I: Jac~on's fetter to Novack. Tim Jackson, Connollystr. 3 Cl12, 8000 Muenchen 40, BRD 20 Dec. 1985 Dear Prof. Novack, Enclosed please find the notes and bibliography for my paper. Some of the notes are incomplete because I have been unable to obtain certain books here in Germany. I am aware that the version of the paper I sent you contains tyvus. Some of the most important: Part II, p. 42, see Ex. 8b not 2b. Part III, p. 12, bottom line: rising "sixth" instead of "third". Part III, p. 28, 6th line from the top of the page, Ex. 25a instead of 14a, etc. Dr. Leuchtmann, the Lasso specialist, has read the paper and made many helpful suggestions. I am looking forward to greatly expanding the paper -­ perhaps into a short book since I have had many new insights. I hope this letter finds you in good health. Wishing you and your wife all the best for the new year, sincerely, - 1 ­ Notes to Part I 1. Leo Steinberg, The S xuality of Christ in Renaissance Art and Modern Oblivion, New York: Pantheon, 1981, p. 108. 2. Knud Jeppesen, Der Palsetrinastil und die Dissonanz, Leipzig: Breitkopf und Haertel, 1925, p. 69. English translation, The Style of Palestrina and the Dissonance 2nd ed'tion, London: Oxford University Press; reprinted, New York: Dover Publicat'ons, 1970, p. 84. 2b. Felix Salzer, Sinn und ivesen der abendlaendischen Mehrstimmigkeit, Vienna: Saturn-Verlag, 1935. 3. Jeppesen, ibid. 4. Deryck Cooke, The Language of Mu ie, 5. Ben"to R~vera, "Harmonic Theory n Musical Treatises of the Late Fifteenth and Early Sixteenth Centuries," Music Theory Spectrum, 1 (1979), pp. 80--95. 6. Saul Novack, "Fusion of Design and Tonal Order in Mass and i'lotet Josquin Depres and Heinrich sa e", The Mus~c Forum, Vol. II, New York, 1970, pp. 187-26?-; "The S' gn' ficanee of the Phrygian i'lode n the History of Tonality," Miscellanea Musico ogica: Ad laide Studies in Musicology, IX (977), p. 82-127; "Tonal Tenden ies in Josquin's Use of Harmony," Proceedings of the International Josquin-Fest'val Conference, lew York, 1972, pp. 313-333; "The Analysis of Pre-Baroque i'lusic," in Aspects of P e-Baroque Music, edited by David Beach, New Hav n: Yale University Press, 1983, pp. 118-131. 7. Novack, "The Analysis of Pr -Baroque Music," p. 131. 8. The German term 'Akkord' has the tonal connotations of the Engl"sh - 1 ­ term "triad". However, the Italian 'ac rdo', fr m \"hi h the German 'Akkord' is derived, means either 'Stimmung' ('tuning') or 'Zusammenk1ang' ('sounding together'). 9. Brian Vickers, "On the Practicalities of Renaissance Rhetoric," in Rhetoric Revalued, edited by Brian Vickers, Binghamton, New York: Center for Medieval and Early Renaissance Studies, 1982, pp. 133-138. 10. Or the fourth below by transposition. 11. Novack, "The Significance of the Phrygian Hade in the History 0 Tonality," ibid. 12. Orlando di Lasso, G-A., IX, pp. 49-52; see Appendix, Ex. 2. 13. David Stern, "Tonal Organization in Modal Polyphony," Theory and Practice, Vol. 6, No.2 (1982), pp. 23-28. 14. Stern, ibid., pp. 23-28. 15. Stern, ibid., pp. 6-8, use the term "back reI ting". 16. Novack, "Fusion of Design and Tonal Order in t'1ass and ~10tet Josquin Depres and Heinrich Isaac," p. 189. 17. Novack, "Fusion of Design and Tonal Order in 1ass and Motet Josquin Depres and Heinrich Isaac," the analysis of Josqu"n' j"1issa Pange Lingua, pp. 220-231, especia" ly Exs. 12-21. 18. 19. Rivera has shown that by the end of the fifteenth century, theoretical discussions suggest tha composers were no longer thinking in exclusively in t rms of th tenor-cantus framework; see Rivera's "Harmonic Theory in Musical Treati es of the L te Fifteenth and Early Si. leenth Centuries," Music Theory Spectrum, 1 (1979), pp. 80-95. Even a cursory study of Josquin's music re 1 numerous fourths between tenor and cantu. - 2 ­ impossible in two part compos· ion. For a rejection of the tenor-discant theory in ~1achaut, see Daniel Leech-I-Jilkinson, "~1achaut 's 'Rose', 'Lis' and the Pro lem of Early Music Analysis", Music Analysis 3 (1984), pp. 9-10. 20. See also the final cadence of Kyrie 1 of the t1issa de Beata Virgine. 21. Jeppesen, The Style of Pal strina and the Dissonance, ibid. 22. Salzer, Sinn und VJesen der abendlaendischen Hehrstimmigkeit, p. 24. 23. Leonard Nathan, "Gascoigne's 'Lullabie' and Structures in the Tudor Lyric", in The Rhetori_ of Renaissan e Poetry, edited by Thomas O. Sloan and Raymond B. Waddington, Berkeley: Un'versity of California Press, 1974, pp. 58-72. 24. I~inrich Schenker, Neue Musikalischen Theorien und Phantasien, vol. 3, D r Fr ie Satz, Vienna: Universal Edition, 1935, p. 51. English translation by Ernst Oster, Free Composition, r~e\{ York: Longman Inc. , 1979, p. 26. 25. See Oster's Note *6, Fr"e Composition, p. 93. 26. Schenker, Neue Musi lischen Theorien und Phantasien, vol. 3, Der Freie Satz, Vi nna: Universa Edition, 1935, p. 150. 27. Oster, re Composition, p. 93. 28. Schenker, N ue Musik lisch n Theori n und Phantasien, vol. 3, Der Freie Satz, p. 161. 29. Oster, Free Composition, p. 99. 30. Schenker, Peinrich, Ne e Musil alischen Theorien und Phantasien, vol. 3, Der Freie Satz, p. 151. 31. Ost r, Free Composi ,'on, p. 94. 32. Schenker, Neue Musika ischen Theorien und Phantasien, vol. 3, Der Freie Satz, p. 161. - 3 ­ 33. Ernst Oster, Free Composition, p. 99. 34. Schenker, Heinrich, Neu ~1usikalischen Theori n und Phantas'en, vol. 3, Der Freie Satz, p. 162 35. Ernst Oster, Free Composition, p. 99. 36. Felix Salzer, Structural Hearing: Tonal Coherence in Music, New York: Charles Boni, 1952. 37. Salzer, Structural Hearing, p. 223-224. 38. John Rothgeb, "Design as a Key to Structure n Tonal ~1usic," in Readings in Schenkerian Analysis and Other Approaches, edited by Maury Yeston, New Haven: Yal University Press, 1977. 39. Rameau, Traite de l'Harmonie, facsimile edited by Erwin R. Jacobi as olume 1 of The Complete Theoretical Wr'tings, American Institute of Musicology, 1967, p. 162. 40. My translation. 41. Rameau, ibid, p. 332. 42. Rameau, Treatise on Harmony, transla ed by Phillip Gossett, New York: Dover publications, 1971, p. 349. 43. See also Ramea 's discussion o· fugual inver ion discussed in Part III of this essay. 44. Woelfflin, Classic Art, 45. For a discuss'on of the qualitat've diff rence between musical rhetoric in the Renaissance and Classical styl s, see Part II. 46. See Heinrich Schenker, Neue Musikali chen Theorien und Phantasien, Teil II, Kontrapunkt, Bd. I, Stuttgart und Berlin: J. G. Cotta'sche Buchhandlung Na hfolger, 1910, r ntrapunk , Bd. II, Vienna: Universal Edition, 1922. - 4, ­ 47. Steinberg, Ope cit., p. 109. 48. Willi Hess, Missa Solemnis by Ludwig v n Be hoven, introdu tion by Willi Hess, Zurich: Edition Eulenburg, pp. V and XI. 49. In Frieberth's version, these words were taken hy the soprano. The ~ triadic ascent a1-c#1-e2 is absent. I have not yet had the opportunity to examine the autograph sources. 50. Edward Lowinsky» Secret Chromatic Art of the Netherlands Motet, 1st edition, New York: Columbia University P ess, 1947, p. 35. t s to Part II 1. Brian Vickers, "Figures of Rhetor'c/ Fioures of Mu ic?", Rhetorica 2 (1984) p. 44. 2. Vickers, ibid, p. 43. 3. Wilfrid Mellers, Bach and the Dan e of God, Oxford: Oxford University Press, 1981. L See Carl Schachter, "Motive and T t in Four Schubert Songs", in Aspects of Schenkerian Analysis, edited by David Beach, New Haven: Yale University Press; the discussion of the role of Fx=G~in Schubert's 'Nacht und Traueme', pp. ; also my dissertation on Strauss' last songs (to be completed 1986) . 5. Here, I follow Kirkendal I s distinction bet\,·een "iconology" and "iconography"; see Warren Ki kendale, "'Circulatio'-Tradition, I ~laria Inctans', 2nd Josquin as lusical Oro tar" , Acta IJusi 01 gica Sf> (1984) p. 90, Nate 157. c:: 6. \'Jarren Kirkendale, "Beethovens Missa soler.mis und die rhetorische Tradition", in Ludwig van Beethoven, edited by Ludwig Finscher, Darmstadt, 1983, pp. 52-97. 7. Wilfrid Mellers, Beethoven and the Voice of God, Oxford: Oxford University Press, p. 8. Kirkendale, "Reethovens Hissa solemnis und die rhetorische Tradition", p. 80. 9. Mellers, ibid., p. 10. See Rudolf Flotzinger, "Vorstufen der musikalisch-rhetorischen Tradition im Notre Dame Repertoire?", De Ratione in Musica Festschrift Erich Schenk zum 5. Mai 1972, Kassel, 1957, pp. 99-103. Also, Willem Elders, " uillaume Dufay ao:: Husical Orator", TvM, 31 (1981) pp. 1-15; however, see Kirkendale, "'Circulatio'-Tr dition, 'Haria lactans', and Josquin as ~1usicCll Orator", p. 83, Note 95. 11. 12. Hans Lennebero ' "Johann l1attheson on Affect and Rhetoric in i1usic," JHT 2 (1958 , pro 2.04-2.05. 13. Kirkendale, "'Circulatio'-Trad'tion, '~raria lactans', and Josquin as Musical Orator", p. 69. 14. See Fred Lehrdahl and Ray Jackendoff, A Generative Theory of Tonal'ty, ambridge, Massachusett The MIT Press, 1983. 15. Brandes, Heinz, Studien zur musikalischen Figurenlehre im 16. Jahrhunder , Berlin, 1935. 16. Burmei ter, Joachim, Musica Poetica, Rostock, 1606, facsimile edited by Marlin Ruhnke, Kes el: Baerenreiter, 1955, pp. 59-60. 17. Vi kers, "Figures of Rh toric/ Figures of r1usic?", Rhetorica 2 (1984) - 6 ­ p. 26. 18. Sist r ~L Joseph, Shakespe re' s [Jse 0 the Arts of Language, Ne\oJ York, 1947. 19. Richard Lanham, A Handlist of Rhetorical Terms, Berkeley: University of alifornia Press, 1968. 20. Knud Jeppesen, The Style of Palestrina and the Dissonance 2nd edition, London: Oxford University Press; reprinted, New York: Dover Publicat"ons, 1970.