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Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 75-3178 REYNOLDS, Robert Davis, Jr., 1931- EVDLUriON OF NOTATIONAL PRACTICES IN MANUSCRIPTS BETWEEN 1400 -- 1450. The Ohio State University, Ph.D., 1974 ' Music Xerox University Microfilms, Ann Arbor,Michigan4sio6 THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. EVOLUTION OF NOTATIONAL PRACTICES IN MANUSCRIPTS BETWEEN 1400 — 1450 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Robert Davis Reynolds, Jr., B.M., M.M. ***** The Ohio State University 1974 Reading Committee: Approved By Richard H. Hoppln Herbert S. Livingston Norman F. Phelps Adviser Department of Music ACKNOWLEDGMENTS It is a pleasure to acknowledge ay debt to the members of reading committee for their time, patience, and valuable advice. There fore, to Professors Herbert S. Livingston and Norman F. Phelps, 1 ex tend my special thanks. I should also like to thank Professor of Music Keith E, Mlxter for his helpful suggestions during the early stages of this dissertation and Professor Emeritus of English Harold R. Walley for his careful reading and constructive criticism of the dissertation as the Graduate School representative. Miss Olga Buth, thisic Librarian, deserves my gratitude for her able and cheerful assistance in acquiring materials. Although one may with propriety omit an expression of formal thanks for the routine help given by an adviser, the help given by mine was never routine, and often above and beyond the call of duty. Therefore, to Richard Eoppin, adviser and friend, and to his dear wife, Jean, my very special thanks. Finally, no words are adequate to express my gratitude to my beloved wife, Shirley, for her help in proofreading, her advice, and above all her encouragement and patience. 11 VITA March 29, 1931 . B o m - Little Rock, Arkansas 1953 ....... B.M., Texas Christian University, Fort Worth, Texas 1957 ............ M.M., Tlie University of Texas, Austin, Texas FIELDS OF STUDY Major Field: Music History and Literature 111 t a b l e o f CONTENTS Page ACKNOWLEDGMENTS................................... ii VITA . ...................................................Ill LIST OF TABLES .............................................. ri INTRODUCTION.................................. 1 Chapter I. THE EARLY DEVELOPMENT OF FOURTEENTH-CENTURY NOTATION ......................................... 4 Philippe de Vitry Polyphonic Mass Mbvementa Guillaume de Macbaut II. LATE FOURTEENTH-CENTURY MU S I C ........................... 47 Motets Secular Works III. THE TURIN MANUSCRIPT ................................ 105 Mass Movements Motets Secular Works IV. THE NOTATION AND CHRONOLOGY OF THE MUSICAL FORMS IN OXFORD. CANONICIMISC. 2 1 3 .................... 127 Mass Movements Isorhythmic Motets Non-Isorhythmic Motets French Secular Music Latin Lauds Pieces with Italian Texts Iv Page 7. THE NOTATION OF PRIMARY MENSURATIONS AMD PROPORTIONS IN OXFORD, CANONICIMISC. 2 1 3 ................266 The Four Primary Mensurations Proportions VI. THE PROBLEMS OF TEMPOS PERFECTDMDI M I N U T D M .............. 350 APPENDIX .................. 404 BIBLIOGRAPHY ......................................... 407 LIST OF TABLES Pag# 1. Mensurations in French Secular Compositions..»......... 65 2. Gunther's Twelve Fourteenth-Century Pieces with with Diminution ......... 86 3. Gunther's Six Pieces from Mod with Diminution ...... 97 4. Mensurations of Secular Songs In Tu ^ .......... 117 5. Prolation of BalJades in O x .................. 212 6. Prolation of Rondeaux In Ox ............... 235 7. Mensuration of Pieces in Different Fascicles in jte . 268 8. Percentages of Mensurations in Different Fascicles .... 269 9. Count of Note Shapes in Two Dufay Motets ......... 367 10. Percentages of Note Shapes in Upper Voices in Two Dufay Motets ................... ...... 368 11. Count of Note Shapes in Four Dufay P i e c e s ........... 373 12. Count of Note Shapes in Two Dufay Rondeaux ....... 376 13. Count of Note Shapes in Two Dufay Pieces . ........... 379 14. Count of Note Shapes in Rite Majorem ............... 383 vi INTRODUCTION The MS Oxford, Bodleian Library, Canonic! Misc. 213 (Ox) is a central source for music of the early fifteenth century. Almost all of the music from it has been published in modem transcriptions. How ever, no thorough study of the notations! problems in the manuscript has been made, and some of the modem transcriptions are inaccurate, misleading performers who may wish to delve into this rich source of late medieval and early renaissance literature. Although a great deal is known and has been published about the notation of the music of the fourteenth century, much of this work is scattered in textbooks on notation or articles in journals. Few if any attempts have been made to bridge the gap between late fourteenth- century and early fifteenth-century music notation. It seems apparent that a new study of the notational problems from de Vitry through the early Dufay era is in order. Many of the problems of reading or tran scribing the music of the early Dufay era into modem notation may be traced to the music of the middle or even early fourteenth century. At least many of the notational problems of the two centuries are similar. As one scholar has written, "We need to gather evidence of the mensural practice of each of the principal composers, each of the prin cipal publishers, perhaps each of the principal anthologies.The Ox 1Arthur Mendel, "Some Ambiguities of the Mensural System," in Studies in Music History, Essays for Oliver Stmnk, edited by Harold Powers (Princeton, New Jersey: Princeton University Press, 1968), p. 153. 2 manuscript is one of the principal anthologies of music of the early fifteenth century. The mensural practice In this manuscript Is tran sitional between the "classical" notation of Guillaume de Machaut In the mid-fourteenth century, along with the notational complexities of - the late fourteenth century, and the proportional notation of the later fifteenth century. Although Heinrich Besseler has done some preliminary work In this transitional period In his Bourdon und Fauxbourdon; Studlen zum Ursprung der niederlandisthen Muslk,^ his pioneering efforts need to be carried out systematically and with broader coverage. Charles Hamm has studied the evolution In the use of mensural signs and other notational devices in the works of Dufay In A Chronology of the Works of Guillaume Dufay Based on a Study of Mensural Practice,^ but this work is weakest In its discussion of practices at the time Dufay began his career as a composer. These practices are widely represented In the music found in Ox. However, Ox Includes pieces earlier than any of the music of Dufay. Concordances with the MSS Chantilly, Musle Conde 564 (ollm 1047) (Ch), and Modena, Blblloteca Estense, a. M. 5. 24 (ollm 568) (Mod), Indicate that the compiler of the ftc manuscript was familiar with the complex notational devices of the late fourteenth century. A review of the notation of fourteenth-century music, therefore, should place the notational practice In ^ In perspective. Such a review cannot attempt ^(Leipzig: Breltkopf 6 Hartel, 1950). ^(Princeton, New Jersey; Princeton University Press, 1964). 3 to cover all of the notational nuances, of course. It can only point out the accomplishments that continue to be useful and the problems for which later notational practice provides solutions. By examining the notational innovations of Philippe de Vitry, one can see the starting point for the tjT>e of notation