This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Aspects of tonal coherence in the motets of Josquin. Judd, Dana Cristle Collins The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 09. Oct. 2021 ASPECTS OF TONAL COHERENCE IN THE MOTElS OF JOSQUIN Volume I A thesis submitted for the degree of PhD University of London by Dana Cristle Collins Judd King's College 1993 BIBL LONDON UNIV ABSTRACT ASPECTS OF TONAL COHERENCE IN THE MOTETS OF JOSQUIN This thesis presents analyses of motets attributed to Josquin des Prez and offers a model for exploring tonal coherence in sacred vocal polyphony from about 1500. It also addresses aspects of genre, function, style, relationship of theory to practice, geographic influence, source dissemination, and attribution in this repertory. The analyses suggest a re-evaluation of Josquin's motet oeuvre; the theoretical perspective is eclectic, uniting analytic and contextual-historical observations. Chapters 1 to 3 develop a modern theoretical framework which relies on principles articulated by Renaissance theorists. Theoretical statements, especially about 'mode', the sub-texts created by musical examples and citations, arid compositional determinants of pitch structure (text form and expression, formal organization, use of pre-existing material, and so forth) are considered along with the practicalities of a musical tradition rooted in plainchant, hexachordal manipulation of the gamut, and counterpoint. The theory proposed here provides a designation for, and identifies the markers of three main tonal categories, described by hexachordal nomenclature as Ut, Re, and Mi tonalities. Each consists of, and is defined by, a distinct collection of 'modal types', melodic-contrapuntal paradigms identifiable in a variety of structural guises. Chapters 4 to 6 explore Ut/Re IMi tonalities in Josquin's motets in detail. Chapter 7 concentrates on the gospel motets and illustrates the maintenance of characteristics of the gospel tone, creating tonal profiles unique to this sub-genre of motet and suggestive of 'chant-based' tonality. Chapter 8 treats psalms and other motets first appearing in late German sources, identifying 'imitations' of securely attributed Josquin motets and considering questions of authorship in this group of 3 motets. The final chapter summarizes the most important observations about Ut/Re IMi tonality and Josquin's motet style, and suggests directions for future research on the question of tonal coherence in music from about 1500. CONTENTS VOLUME 1 ABSTRACT...................................2 TABLES.....................................6 FIGURES.....................................7 ACKNOWLEDGEMENTS............................8 PREFATORYNOTES ...............................9 1. Introduction ................................11 Background—Scope of study—Overview 2. Mode in Polyphony: Theoretical Perspective ..............20 Tinctoris and the Theoretical Tradition—Cochlaeus and the Swiss/German tradition—Pietro Aron, Trattato della natura e cognizione di tuttigli tuoni di canto figurato—Aron's Classifications and Josquin's Motets—Glarean's Dodecachordon and Josquin's Motets—Miserere mei Deus: Renaissance 'Analysis' and Modern Theory 3. Toward a Theory of Tonal Coherence in Sacred Vocal Polyphony from about 1500: Ut/Re/Mi Tonality and Modal Types ......68 Ut IRe /Mi Tonality—Cadence—Modal Types 4. Re Tonality ................................93 Overview—Modal Types—Re(G)—Re(D)—Modal Types, Pre-existent Melodies, and Chant-directed Tonality—Modal Types and Formal Considerations— Extended Motets and Tonal Coherence—Psalm Motets—Hymns and Tract 5. Ut Tonality ..............................177 Overview—The Ut tonality and the Modes—Modal Types and Cadential Hierarchies associated with the Ut Tonality—.Ut(F)—Ut(C)—Chant Conventions and the Ut tonality—Ut(G)—Motets with Problematic Attributions S 6. Mi Tonality . 206 Tonal Conventions of the Mi Tonality—Christological Texts not associated with a Reciting Tone—Motets on Texts associated with Reciting Tones—Mensuration motets—Motets with Problematic Attributions 7. 'Chant-based' Tonality: The Gospel Motets ..............237 In princrio erat Verbum—In fib ternpore assumpsit Jesus duodecim disc ipulos suos—Questions of style and attribution 8. Motets First Attributed to Josquin in Late German Sources ...... 256 Re motets—Mi motets—Ut motets SUMMARY M4D CONCLUSIONS ......................277 BIBLIOGRAPHY................................283 Manuscripts—Sixteenth-Century Music Prints—Theory Treatises—Music Editions—Secondary Literature VOLUME 2 CONTENTS..................................313 APPENDIX 1. Cadential Variants in 0 admirabile commercium ...... 323 APPENDIX 2. Cadential Profiles of Motets Discussed in Chapters 4 to 6 . 332 APPENDIX 3. Cadential Profiles of Motets Discussed in Chapter 8 ......416 APPENDIX4. Motets cited .........................448 MUSICALEXAMPLES ............................451 TABLES 2.1 Mouton: Congregate sunt gentes, Cadential profile ..........38 2.2 Anon., Pour quoyfufait ceste emprise, Cadential profile .......39 2.3 Aron's lists for Beginnings and Endings ................49 2.4 Hypothetical Modal Categorization of Josquin's Motets ....... 53 2.5 Modal distribution of Josquin's Motets following Aron Trattato . 57 2.6 Josquin's Motets cited by Glarean ................... 59 3.1 Ecce maria genuit, Cadential profile ..................78 4.1 Re(G) motets .............................. 95 4.2 Re(D) motets ..............................96 4.3 Distributionof Motets .........................96 4.4 Ecce tupulchra es, Text, texture and cadences ...........102 4.5 Virgo salutferi, Intervals of Imitation ................140 4.6 Transmission of the Vultum tuum motets ...............151 5.1 Ut motets ...............................179 5.2 Regina caeli, text structure ...................... 195 5.3 Ben edicta es, verse 4, repetition and texture .............198 5.4 Descendi in ortum meum, text and cadences .............201 6.1 Mi motets ...............................208 6.2 Sourcesof the Mi motets .......................215 6.3 Qui velatus, repetition and formal organization ............218 8.1 Re motets attributed to Josquin in late German sources ........257 8.2 Mi motets attributed to Josquin in late German sources .......263 8.3 Ut motets attributed to Josquin in late German sources ........270 FIGURES 3.1 Hexachordal position of Final .....................70 3.2 Eccemaria, Textural graph ......................80 4.1 Melodic focus on La of re-la modal type ..............114 4.2 Text of Gaude Virgo mater Christi .................. 115 4.3 o virgo virginum, Text and translation ................119 4.4 Text and cantus firmus distribution, Virgo prudentissima ..... 129 4.5 Mensural scheme of prima pars, Illibata Del vfrgo nutrix ..... 132 4.6 Mensural distribution of secunda pars, bs 125-40, IllibataDeivirgonutrix ...................... 133 4.7 Closing text and musical repetition, Illibata Dei Virgo nutrix .... 134 4.8 Distribution of chant in texture, 0 virgo virginum ......... 138 4.9 o DomineJesu Christe, text of first three partes ........... 143 4.10 Overlappinghexachords .......................149 4.11 Distribution of Re Psalm motets by modal types ...........160 4.12 D I E alternation in Memor esto ................... 164 4.13 Verse groupings in In exitu Israel .................. 168 5.1 Final and Hexachord configuration .................184 6.1 Hexachordal configuration of the Mi tonality .............210 6.2 Huc me sydereo, cantus firmus and text ...............227 6.3 Cadential outline of Deprofundis .................. 235 7.1 Textual patterning, In principio, verses 1-2 .............240 7.2 Cadential profile, Inprincipio .................... 243 7.3 Presence of Gospel tone, In principio ................. 244 7.4 In illo tempore, cadential outline ................... 251 8.1 Domine, Dominus foster, ostinato and text ..............266 8.2 Respondemliii, texture ........................268 ACKNOWLEDGEMENTS During the research and writing of this thesis, I received much assistance which I now gratefully acknowledge. Financial support was provided by a King's College London Tutorial Studentship, a University of London Postgraduate Studentship, and an award from the UK Overseas Research Students Scheme. The Faculty of Music, University of Melbourne,