence of this priest, Cardinal della Valle, that Palestrina was enrolled in the choir school at Santa Maria Maggiore.2 Palestrina was in the school until around 1540. After a brief stay in his home he returned to Rome in the same year, this time to stay for a period of four years.
There is considerable controversy concerning Palestrina's teacher 3 during this period, Milne, gives evidence that points
Z. Pyne, Palestrina, p. 3. For a thorough discussion the controversy of thaft exsts concerning Palestrina's date of birth, see Chapter XII of this work; also see H. Coates, Palestrina, p. 29.
2Ibid., p. 31. 3 J. R. Milne, "Palestrina," Grove's Dictionary of Music, IV, p. 32. 30 31
to Arcadelt, while Coates assumes that person to be Fermin le Bel.4
In 1544, Pierluigi returned to Palestrina as the organ-
ist and choirmaster in the cathedral of S. Agapito.5 While
holding this position he married Sucretia de Goris in 1547. He remained in Palestrina until 1551.
In 1550, the Bishop of Palestrina was elected Pope, and
assumed the Papacy as Julius III. The following year
Palestrina received the position of Faster of Boys in the
Julian Choir, St. Peter's.6 In 1554, he published his first 7 of masses. The first mass of this book is in the "cantus
firmus" style, being based on the plainchant Ecce Sacerdo
Magnus. The notes of the chant are written in braves. The part that has the plainsong actually sings the original words, thus 8 making it polytextual. This book of masses was dedicated to Julian III. The first mass seemingly was designed to flatter this patron.9
As a reward Julian made Pierluigi a member of the Papel Choir.1 0 Three months later Pope Julian died and was suc- ceeded by Marcellus II, who was Pope for three weeks before his death. However, in this short space of time, he was able to influence the style of Palestrina. In an address to the
5 Pyne, OP. cit., p. 7. 6Ibid., p. 10. 7 "ilne, o. cit., p. 17. 8Pyne, a. cit., p. 23. 9 Coates, Q2. cit., p. 39. 10Milne, o. cit., p. 18. 32
Papal Choir he expressed a desire that the text might be
understood properly. That Palestrina was impressed is evi-
denced by the existence of thePope Marcellus Mass.11
Marcellus was succeeded by Paul IV, who vindicated the
members of the Papal Choir who had taken offense at not
being consulted about Palestrina's appointment to the choir,
as was customary, by dismissing him from the choir. He was compensated by a small pension. The chief reason for his
dismissal was the fact that he was married which was against the rules of admission.12
Palestrinats next appointment was as musical director
of St. John Lateran, where he succeeded Orlando di Lasso in
1555. He held this post until 1558. During this period he
published nothing of his own except some individual pieces
of madrigals in collections of other works. However, he
did complete the Pope Marcellus Mass, a book of Lamentations, and some Magnificats.1 3
Coates and Pyne give 1560 as the date of his leaving
St. John's; Milne gives 1558. They are agreed that the
reason for his precipitate resignation was a dissatisfaction with his income.
In 1561, he was elected choir master of Santa Maria 1 4 Maggiore. At this time he was in danger of losing the
11 12 Coates, 0 cit., p. 41. 1 ilne, .. cit., p. 18. 13Coates, ci., p. 43. 14.Pyne, . cit., p. 45. 33
pension from the Papal Choir. He saved it by presenting the
choir with several motets and a mass, thus convincing the
Pope of the value of continuing the stipend.15 One of the motets--Beatius Laurentius--is in the style of earlier mass
Ecee Sacerdo Kmnus. It is possible that both compositions were written during the same period.
It has not been definitely determined when Palestrina
left Santa Maria Maggiore. It was probably in 1587.16 Some-
time during this same year he dedicated his first book of
notets for four voices to Cardinal Ippolito d'Este.1 7 During
this stay at Santa Laria Maggiore he had spent a portion of
two or three years at the Cardinalis musical establishment.18
His next church position was obtained when his suodessor
at St. Peter's, Animuccia, died in 1571. Palestrina was
reappointed to his old post.19 Within the next year he brought out his second book of motets, dedicated to the Duke
of Mantua, probably in an effort to obtain some sort of
sinecure for his two sons, Angelo and Ridolfo, since he
included compositions by each in the volume. In one of these compositions, Peccantem me quotidie, Palestrina effected a modulation which is quite unusual with him.2 0 Two other
1 5 Milne, . cit., p. 19. 16coates, op. cit,, p. 47.
17Milne, . cit., p. 22. 18Coates, . cit., p. 48. 19 20 Jilne, 22* cit., p. 22. Ibid., p. 23. 34
outstanding motets of this volume are Ascendo ad Patrem and Tn es Petrus.2 1
In 1575, the third book of motets for five, six and
seven voices was published, dedicated to the Duke of Ferrara.
In this volume he makes use of two choirs in the manner of
the Venetian School.2 2 Among the motets are Su ilUnare
Hodie Christus natus, and 0 bone Jesus. In 1577, Gregory XIII, who had succeeded Pius V in 1572, issued the Breve in which instructions were given to purify
the plainsong. Palestrina was given a part of this task, which he never finished. In 1582, Palestrina dedicated his
fourth book of masses to Gregory XIII.2 3 One of these was
on the old French popular tune L'Homme arm, that had been used by many previous composers Including Josquin des Pres.
The fourth book of motets appeared in 1584, a large number of which used texts from the "Song of Songs." This volume was dedicated to Pope Gregory XIII. In the dedica- tory preface he expresses a desire to atone for not having devoted all his efforts to sacred composition. In the same year the fifth book of motets for five voices was published, dedicated to the young King of Poland,2 4
In 1590, Palestrina wrote a mass, based on the same antiphon as that of the motet to be considered later:
21 22, Coates, OM. ci., p. So. tilne, OR. cit., p. 23. 23I24 lb Ijd., p. 24. Coates, o~p. cit., p. 65. 35
Assumpta eat Maria. This mass reinstated him in the good graces of the new Pope, Sixtus V, who had not been pleased by an earlier offering of a mass and a motet.
During the last four years of Palestrina's life four
Popes reigned in the Holy See. He was always careful to see that enough new works were presented to the Papal Choir to be assured that his standing as "composer for the Papal
Choir" was maintained.
No other volumes of motets were published during his last years. His publications during his life consisted of masses, lamentations, hymns, magnificats, offertories, madrigals, and the "spirituali madrigali," many of which have been published since his death.
During his last years Palestrina received a remarkable accolade. 'A number of his contemporaries published a collece- tion of their psalm settings dedicated to Palestrina. Proof of the esteem in which he was held was again given at his funeral in Fqbruary, 1594. The coffin was inscribed:
"Musicae trinceps." The Papal Choir sang a Requiem Mass for the repose of his soul.2 6
26 Coates,.9 .it.., P. 75. CHAPTER V
THE STYLE OF PALESTRINA
Notation
The notation used by the composers of the latter half of
the sixteenth century was similar in many respects to that
used today. The staff and clef signs are the same. The clef arrangement most used is shown in Figure 7.
Fig. 7.--Usual clef' Fig. 8.--Transposition arrangement in the sixteenth clefs used in the sixteenth century century
The clef arrangement shown in Figure 8 was used as a transposition clef or "chiavi transportate," indicating the composition might be performed a major or minor third lower.1
1K. Jeppesen, Counterpoint, p. 58. 36 37
The note values used were the maxima: longa:
breve; r , semibreve: 0 , minim: , siminim: f , and fusa: J . In modern transcription the minim has the value
of a half note. In addition to these notes there were
other symbols similar to the neumes of Gregorian notation.
These symbols are called "ligatures" and are of two types:
(1) ligaturae rectaec9 , and (2) ligaturae obliquae .2 The complicated system of modal rhythmic notation that
-is assigned by Norris3 to this period, had been in use since
the fourteenth century. It is not characteristic of
Palestrina's music. Hawkins, the eighteenth century histo-
rian, gives Palestrina credit for purging sixteenth century music of much that was in bad taste.
In the course of his studies Palestrina dis- covered the error of the German and other musicians, who had in a great measure, corrupted the practice of music by the introduction of intricate proportions and set about framing a style for the church, grave, decent, and plain, and which, as it admitted of none of those unnatural commixtures of dissimilar times which were become the disgrace of music left ample scope for invention. Influenced by that love of simplicity which is discoverable in all his works he in conjunction with Francesco Soriano, reduced the measures in Cantus Ecclesiasticus to three, namely, the Long, the Breve, and the Semibreve.4
The modal system that was didoussed in Chapter I
9 bid. , pp. 55-56. 3 R. 0. Morris, Contrpuntal Technique in the Sixteenth Century, p. 25.
J. Hawkins, A General History of the Science and Practice oftMusic, Vol, III, p.172. 38
continued as the basis of composition through the sixteenth
century with some extensions and modifications. The addi-
tions are the Aeolian and Ionian modes and theoretically
their dominant or "hypo" modes. The eleventh mode, that
built on B was not used because of the diminished interval
to its dominant, F. These two modes had been in use for
some time, but were not recognized in theory until the sixteenth century.5
The modifications of the modal system are, in part, a practical feature, rather than a theoretical one. horris6
seems to think that every melody in a part composition was conceived either in the Authentic or Plagel of a definite mode, with the mode of the tenor determining the mode of the composition as a whole, Soderlund, n the other hand, says that "this distinction between Authentic and Plagal modes may be disregarded in polyphony."7 Jeppesen agrees with Soderlund as he considers only the authentic form of
8 the mode in polyphony. Another change is brought about by the use of "musica ficta" to obtain the sub-semitone or half-step from leading-tone to the final, The dominants of the ecclesiastical modes do not play the expected important part as cadence points in polyphonic composition.
5Jeppesen, 2. 6 cit., p. 76. morris, .cit.p. 28. 7 G. Soderlund, Direct Approach to Counterpoint, p. 5. 8 Jc Jeppesen, 2Z. cit.. P. 72. 39
Melody
The melodic outline of Palestrina's music is similar
to that of Gregorian Chant. Both usually have one note that
is higher than the others in the phrase, which divide ascend-
ing and descending portions. (See Figure 9.) The Palestrina melody has a long gradual ascent and a relatively short
descent. The proportion is reversed in the Chant melody.
Fig. 9.--Comparison of melodic outlines of Gregorian Chant and Palestrina
This feeling for balance in rise and fall of the melody is also found in the smaller division of the melody in the treatment of melodic intervals and their direction. The underlying method of construction is given by Wooldrige in the OxfordHistory of Music:
The governing principle, technically speaking, of Palestrina's melody is of course that of conjunct move- ment. This however, is beautifully varied by the con- stantly changing value of the notes (i. e., the secondary rhythm) and also by occassional disjunct intervals, which are permitted upon the condition of not continuing in the direction of the leap, but immediately returning by grad- ual motion toward the point of departure.9
9 H. E. Wocldridge, Oxford iisto ry of 1usic, p. 233. 40
This is not a hard and fast rule but a generalization
because one may find more than occasinal exception.
The Palestrina style normally uses the following inter-
vals in both ascending and descending motion: major and minor
second and third, the perfect fourth, fifth and octave. The
sixth is used in ascending only. The major sixth is rarely
used. Chromatic, aujtented, and diminished intervals are not
used.10
Palestrinats melodic style is more accurately defined in
the following rules: 1 1
1. In ascending movement it is better to have the
larger intervals at the beginning of a curve.
2. In descending motion the smaller intervals precede
the larger. These first two rules are followed -less as the
time values of the portion notes increase.
3. Ascending skips' are not used on accented notes.
4. Two or more skips in the same direction are not
used. Two successive skips may be used if one is in opposite direction.
5. A skip downward is often followed by a smaller skip in the opposite direction.
6. An ascending skip is almost always followed by a descending stepwise progression.
7. Either the upper or lower auxiliary tone is used in
10Jeppesen, cit., p. 85. 1 11bid., p. 86. 41
quarter note movement providing, in case of the former, the
third note is a half note.
8. Eighth notes are used in groups of not more than two.
They are always introduced and quitted in stepwise movement.
They are not used in an upper auxiliary. They may be used
only on unaccented quarters.
9. Two successive quarter notes do not take different
syllables.
10. Anticipations come only on unnaccented quarters and
are used only when approached stepwise from above.
The complexity of the rhythm of the Pale strina style
stems from duality of its nature. The bar line was not in
use as yet to show the divisions of meter.
Rhythm and Meter The rhythmical accent (accent of stress) is derived
from its comparative duration and its position in the melody.
If a note is longer than those immediately preceding it, it
tends to attract weight to itself. This accent is more manifest if the notes immediately following it are of smaller
value also. A note that is higher than those immediately
surrounding it will also have this tendency to attract weight.
The note that is approached by a leap upward is more strongly felt. This accent is increased when the note is left by a
skip although this is a less frequent occurrence as seen In the discussion of melody. 42
The metrical accent (the accent of quality) "imposes a
regular alternation of strong and weak beats to which the harmony of the composition has to conform71 2 This metrical pattern is the one that is indicated in the modern editions by the bar lines. Obviously the first note of every measure
is not necessarily the one to receive the accent.
The metrical accent and rhythmical accent are independ-
ent and may or may not coincide. The composers of this period utilized this independence of accents, particularly
in the secular works by superimposing a rhythmic group of
three over a metrical group of four. The rhythmic accent is
free, i. e., there is no set formula which it follows. The
deciding factor in the composers Amind when determining
rhythmic accent is the accent of the words. This interplay of accents is one of the distinguishing features of the period.1 3
Merritt makes the following generalizations regarding
the use of the various note values in Palestrina's music.1 4
12 Morris, a. cit., -Pp.3-4.* 13 This distinction between metrical and rhythmical accent is not observed in all writings concerning sixteenth century technique. It is best propounded in Contrapuntal Techniue by R. 0. Morris. Merritt does not observe this difference and applies bar lines to fit the rhythmic accents, rather than the metrical accent. There seems to be no basis for this procedure in view of the fact that Seashore has found that metrical accent has a psychological basis (Psychology of Music, p. 156), 1 4A. T. Merritt, Sixteenth Century oyphony, pp. 46-53. 1. Double whole note (breves) are used nearly always at the close of a composition or as a note of repose at the close of a line. Occasionally they serve as an initial note.
2. Whole notes may serve as initial and final notes and occasionally are found in the course of a line.
3. Half notes are the most frequent of all notes because they are the unit of movement. They are rarely used as initial notes. They are not usually used as the final note of a phrase on a weak beat unless another phrase starts immediately on the next count.
4. The common usages of the quarter note are:1 5
a) quarter note movement begins on the unaccented
beat, especially in descending movement . If the quarter
note movement ascends, it is usually approached by a
downward skip.
b) quarter note movement continues to the accented
half note.
c) two quarters do not stand isolated in the place
of an accented half note. A third quarter note is
added either before or after two quarter notes on the accented beat.
5. Concerning eighth notes, there is nothing to be added to the observations made under melody.
6. The note of least value that is tied to another of
15 Jeppesen, o2. cit., p. 139. 44
equal value is the half note. Notes of less value are not
tied to notes of greater value. The opposite does take place.
Harmony
The harmonic material, or the comtnation of simultaneous
notes, in the music of Palestrina are the perfect unison,
fifth, and octave, the major and minor third, the major and
minor sixth, and combinations of these, the5 and chords.
Perfect and augmented fourths, diminished fifths, and (more
exceptionally) diminished fourths are treated as consonances, provided they are in the upper voices and are not in relation
to the bass. When they occur in relation to the bass (which relation is stronger) they are treated as dissonances.1 6
The tendency in sixteenth century music is away from
cluttering up the measure with too many changes of harmony.
Since the minim is the unit of measure, it is very rare that
the harmony changes more than three or four times in each measure*17
Dissonance
A strict application of the principal of conjunct move- ment is applied to the treatment of the dissonance. The sole exception is the cambiata or changing note group. The most common type of dissonance is the passing note which usually comes on the second half of the beat. However, if the harmony
16 17 Ibid., p. 175. Morris, op. cit., p. 34. 45
changes on the whole note the unaccented passing tone may be a half note. It may be either ascending or descending motion.
The accented passing tone of quarter note value comes only on the even numbered beat. It is always descending. It some- times takes a half note if the tempo is sufficiently fast.1 8
The changing note group is a group of four notes that falls into a rather set pattern. The principle is that a dissonant passing note, instead of falling step by step to the next degree, may fall by a leap of a third to a new har- mony note. The first note of the group must be of the value of a dotted half note. The second note, the dissonance, is always a quarter note. The third note may be a half note, a dotted half note, or a quarter. It is a harmony note. If the third note is a half note the fourth note is also a'half note, and a harmony note. If the third note is a dotted half note or quarter note, the fourth note is a quarter note and treated as a passing tone. This formula may be in any part and commence on any beat, though Palestrina usually started it on a weak beat. 1 9
Suspension is the term applied to a note which is held over from one harmony to another. If the suspended note is consonant it moves freely, either up or down. The suspension is preceded by a chord of preparation and followed by a chord of resolution. The suspension itself comes on a strong beat
18 19 ID' ., p.d37. Ibid., p. 8 46
and the chord of preparation and resolution come on the weak beats. If the tempo is fairly fast in triple meter the sus- pension is prepared on the first beat, occurs on the second, and is resolved on the third beat. The dissonance is resolved stepwise downward to a consonant tone. There are various ornamental resolutions that may be used. It was generally conceded that parallel voices or a succession of the same intervals between the parts destroyed the independence of the voices. By crossing the parts Palestrina avoided what would be consecutive fifths and octaves in 2 0 a piano score. This procedure does not avoid the rule, but shows that the writing, was conceived horizon- tally rather than vertically. Consecutive intervals in whole note movement were considered broken by the intervention of a half note, but not if it is a passing tone. The same is true if the note values are one degree smaller.2 1 The notes of "musica ficta" used in Palestrina's music are the result of three causes: avoidance of the tritone (F-B), to provide a half step progression from the leading- tone to the final, and to provide a half step progression to the lower auxiliary.
Counterpoint
The word that best describes the bulk of Palestrina's compositions is "fugal." The adjective is used, rather than 20O21 Jeppesen, of. ci., p. 99. 1Morris, g . 2~JS., p. 42. 47
the noun, "fugue," because his writings exhibit this tech- nique of composition as a procedure and style rather than as
a form. This style is used in combination with the homo- phonic style in many of his motets.
Generally, there are two types of fugal compositions:2 2
(1) those in which the imitation is strict throughout,,i.e., a canon; (2) those in which the imitation is discontinued when the subject has been answered. The strict canonic
treatment is used more in the Masses, while the fugal treat- ment is more prevalent in the motets.2 3
In the fugal type of composition there are two methods of subject treatment: (1) compositions in which the entrances are all evenly spaced, in the manner of a canon; (2) compo-
sitions in which the subjects are entered in pairs. Each action of the rext is often repeated, forming antecedent- and consequent phrases.
The answer is usually at the fifth above or below. It may be real or tonal. Palestrina prefers the tonal answer. lie composed very rarely in the mamer of the double fugue or double counterpoint.
In most of the motets the fugal style is mixed with a chordal style. A few compositions are written entirely in the chordal style.
Even though Fux and the more modern pedagogues advocate
22 23 Morris, o. cit., p. 45. Hawkins, p. _cit., p. 183. 48
teaching counterpoint by the "specie, method, a perusal of
Palestrina's works show he did not write with a fixed-note
cantus firmus except in the Mass Lcce sacerdo magnus and the motet Beatus laurentius.
Vocal Style
One of the outstanding aspects of Palestrina's style is
the treatment of voice. He utilized the possibilities that
arose from the peculiar characteristics of the different
voice qualities and their combinations. This technique .,s
noticeable particularly in the six and seven part motets where he achieved an antiphonal effect without the aid of two
choirs. The contrast of different pitch levels of the ante-
cedent and consequent phrases is made greater by the contrast of high and low voices.
He composed for various combinations of voices, motets
being written for three altos and tenor, three tenors and
bass, and three sopranos and alto. In the settings of the
"Crucifixus" may be found combinations of two sopranos and
alto; soprano, alto, and tenor; and two tenors and bass.
Form
If the word "form" is taken to refer to "general prin- ciples and schemes which govern the structure-at-large of a composition,"2 4 then it is obvious there is no motet form
24 W. APel, Harvard Dietinr of Music, p. 277. 49
per se because the motet may be contained in many forms.
Oliver Strunk of Princeton classes the motets of the sixteenth century in types-- Sequence, Antiphon and Respond. He counts only one of Palestrina's motets, Lauda sion salvatorem, as a
Seqtence-type. The Antiphon-type seems to have no partic- ular characteristic qualities of its own, except that it is the small motet for the Office. The large motet type is the
Respond. Its chief characteristic is its division into two parts, prima ars and secunda pa. The primars sets the text of the verse and ends with repetition of the concluding line or lines of the Respond resulting in an ABCB form.
(AB, prima pr CB, secunda .)
25 Oliver Strunk, "Some 1otet-types of the Sixteenth Century," Papers read at the International Congress of MusicolOy, h,~p. ~~ CHAPTER VI
STYLISTIC ANALYSIS OF ASSUMPTA EST MARIA
BY PALESTRINA
Assumpta est Maria, (See Appendix, Example 20) as edited by Paul Beopple, is a "motet for six mixed voices, or three women's voices with strings or three men's voices with
strings." The voicing is for first soprano (1), second
soprano (2S), <o (A), first tenor (IT), second tenor (2T), and bass (B). If the first alternate is used, in which
strings are substituted for the men's voices two violas and violoncello might be used. As far as the question of pitch is concerned, a violin could play the first tenor part. If the second alternative is used, three violins may substitute for the women's voices.
The clefs used in the original edition do not indicate a transposition. This edition is a transcription into modern clefs from the original soprano, alto, tenor and bass clefs.
Another change in this edition is the reduction of time values by half to facilitate reading by present-day musicians.
Form
Assumpta est Maria is of the Respond-type. The melody and text are from the antiphon1 of the same name. Palestrina
Liber Usualis, p. 1606. 50 51
used the text of the complete antiphon for the "A1 part of
the motet. The general outline of the fom is:
Prima Pars. "A" - measure 1-35 'B" - measure 35-79 Secunda Pars. "C" - measure 1-48 "B" - measure 48-92
From the viewpoint of technical construction each part
falls into several smaller sections according to thematic
material designated by text and measure.
Prima Pars. "A" 1. Assumpta est Maria in coelum, m. 1-11. 2. gaudent i angeli, m. 11-23. 3. laudantes, nm. 23-28. 4. benedicunt Dominum, m. 28-35.
"B" 1. Gaudete, m. 35-43. 2. et exultate, m. 43-49. 3. omnes recti corde, m. 49-54. 4. uia hodie Maria , m. 54-66. 5. own CuimTBoregnat in aeternam,
Secunda Pars. "0" 1. uae est ista e progreditur, m. 1-13. 2. qUasi aurora consurensi, m. 13-22. 3. pulchra ut a, m.. 22-26. 4. Tlecta ut sol, in. 26-33. 5. terribilis ut castrorum, m. 33-39. 6. acies ordinata, m. 39-48.
"B" An exact repetition of "B" in Prima pars.
Most of the sections are divided into antecedent and
consequent phrases, which are indicated by "a" and "b". As
an example, Ala is m. 1-5 and Alb is m. 5-10.
Thematic Procedure
The composition is in the seventh or mixolydian mode.
The first subject begins in the 2$ and is accompanied by two 52
countersubjects in the 1S and IT. The 2$ concludes the
subject at the end of measure 5 while the 1S and iT continue to the third beat of measure 6. The subject and counter- subjects are repeated in real imitation at the fifth below in the 2T, A and B in the same order and in the same rhythmic proximity. All parts in the consequent phrase (Alb) made their entrance before the antecedent phrase had been com- pleted, resulting in an elision of the two phrases. The 1$ and 23 have free counterpoint toward the end of Alb. The imitation is altered slightly at the cadence in the A and B.
Section A2 is introduced with a harmonic statement in measures 10 and 11. What follows might be regarded as a sort of development. The subject is in the 2T and is derived from the B in the statement. The countersubjects in the 1 and 2$ are derived from the IT and 2T. The first three notes are in real imitation at the fifth above. On the first syl- lable of n long melismas are added. The second repeti- tion is at the fifth below beginning on the third beat in measure 14, with the subject in the B and the countersubjects in the A and 1T. The subject is given completely, but the countersubjects are altered in the melisma. An imitative part is added in measure .14 in the 2T. The repetition in measure 17, on the second beat is at the fifth above in the 1, 2$, and 2T with the imitation lasting for the three initial notes. The obligation to continue the imitation is gone because another repetition begins in stretto in measure 53
18 in the A, 1T, and B, the subject being in the B with the
other two carrying the countersubjects. All voices but the
1S continue to the cadence on the first beat of measure 21.
Section A3 follows a pattern very similar to Al. Sub-
ject one enters in the 1 on the second beat of measure 21.
Countersubject one enters in the 2$ on the fourth beat, and
countersubject two enters on the second beat of measure 22
in the 2T. Tbey cadence on the third beat of measure 24. On
the fourth beat the 2T begins the consequent phrase with the
subject at the octave below. The first and second counter- pubjects are repeated in like manner at the same rhytbmic proximity in the 2T, A, and B.
Section A4 is sung by all of the voices. It consists of
two phrases, antecdent and consequent, each four measures
long. They are both harmonic. The second is a repetition of
the first at the fifth with slight rhythmic and melodic alter- ation. The bass is the only part where the imitation is
strict.
There is a change to triple meter in the next two sec- tions. Section BI is characterized by the rhythmic figure
JIe'JJJcJIcI. The subject enters in the 2S simultaneously with the first countersubject in the 1S on the third beat of measure 35. The subject enters again one measure later, the subject and countersubject continuing in derivative counter- point above it. In the next measure the subject and counter- subject enter on the third beat in the B and IT at the third 54
below. The initial note is not at the third below but the rest of the pattern is. The subject appears again in the
2T, measure 38 on the third beat. On the third beat of measure 39, the 1$ and 2$ enter with the same rhythmic pattern as the subject and countersubject but with an
inverted melodic contour. On the third beat of measure 40 the A enters with derivative counterpoint above the real
subject and countersubject in the B and 2T. The IT is added
in measure 41 in derivative counterpoint. The governing pattern of rhythmical proximity in this section is simul- taneous entrance on the third beat of subject and counter- subject, followed, three beats later with the subject alone in another voice. Each rhythmic pattern revolves around a pivot note. The tones in the first statements of subject and countersubject are c and e, the second time a and c, the third time b and d, and the fourth time g and b. This gives a tonal shift of down a third, up a second, and down a third.
The beginning of B3 marks the return to duple meter.
This section is five measures long and there is no repeti- tion. It is harmonic with added interest by the movement of the A, IT, and 2T.
Section B4 utilizes four voices at a time instead of three. The subject is in the 2T. A harmonic accompaniment is provided by the 1S, 2$, and A. The imitative subsequent phrase is at the fourth below with the subject in the B. 55
The accompaniment is in the A, IT, and 2T which is derived
from the 2$, A, and IS respectively. The entrance of the
parts in the subsequent phrase are arranged in a different
rhythmic proximity. The 2T enters on the third beat followed by the other parts on the fourth beat in the antecedent phrase. In the subsequent phrase the B and IT enter on the third beat followed by the A and 2T on the second beat of the next measure. The section is extended with a repetition of the last part of the subject Mariavirgo. The subject of B5 enters in the A on the second beat of measure 66 simultaneously with a harmonic accompaniment in the 2T and IT. The IT enters two beats later in imitation of the subject at the fifth below. The same rhythmic proximity is maintained in the next subsequent phrase, which is in imitation of the antecedent phrase at the fifth above. The 23 has the subject with the accompaniment in the 1$ and IT. The A enters in imitation of the 2$ after two beats at the fifth below. This section has a second subsequent phrase (B5c). It is in imitation at the octave below the first subsequent phrase. The only alteration in the rhythmic proximity is the entrance of the low note of the accompani- ment in the B on the first beat. The subject enters on the second beat in the IT and is imitated two beats later by the A. B5c has additional harmony added in the 1$ and 2S. They are derived from the other parts. There is an extension of the section from measure 75 to measure 79. The motive of 56
this extension is a four note diatonic progression upward.
It seems to be derived from the 23 of measure 71.
The statement in 01 is harmonic for three measures or about the first half of the antecedent phrase ( est ista). jua progreditur is also harmonic but has more rhythmic inde- pendence. The section juae progreditur is repeated develop- ing its own thematic material, thus effecting an extension.
The subsequent phrase follows the same procedure with the parts in a different rhythmic proximity, with entrances on the first, third, and fourth beats rather than simultaneously.
Clb begins its imitation at the fourth below. There is added counterpoint in the upper voices. The imitation ceases after four measures. Cla is given in the 1S, 23, A, and IT. Clb is given in the A, IT, 2T, and B.
02 follows the same general pattern of 01. 02a begins harmonically in the 1$, 23, A, and 2T; on the fourth beat the A begins a melisma which is freely imitated by the IS and 23. The subsequent phrase is given to the A,.IT, 2T, and B which imitate the parts of the antecedent phrase at the fifth below. The milisma is in the four voices instead of three as in C2a.
03a is a short two measure harmonic statement in all voices but the IT. The consequent phrase is at the unison and octave with exact imitation in the 13, 2$, and 1T for the first four pitches. It is extended with a melisma in free counterpoint. 57
04a is stated by the A, IT, 2T, and B. The melodic pattern of the A is imitated at the octave and fifth above
in the 1 of C4b, with an altered rhythmic pattern. TheB
is strictly imitated at the fifth above in the same part.
The other parts are freely imitative.
C5 is syllabic and harmonic with progressive rhythmic independence of part. The antecedent phrase is in the four high voices. 05b is in the 93, A, 1T, and B. All parts are freely imitative except the B which is in real imitation at the fourth below of the IT in O5a.
The subject and first countersubject of C6a center on the second beat of measure 39 in the A and 1S. The second countersubject enters on the second count of measure 40 in the- 2. The subsequent phrase repeats the subjects in the
B, 1T, and A in the same rhythmic proximity beginning on the second of measure 43. The second tenor enters in the previous measure with a hint of imitation, but continues in free imitation. The 1S and 2$ are added for the extended cadence.
All of the sections are joined together by elisions with the exceptions of A3 and A4, B2 and B3, and the break between Prima oars and Secunda pars.
Music Ficta
The mode of the motet is mixolydian. There is no instance of modulation as such. The following notes of 58
musica ficta are used: F -, C , G , and B . F is used to provide a half-step progression on the leading tone, and
once in measure 45 of secunda to avoid the dissonance
of a minor second. After the cadence F is always used,
thereby maintaining the modal character of the piece. C
is used in the second measure of secunda pars. The opening
chord is D minor followed by an A major chord. Another use
of C is to provide a half-step melodic interval in a lower auxiliary (measure 61, prima ars).
Cadence
Although there are no modulations, there are cadences on other notes. Not counting the repetition of "B" there are thirteen cadences on G, nine on C, seven on A, four on
E, and one on D. According to Jeppesen, D should be the most favored cadence note, other than G.2
Melody
The principal melodic characteristic of this motet is the same as that already discussed concerning the style of
Palestrina, i. e., conjunctmovenark The opening theme is typical of the Palestrina melodic style in that it has a long approach upward to the culminating note and a relatively quick decline to the cadence. The culmination of the melody is the e in measure 4 on the second beat. All of the themes
2 K. Jeppesen, Counterpoint, p. 81. 59
of the motet follow this outline with the exception of B2 and C5.
Dissonance
The predominate dissonance used in the motet is the
passing tone. It is found exclusively on the unaccented
portion of the beat, as are all examples of the upper and
lower auxiliary tones. Both types of dissonance, by defini-
tion, are approached and left by diatonic movement. The
point of dissonance is never approached simultaneously. In
the great majority of instances, one of the notes has a value
of three or four times the other so that the two voices
neither approach nor leave the point of dissonance at the same time.
On three occasions Palestrina does not supply a third for the triad. These open fifths are found in prima rs measure 24, third beat, measure 37, first beat, and measure
72, first beat. The first example is preceded by a measure
of unison singing by the 1S and 2T in which there is no chordal feeling.
There is only one example of a changing note group, or echapee: prima , measure 26, in the alto.
Of the twenty-five suspensions, there are thirteen of
the suspended fourth, four of the minor seventh, four of the major seventh, one of the major second, and three of the 6 4* The only example of a suspension on a weak beat is in the
section in triple meter; prima pars, measure 18. The rest 60
of the suspensions are fairly evenly divided, thirteen on the
first beat and eleven on the third beat. This would indicate
that Palestrina was fully aware of a regularly recurring pat-
tern of accented and unaccented notes.
Rhythm and Meter
The time signature of the motet is that in common usage
in the sixteenth century:4 , which indicated tempus imper-
fect and prolation imperfect, i. e., two semibreves equal a breve, and two minims equal a semibreve. This duple meter
is used for the greater part of the composition. It is
altered by proportion of 2:3 in the first part of "B", which
gives a dotted whole note the same value that a whole note received in the preceding section.
The meter of the text usually coincides with the meter of the music. A syncopation effect is achieved momentarily in some places by placing the accented syllable on a weak beat as in measure 10. This syncopation is abandoned when the next accented syllable is placed on the strong beat.
Another instance of the text accent not coinciding with the meter is in secunda pars, measure 4. In the 2S the accented syllable of proreditur is on the second beat. This is off- set by two other voices, the A and 1T, singing the accent on the strong beat one count later.
The idea of giving the words meaning by certain tonal expressions although not new, was not highly developed in 61
sacred music of the sixteenth century.3 It is difficult to
say whether Palestrina intended a "program" effect or whether
such examples, as may be cited were the result of a progres-
sive independence and complication of rhythm that seems to be
a characteristic of each section.
Some examples in which Palestrina might have intended to portray the text to some extent in Assflt estea Maria are on
the following words: coelum, angeIi, laudantes, gaudete,
aeternum, and consurgens.
Vocal Style
The outstanding feature of the particular motet is its use of the voices for various antiphonal and contrasting color effects. It is written for two sopranos, alto, two
tenors, and bass. Almost every section has at least two parts, and occasionally more. Contrast between the parts of each section is obtained not only by imitation at a different pitch, but by contrasting tone color. The contrast of S S T answered by A T B is used in Al, A2, A3, and Bl. The con- trast of S S A answered by T T B is used in B2 and 06. The contrast of S S A T answered by A T T B is used in B4, B5,
Cl, and C2.
There are two other points of interest in this motet not yet discussed. The first is the downward diatonic root pro- gression which results in parallel octaves and fifths if played on a keyboard. However, this parallel effect is
b Ibid., p. 18. 62
avoided in the crossing of voice parts in contrary motion. This progression is in prima Dars, measure 67.
The other item is the treatment of the tritone in meas- ure 48 of prima pars, between the 1T and 13 on the third beat. This dissonance is pointed up by the use of the melodic tri- tone on the 2T, the whole resulting in a diminished triad on that beat. The notes of dissonance are resolved diatonically. APPENDIX
Abbreviations of Sources: LU, Liber Usualis
MMA, Music in the Tviddle A es G. Reese
HAM, Historical Antholo of Music, Davison and Apel
FH, A His- of Music, T. Finney
Ol11, Oxford History of Music, H. Wooldridge
I a in e*-e) at -. ET Ir pA*Ii-"1-L'ty &.De Va -ti
Example I. Psalmodic Chant. (Portion of Gloria, LU, p. 88)
EI,
Excample 2*' Teuatic Chant. (Portion of-Adnus Dei, LU, p 56)
vfu7p; e O e-T-t- 'j 1 fl-j~~ 0 q
Example 3. Syllabic Chant. (Portion of Hymn, LU, p. 1382)
yie
Example 4. Melismatic Chant. (Portion of Kyrie, LU, p. 43) 63 64
Example 5* . Kyrie with a portion of derivative trope (MMA, p. 186)
577
R 3, nd low-i b
Ad!=
3 c It
A - - t ve .esa-uw. 5 'p
-Ott 410 Ott" i
s* - 4 4t- vt A;s-t %4 he
4o Veys.w.44 &St1" $ 8 - a
94 4*- \ 5itCr-w-v ,o t - s 41ITP
ir Metoegst r4 %rt 4Alie i
Example 6. Alleluia with Sequence (HAM, p. 13) 65
8 v
Example 7. Strict organumr (Scholia Enchiriadis, ca. 850, HAM, p. 21)
Example 8. Composite organum (Scholia Enchiriadis, ca. 850, HAM, p. 21)
Example 9. Free organumn (Musica Enchiriadis, tenth century., TAMA., p. 255),
4 - -
Example 10. elismatic organum (School of St. Martial, ca. 1125, HA, p. 23)
'I0 C ns $ * I~
Example 11. Clausula (School of Notre Dame, ca. 1200, HAh, p. 24) 66
4w 110, -t'P tc.1
Lxauple 12. Motet (School of Notre Dame, ca. 1225, HA1, p. 25)
I I
414 t 40 4t~ Sos~
2
Vt 'V*' 4 i
ec Ita
CM
Example 13. Motet (School of Notre Dame, ca. 1225, iAM, p. 25)
4 _. 3
v "
A At 4 1
Alow I
7- S w Example 14. Isorhythmic Tenor (de Vitri, MA, p. 338) 67
7 4,SI1T C eyiOaX.i~
I
Example 15. Isorhytbmic Tenor (Machaut, HAM, .p. 46)
W I - - I It: to v2.
cu9.P.M a 4*d4t
9- Te t a
$ t"a Ora* i e
-- mw 0 %wo Now 4- *~ii -*In iL NN
A -
I Now MOW
Example 16. Motet (Dunstable, FHI, p. 13) 68
Fuy4l
fig
Aw conhaten or Aft* f Concordans Aft
to tra ie no r C. *c edaas 'CoQn oenasb'4
ALA
Exp xiPle . L/ votet (Dufay, FH, p. Ió6) 69
477 * ~ ~~a %O sWev ts a a ,
-Abe
IS,
-& - .. &
4 t,- as SS tc.
w-: qr veltet ('4 Is,
bO - S*ev Vi Q4 etc ,s -eC 1,
-T w atcv] tyi
Eaple 18. Motet (Obrecht, HAM, p. 8$) 70
/*t - 0' mw-t
~ I6 en Ito
4e
'-w 4w aw m 40 OF 40 AW
.*. 4 4 aMe
40
---Ninilob LL * s
r___ttt
14,
Art AV
Exampe 19. Motet (des Pres, OMvI, p. 77) 71
Example 20. Assumpta est Maria, Palestrina, with divisions of form indicated as discussed in Chapter VI. The disso- nances are indicated according to this legend:
X Passing tone
A Upper auxiliary V Lower auxiliary
Sus. Suspension
Ech. Echapee
Ant. Anticipation 72
DESSOFF CHOIR SERIES Edited by PAUL BOEPPLE
Palestrina ASSUMPTA EST MARIA
MOTET FOR SIX MIXED VOICES, OR THREE WOMEN'S VOICES WITH STRINGS OR THREE MEN'S VOICES WITH STRINGS.
41, 73
.SSoJMPT ES MARIA IN COE UM IN ASSUMPTIONE BEATAE MARIA VIRGINI&S
ssimn est, Maria in celun iident Angeli laudAntes; benediha&t 6minum. Mary taken up44t"heaven, the angls rejoice, praising6nd blessing the Lord. Gaud4te et exultate 6mnes r cti c6rde. Quia h6die Maria virgo cum Christo Rejoice and be glad, ip true- regnat in ternum. hearted. Because to "the Virgin Mary reigns with Chrstforever. Quaeest fsta, quae progr6ditur quasi aurora Who is she that consdrgens, pfdchra ut idna, electa ut s61, lookethforthas the morn% terribilis ut castrrum cies ordin'ta? fair as the moon, clear as the sun, and terrible as an army with banners? Gaud6te et exultite 6mnes r6cti c6rde. Qufa h6die Maria virgo cum Christo Rejoice and be glad, all ye true- regnat in at6rnum. hearted. Because today the Virgin Mary reigns with Christforever.
riginalkey. P PARS. G.P. da PALESTRINA Rang [r 1 =551
E4
As sum -pta est Ma ri a in
fle As sumpt et Ma-ria n
-A
'I
As- sum -pta - Ma --- ri a in
8 1 i 74
OIA- I
S- umn
co um Ma-r a in
As sum .Pta est Ma-ri-a in Co
8
As sum pta est Ma-ri a in Co
As - sum -pta est Ma-ri a in Coe
-A1orl12
-- cce- lum, gau - - dent An
Cco m.gau --- dent A
um.gau - dent A - ge-i
*gu' dent An - ge-4i
um.gau - dent An:--gri Gau - dent An ge--
lum. gau -- dent An --ge-li I 75
14 16 18 pif -
ge-li, Gau -dent An ge
_ - -- = 3 - -
Gau - dent Gau-dentGaG-dntA An FFge-h,
8 -ii, Gau--dent.- - -An -ge -li,.- - - Gau -- dentAn-ge -li,.-i Gau-dent
Gau - dent An ge ii, Gau -dent An
Ga A -g - d - Ga-d-t - lau-dn te,.
ge ei lau
f -
ge-li, - *.Compl. E. 76
0& 28 QA
be-e iIcunlD-m -dan tes- - ... s.be-ne di-cunt Do-mi
tdan tes;-s;-be-ne- di-cunt Do--mi-
- V A -
- num, 32 dan .b- Ed(p /co ra;il.)-i-un D tes; be -ne di -cunt Do - mi a -- dntes; be - ne -di - cuint Do -mi -
- u, b -anneedi cuntnDodmi-num.tGau de
- num-be -- ne i count Do mi-num. Ga -d num be -- n d c D i-u
8--num bee-ne d- -- iu- Dunti -ou
3234 poo a1. 83
16v num be - ne di count Do-m-nm-nGauGu d
num, be - ne d count Do mi-num 0Gad
-num be - ne-di cunt Do mi-num. 77
00 An
te Gau--de te,
te Gau de te,
Gau - de te, Gau -de
Gau--de te, Gau- de te, Gau-
-de te Gau de teG__de
I-IffT rRi Gau- de te, Gau-de
42 PiifB?44 -46
et ex -- ul - ta te p v
-tGa- et e x - et x ul-tate,
Aft
te Gau-de - te,.-.--- -- et ex ul te ---
S -te, Gau de -te,- ...... et ex, ul I
78
48 02
et ex u-ta te 0 mnes re cti cor
t -W et ex - ul - ta te 0 mnes re cti- cor
bdim
t e l ate 0 mnes re Cti or
ta te o mnes re - cti cor
54 i//61_1 66
de. Qui a o d - Mari- Pii
de. Qui a ho di -e' Madri- a virg
de. Qui a ho di -e Ma-ri- a vi
8god-
8de. Qui - a ho --- di - e Ma - r - a - g itd
- :. Qui 79
60 62
-goQ hMa-
-a -dMa--ri- a vir--- v A-
-go, Qui- a ho di- e Ma-ri-a vir mf-
-Ma ho di -e Ma ri-a vir -go Ma
6ui-a ho di- e Ma ri-a vir M-r -90 i
-a ho di -e Ma-ri - a vir
80662
-ri- a vir go-
go
Ma - ri- a vir go cum Christo regnat in ae - ter
J so so.
8 g cum Christo regnat in a e ter f Bot.
cumChristo ren qin a - ter - num- 80
jam ' 79 1 . W
cum Chri-sto regnat in w teternu um,cum Chri-sto
cum Chri-sto regnat in a - ter num, cum Chri-sto
num, cum Chri-sto regnat in - ter num, cum
nmcum Chri-sto regnat in x- ter num, cum Cri-sto
8 nm cum Chri-sto,
cum Chri-sto
74 76 78
regnat in x ter -- nm, in a - ter- num, in w -ter- num.
regnat in w- ter - num, in ae - ter- num, -__in w -- ter num
Chri-sto regnat in ae - ter nm n m- ter - num
regnat in a ter num, --
8 regnat in ae - ter num in w - ter- num.
regnlat mn m -ter num, in a ter num. 81
iCUNDA PARS 2 4
Qum est i- stai que pro f re70
aw
eat i sta, que pro-gre-di-tur, - . que pro - cresc. -
u I IL- 70, I C I V60, if Add Quae est i sta, quae pro-gre -di-tur,, quae pro - grac
Quae est 1-sta, qua pro- gre - di tur, quae
8 A
gred-- -tir.}t. .es
gre dutur, que est ista, q
gre -- urque t- est i sta, qu -
pr r e di --- tur, e est sta, qua
Qup------Jest sta,,
Qum.--.-.-..... est i ta, ue 4void accenting "Quasi Aur6ra" and "PulchrA ut hfna". It should be "quAsi aurora" and "pOIchra ut Ina" 82
tr --au --- qua -
qua - si au -- crew.--
pro - gre di - tur qua si au---
pro gre di - tur, Pro gre di-- tur A ~Crec
que proo- gre - di tur qua - si au crew.
drtur apro--gre
14 16 I 18 crese. ij
-ro -- ra, con sur gens Acres
ro-- ra con sur gens cres. ______O__Paj s
-ro-- ra- --- conA sur gens qua-si au-ro
qua--s au- ro
- ro--ra, - -- qua-si au -ro
I qua -si au-ro-- 83
anI 20' 0 40224
pul-chra ut lu na, pul -
pul-cra u't lu -- na, pul-
4 F
-- ra cnSur gens, pulchra ut lu na,
-ra con Surgns u -
7 ra cn-srgens, pp-ha tlu n Acres.
ra - con s ur gens, pul- chra ut lu na
cra- onut-gns ulchanau a
V
-chra ut lu na e ta u o
u e--a e - ta uts,
e- le -eta - -- Sol,.-u 84
30 32
1 e-le ta utso1,..-- - - - ter-
- fiz I/ e le eta ut sol, ter-j
-- e -le-----ta u
ele--ejie cta ]]IOLter-,
-ecta -- - - ut solt
-- e-Sle - cta -ut sol, e--r-b -ter.. l
34f -6
ri bi-s ut[ -ca - stro rum, ter-j- ri tbir-lis Ut
ter -ri -- bi -us Ut
-r - bi -lis ut ca - stro rum, ter ri bi
-ri bi -lis ut ca - s t-- rum, ut
ter ri bi-lis ut - 85
38 40 42
- is a -ei-es or di -- na
-- ca -stro -- rum- a-ci-es or -di- na
ca -stro-rum a -ci-es or di - na
ut ca -stro rum
ca strocrum- - - a
ca -stro -rum
(Poco rail.) C or- 44 46 ff-
-ta a ci-es br - di -na
ta, a ci-es or-di-na
-ta, a ci-es or di -na - ta or di -- na
- y
a-- ci-es or di - na ta, or - di - na
-ci-es or -d na ta, a ci-es or di- na
1a i F F , Fj 1 1 i P
ci-es or di-na ta, or di-na 06
v 52
ta? Gau- de te a
ta? Gau - de t
ta? Gau dede Gu-d
ff
taGu -d Gau--de te a
- - Gau -de te a
tate Guadede t
-e- t Ga- e t-. ta 87
te et ex ul ta-
te et ex -- ul -ta
4---- d t VIA-%t t
ul ta et etex u- t Pi~f
ett ex ul ta
1 -~
et ex ul ta
62 V 1 64~ (Poco rall.)
te 0 mnes re cti cor
te 0 mnes re - tii or
te 0 mn ne- - re cti cor
te 0 mnes re cti cor 668
Ah 68AL -70
de, Qui a ho - di-e Ma--ri-a vir
op p
de Quia ho - -- di- e de, Qi .:-a -iMaa --
deL~
gde, Q-a hi a -eo a - i e M a virir
de, a u a h---ddie Mar -a vrMag
Qui a ho di-e Ma-ri-a vir mwm
89
78 r-.
-ri-a vir go-
Ma - -ri- a vir g
ssost.
Ma ri--a vir , go cum sost.
a -- gocum Chri - sto
80 82 f fost.
cum Chri --sto re - gnat in m
sost.
cum Chri --sto re - gnat in e -
C~ -tore--gatin a ernucum Chri -sto re - gnat in a
Gn tore- gnat in - ter num, cume Chri- sto re - gnat a
rere -gnat- gnat inin ae--a-ttrnu ter num, m um 90
84 86
-ter u cum Chri -to re -gnat in a -
fin
nucum Chri - sto re - gnat in
in -ter num, cum Chri -sto e - enat n at
cum Chris-stO re - gnat in a -
8 ttr--- num, cm-e- um n i -to er gn m.
cu Chtenm - t er -nat m. B
t - nm in a -terum, num,-nwere num.
ae tr ter, n um e -n m nae tr n m
ter num in ternu. 91
N OE'TEOEXPLANATION
- ok was written during Palestrina's last performance with voices alone. It is interesting years, a period which brought forth master- to note that the only choir of importance known ieces such as the Stabat Mater and the Mass to have adhered strictly ti a cappella singing Assumpta Est Maria. Like the mass, the motet during Palestrina's time-Wa that of the Sistine is inspired by the first Ar'tiphon for Lauds on Chapel at Rome. the day of Mays Assumption. With the Mass The musical textof this edition is, with the it also share's the characteristic scoring for a exceptions indicated in footnotes, that of the high and a low choir of three voices each. Both complete edition of Palestrina's works, Vol. VI., works manifest the suavity, warmth and wealth p. 28. The original time values, however, have of inspiration which distinguish nearly every- been reduced to one half in order to present a thing Palestrina composed in praise of the Holy more familiar note picture to the singers of Virgn. today. For similar reasons it is customary to According to a well established practice of insert bar lines in modern editions of old music. the so-call d a cappella period instruments This is likely to suggest to the performer metric ay be substituted for, or used in unison with accents which are wholly foreign to the poly- e voices, at the discretion of the conductor. phony of the 15th and 16th centuries. By put- y playing the lower choir with strings this ting the bar lines between the staves this dis- piece becomes ideally suited for women's advantage is largely obviated and the melodic chorus, the voices being brought into delight- line appears graphically, uninterrupted as in ful relief by the instruments. The work can the original editions. be equally well performed by All male chorus, interpretive marks were added by this using strings, woodwinds, or brasses for the editor, the original possessing, of course, three upper parts. These modes of rendition none. are hardly less effective than the traditional PAUL BOEPPLE
SIGNS USED IN THIS EDITION
- Climax of a dynamic curve. (Not to be interprted as a sudden accent.) Climax of a dynamic curve when a phrase possesses more than one stress. Full breath, taken at the expense of the preceding note. Brief incision, auxiliary breath Brief int ruption of a sound without taking breath. BIBLIOGAPiY
Books
Apel, W., Harvard Dictionary of Music, Cambridge, Harvard University Press, 1945.
Apel, W., Notation of Polyphonic Music, Cambridge, Medieval Academy of America, 1942.
Coates, H., Palestrina, London, J. M. Dent and Sons, 1938.
Davison, A., and Apel, W., Historical Antholo- of Music, Cambridge , Harvard UniveriTyPress, 1946.
Finney, T., A His of Music, New York, Harcourt and Brace, 1935.
Gajard, D., The Rhythm of the PlainsonE, New York, J. Fischer and BroThers, 19457
Hawkins, Sir John, A General History of the Science and Practice of husic, Vol. III, London7~T. Payne adi Son, 1776.
Jeppesen, K., Counteroint, translated by Glen Haydon, New York, Prenctice Hall, 1939.
Klarmann, A., Gregorian Chant, Toledo, Gregorian Institute of America, 1945.
McKinney, H., and Anderson, W., Music in His New York, American Book Company, 1940.
Merritt, A. T., Sixteenth Centur Polyphony, Cambridge, Harvard University Press,7 9.
Miller, H., Outline Hist of Music, New York, Barnes and Noble, 1947.
Monks of Solesmes, Liber Usualis, Boston, McLaughlin and Reilly Company, 1934.
Morley, T., An Plaine and Easy Introduction to Practical Musicke, LdEon, OxTord UnTrsTyPrETss FW7.
92 93
Morris, R. 0., ContrautalTechnique in the Sixteenth Century, London, Oxford University Press, 1934.
Pyne, Zoe, Palestrina, His Life and Times, London, John Lane The Bodley Head LtTJ 1 -
Reese, G., Music in the Middle , New York, W. W. Norton, 1940.
Seashore, C., Psycholo6a of Music, New York, McGraw and Hill, 1938.
Soderlund, G., Direct A Droach to Counteoint, New York, F. S. Crofts and Co.,7TT
Sunol, G., Textbook of Gregorian Chant, Boston, McLaughlin and Reilly,'1929.
Wooldridge, H. E., Oxford History of_ Music, Vols. I and II, London, Oxford Ui7versity Press,1929.
Articles
Ficker, R., "Polyphonic Music of the Gothic Period," Musical uarterly, XV (1929), 483-505.
Strunk, Oliver, "Some Motet-types of the Sixteenth Century," Papers Read -at the International Congress of Musiclogy, New York, MJusiclEducators NationaY7Conifreence, 1939, 155-160.
Van den Borren, Charles, "A Light of the Fifteenth Century: Guillaume Dufay," Musical Quartery XXI (1935), 279-297.
Unpublished Material
Tischler, H., 'he Motet in Sixteenth Century," Unpublished Doctor's dissertation, Yale University, 1942.