MUS 380.1 Advanced Studies in the History of Music – Medieval - Worksheet

Student’s name…………………………… (you may use additional pages, if necessary)

David Chapman

Medieval Music

MUS 380.2 (Unique # 22290)

November 3, 2009

Assignment # 10

This work presented quite a bit of opportunity to establish each one of the compositional techniques mentioned thus far in the realm of Notre Damme Polyphony. The general form of the work follows:

Line 1-most of 3: Organum. Although the transcriber suggests rhythmic patterns in which mode 1 is prevalent (this would suggest Copula), I considered this section Organum as we are not sure of whether the suggested rhythms were the wish of the composer. The composer does not shy away from seconds either above or below the tenor drone (dissonances circled on the score). Text: A-le

Second Half of Line 3- most of 1 pp. 2 : Copula. The rhythmic figures point directly at mode 1 with some variation. The text “lu” will close with melisma on organum, although the transcriber suggests the presense of mode 6. No dissonances.

Pp. 2 lines 2 and 3: Copula on no discernible mode on text “ya.” Three dissonances between “g” (tenor) and “f,” a seventh above.

Pp. 3 lines 1- most of 3: Organum. Just in the manner of the previous Organum, dissonances are not avoided at all. However, in much the same way, they are quickly resolved up or down in a stepwise motion. In looking at how dissonances lie in both organa, they mainly happen on weaker parts of the rhythmic mode (unnaccented). Text: “Na- ti –.“ When identifiable, the mode is 1.

Line 3 – start of 4: Copula. Several dissonances at the beginning of mode 1 passages. Text: Continuation of “ti.”

Line 4: Organum. Dissonances are resolved stepwise (only 3). No discernible mode. Text: “vi.”

P. 4 line 1: Copula. Seven Dissonances as lower neighboring tones and passing tones. Most of the Mode material resembles Mode 1 once again. However, the end of the line resembles mode 5. Text: “i- tas.”

MUS 380.1 Advanced Studies in the History of Music – Medieval - Worksheet

Student’s name…………………………… (you may use additional pages, if necessary)

Line 2 through end of page 4: Discant. Most of the rhythm applies to mode 1 as there are quite a few dissonances a 2nd above the tenor. Text: “glo- ri- o- se vir- gi- nis Ma- ri-e.” Given the length of this section, the number of dissonances was minimal.

P. 5 through 1st line of p. 6: Discant. Once more, there is a strong adherence to mode 1 and approximations to such mode (marked as ~M. 1 on the score). There is one occurrence of mode 5 at the onset. Although there were several dissonances that resolved step-wise, they mainly occurred on the first line of the section. Text:”-e Ex se- mi- re.”

P. 6 lines 1- start of 4: Organum. Fifteen dissonances that resolve step-wise in either upward or downwar motion appear as passing notes in this section. Text: “A- bra.”

P. 6 line 4 – p. 7 line 1: Copoula. Modes 1, an approximation of 2 and 5 are present in this section. The Dissonances are much more prominent here as they are in longer duration notes as well as on main beats out of the rhythmic modes. Text:”-bra- he or- ta.”

Most of Line 2: Organum. A great number of dissonances appears in this short section. Text: “-ta.”

Lines 2 and most of 3: Copula. Two occurrences of mode 1 appear, one is complete and one is an approximation. The dissonances are rather minimal as we continue with the text “de.”

Line 3 and half of 4: Discant. There are only four dissonances on mainly the first mode with a short appearance of mode 2. Text: “tri-”

Line 4 and half of p. 8, line 1: Copula. For such a short section, there are quite a bit of dissonances. As before, they are resolved in a step-wise manner. The rhythmic mode is 1 or a variation thereof with a shor appearance of mode 4. Text: “-tri.”

Line 1 throug end: Discant. There are a few accented dissonances (some are let ring) that might bring attention to the closing discant on the text “Juda.” A further note of interest is the usage of musica ficta. Perhaps this alteration is editorial. Once more, the main mode is 1. However, modes 6 and 5 make an appearance at the closing of this work.

This piece is truly beautiful! There were only a few issues that distracted from the performance. It is obvious this was recorded in a church live as I could hear the sirens in the background of the traffic. There was an organal and Copula section missing. The intrapolation of the original chant was a great touch (twice!). Who is to say that Perotinus did not do this. I thoroughly enjoyed the recording!

MUS 380.1 Advanced Studies in the History of Music – Medieval - Worksheet

Student’s name…………………………… (you may use additional pages, if necessary)

As described above, most of the time, dissonances are slid-off very quickly. However, there are parts in the composition that bring out different sections as well as climactic high (and low) points through longer duration dissonances. Generally, Discant sections portrayed less dissonance than Organal ones for the latter ones gave the flexibility of blending consonance/dissonance given the longer-duration drones in the tenor part.

Historically, this period is unprecedented as the intervals we encontered are much more adventurous than that of the Calixtinus Codex of Santiago de Compostela/Aquitaine and the Winchester Troper, as these sources presented much more conservative intervallic relationships (and no metric relationships).