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Journal articles on the topic 'Mensural music'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

DEFORD, RUTH I. "On Diminution and Proportion in Fifteenth-Century Music Theory." Journal of the American Musicological Society 58, no. 1 (2005): 1–67. http://dx.doi.org/10.1525/jams.2005.58.1.1.

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Abstract The interpretation of fifteenth-century diminution signs is problematic. Theorists describe three types of diminution, all of which may be represented by the same signs: proportional diminution, which reduces the durations of notes in relation to other notes in the same piece; mensural diminution, which reduces the number of mensurae, or counting units, with which each note is measured; and acceleratio mensurae, which reduces the duration of the mensura itself. The writings that describe these procedures are often ambiguous and have been interpreted in conflicting ways. Clarifying the distinctions among the categories of diminution helps to make sense of problematic theoretical statements and resolve apparent conflicts between theory and practice. Since most theorists apply the concept of proportional diminution only to simultaneous relationships and acceleratio mensurae probably arose no earlier than the 1460s, mensural diminution is the principal theoretical meaning of diminution signs in the first half of the fifteenth century. Placing the reformist ideas of Tinctoris and Gaffurio in the context of earlier theories leads to new interpretations of their views on diminution. Their struggles to resolve the conflicts between traditional practices and their own rigorously rational systems led to inconsistencies that laid the foundation for the controversies that have plagued interpretations of diminution signs ever since.

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2

Boone, Graeme M. "Marking Mensural Time." Music Theory Spectrum 22, no. 1 (April 2000): 1–43. http://dx.doi.org/10.2307/745851.

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3

Boone, Graeme M. "Marking Mensural Time." Music Theory Spectrum 22, no. 1 (April 2000): 1–43. http://dx.doi.org/10.1525/mts.2000.22.1.02a00010.

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4

Rizo Valero, David, Nieves Pascual León, and Craig Stuart Sapp. "White Mensural Manual Encoding: from Humdrum to MEI." Cuadernos de Investigación Musical, no. 6 (January 16, 2019): 373. http://dx.doi.org/10.18239/invesmusic.v0i6.1953.

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<p><span lang="EN-US">The recovery of musical heritage currently necessarily involves its digitalization, not only by scanning images, but also by the encoding in computer-readable formats of the musical content described in the original manuscripts. In general, this encoding can be done using automated tools based with what is named Optical Music Recognition (OMR), or manually writing directly the corresponding computer code. The OMR technology is not mature enough yet to extract the musical content of sheet music images with enough quality, and even less from handwritten sources, so in many cases it is more efficient to encode the works manually. However, being currently MEI (Music Encoding Initiative) the most appropriate format to store the encoding, it is a totally tedious code to be manually written. Therefore, we propose a new format named **mens allowing a quick manual encoding, from which both the MEI format itself and other common representations such as Lilypond or the transcription in MusicXML can be generated. By using this approach, the antiphony Salve Regina for eight-voice choir written by Jerónimo de la Torre (1607–1673) has been successfully encoded and transcribed.</span></p>

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5

Tardón, Lorenzo J., Simone Sammartino, Isabel Barbancho, Verónica Gómez, and Antonio Oliver. "Optical Music Recognition for Scores Written in White Mensural Notation." EURASIP Journal on Image and Video Processing 2009 (2009): 1–23. http://dx.doi.org/10.1155/2009/843401.

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6

Calvo-Zaragoza, Jorge, Alejandro H. Toselli, and Enrique Vidal. "Handwritten Music Recognition for Mensural notation with convolutional recurrent neural networks." Pattern Recognition Letters 128 (December 2019): 115–21. http://dx.doi.org/10.1016/j.patrec.2019.08.021.

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7

Curran, Sean. "HOCKETS BROKEN AND INTEGRATED IN EARLY MENSURAL THEORY AND AN EARLY MOTET." Early Music History 36 (September 12, 2017): 31–104. http://dx.doi.org/10.1017/s0261127917000055.

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Though recent discoveries have improved our understanding of big, melismatic hockets from the late thirteenth century, there remains a pervasive uncertainty as to how hockets should be defined and identified on the small scale at which they characteristically manifest in thirteenth-century motets. In revisiting the mensural theorists up to Franco of Cologne, it was found that only Franco defines hockets as multi-voice phenomena: earlier texts define the hocket at the level of a single perfection, and as it reveals itself in the breaking of a single performing voice. Under a revised definition, 138 motet texts that use hockets have been identified in theArs antiquarepertory. It was also found that another way of hearing the hocket, compatible with the first, is implied by Lambertus and pursued at length by the St. Emmeram Anonymous. These writers acknowledge but depart from the consensus that the hocket is sonically fragmented, also hearing it as a promise of the coordination achievable when musical time is measured. For St. Emmeram especially, the hocket has a dual character: its sonic fragmentation is contrived through integrated planning. To hear hockets integratively is difficult, and requires an effort of will that for this theorist has moral stakes.The final sections of the article analyse the musicopoetic games of the motetDame de valour(71)/Dame vostre douz regart(72)/Manere(M5). Similarly to the St. Emmeram theorist, the piece self-consciously highlights the difficulty and worth of close listening (a theme inspired by its tenor’s scriptural source), and does so with a hocket that marks a complementarity of breaking and integration, of a formal sort, several decades before Lambertus and St. Emmeram would reflect on the hocket’s dual character theoretically. The motet poses artfully some of the same questions about the audibility of form that preoccupy modern scholarship. These voices from the thirteenth century might remind us that ethical debates about correct listening are much older than current disciplinary concerns. But recognising the longevity of the debates does not force us to agree with old positions.

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8

CATALUNYA, DAVID, and CARMEN JULIA GUTIÉRREZ. "Mozarabic preces in Ars Nova notation: a new fourteenth-century fragment discovered in Spain." Plainsong and Medieval Music 22, no. 2 (September 12, 2013): 153–67. http://dx.doi.org/10.1017/s096113711300003x.

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ABSTRACTThis article reports the discovery of an early fourteenth-century manuscript fragment (two small snippets from the same folio) of Castilian origin. One side of the original folio contained a monophonic piece in Ars Nova notation whose text has been identified as Mozarabic preces, a musical repertoire that was suposed to lack written transmission from the twelfth to the early sixteenth centuries. The fragment thus throws new light on the survival of the Mozarabic rite through the late Middle Ages. The backside of the folio contains music written in an old mensural system based on undifferentiated semibreves and puncta divisionis. In this regard, the manuscript may represent the earliest known Spanish source to employ the Petronian system described in the mensural treatise in Barcelona Cathedral (misc. 23). The study includes a detailed codicological examination of the manuscript (including the digital restoration of a palimpsest), transcriptions and musical analysis.

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9

Peraino, Judith A. "Re-Placing Medieval Music." Journal of the American Musicological Society 54, no. 2 (2001): 209–64. http://dx.doi.org/10.1525/jams.2001.54.2.209.

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Abstract This essay explores reasons and methods for combining historical research in medieval music and postmodern critical theories associated with “new musicology.” I discuss recent historiographie writings by medievalists and theories of intertextuality from literary critics who argue for the conscious integration of present-day frames of reference into interpretations of historical material. Three postmodern themes form my frame of reference: (1) the critique of metanarratives, (2) the constitutive relationships between central and marginal “texts,” and (3) the recognition of plural perspectives and meanings. I show how these themes instigate compelling readings of two treatises—Johannes de Grocheio's De musica (ca. 1300) and Dante's De vulgari ekquentia (ca. 1305)—and some contemporaneous monophonie mensural additions to the chansonnier F-Pn fr. 844 (trouvère MS M, also known as the Manuscrit du roi).

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10

Benham, Hugh. "‘Stroke’ and ‘strene’ notation in fifteenth- and sixteenth-century equal-note cantus firmi." Plainsong and Medieval Music 2, no. 2 (October 1993): 153–68. http://dx.doi.org/10.1017/s0961137100000504.

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Several writers, notably Dr Margaret Bent, have drawn attention to simple forms of notation that were occasionally used in fifteenth- and sixteenth-century English music in preference to ‘normal’ mensural notation. This study investigates the employment of these notations in plainsong-based cantus firmi that have, exclusively or predominantly, notes of a single value, and comments on the relationships between such notations and the more widely used notational systems of plainchant and polyphonic music.

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11

Robertson, M. "Edited out: note-blackening and mensural notation in 17th-century dance music from Leipzig." Early Music 42, no. 2 (April 16, 2014): 207–18. http://dx.doi.org/10.1093/em/cau035.

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12

Poudrier, Ève. "Tapping to Carter: Mensural Determinacy in Complex Rhythmic Sequences." Empirical Musicology Review 12, no. 3-4 (June 25, 2018): 277. http://dx.doi.org/10.18061/emr.v12i3-4.5814.

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The tapping paradigm has played an important role in formulating beat induction models. However, experimental studies that make use of actual music as source materials to investigate pulse finding mechanisms in complex rhythmic sequences are lacking. The present study proposes to use the concept of mensural determinacy, that is, the emergence of temporal expectations that may or may not be realized (Hasty, 1997), to explore the relative salience of an implied beat in two contrasting rhythmic sequences extracted from Elliott Carter's 90+ for piano (1994), and test the influence of style-specific expertise on listeners' spontaneous tapping performance. The results of the experiment were consistent with the hypothesis that familiarity with the style represented by the source materials contributes to a more stable tapping period. In addition, although accent was found to have a main effect on tapping behavior, it also interacted with global temporal structure and a number of musical parameters and participant characteristics, including gender. Exploratory analyses of several additional musical parameters and participants' characteristics are also suggestive of how experimental methods could be complemented by post-hoc score analysis to investigate the contributions of specific factors to the relative influence of first- and second-order periodicity on musicians' beat percepts.

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13

Rizo Valero, David, Beatriz Pascual Sánchez, José Manuel Iñesta Quereda, Antonio Ezquerro Esteban, and Luis Antonio González Marín. "Hacia la codificación digital de la notación mensural blanca hispánica." Anuario Musical, no. 72 (January 22, 2018): 293. http://dx.doi.org/10.3989/anuariomusical.2017.72.14.

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En este trabajo se presentan los elementos necesarios para codificar digitalmente música preservada en manuscritos de los siglos XVI y XVII. Se presentan soluciones, propuestas para superar las dificultades que generan algunos aspectos que hacen esta notación diferente de la notación occidental moderna. Los problemas abordados son, por ejemplo, la ausencia de líneas divisorias o la duración de las figuras, que se basan en el contexto. También se presenta la nueva fuente tipográfica “Capitán”, específicamente creada para representar este tipo de notación antigua.

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14

Fischinger, Timo, and Annette Van Dyck-Hemming. "A Commentary on Poudrier's "Tapping to Carter: Mensural Determinacy in Complex Rhythmic Sequences"." Empirical Musicology Review 12, no. 3-4 (June 25, 2018): 316. http://dx.doi.org/10.18061/emr.v12i3-4.6382.

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This paper is a brief commentary on Poudrier's (2017) research article titled "Tapping to Carter: Mensural Determinacy in Complex Rhythmic Sequences." Poudrier's study aimed "to explore the relative salience of an implied beat in two contrasting rhythmic sequences" (p. 277) taken from one of Elliott Carter's compositions using a pulse finding paradigm. In our commentary, we critically evaluate the current approach and discuss further interpretations based on the author's results. Primarily, we argue that it is very difficult to draw any clear conclusions from the data (on a mathematical/statistical basis) because the recorded tapping behavior, namely the overall synchronization rate of the participants was far below chance level. These results therefore need to be interpreted with caution, which also implies that emergence of temporal expectations in terms of the concept of "mensural determinacy," originally conceptualized by Hasty (1997), still needs further clarification. Nevertheless, this study may serve as a fruitful example for a pulse finding study, offering some helpful insights into the methodological issues when applying a tapping paradigm to highly complex art/modern music.

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15

Wegman, Rob C. "Different Strokes for Different Folks? On Tempo and Diminution in Fifteenth-Century Music." Journal of the American Musicological Society 53, no. 3 (2000): 461–505. http://dx.doi.org/10.2307/831936.

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The stroke in the mensural notation sign ϕ (which turns up in musical sources shortly after 1400) has generally been understood to signal diminution in perfect tempus. According to a new interpretation advanced by Margaret Bent, however, this was not its primary meaning until the later fifteenth century. Before then, she has argued, ϕ was in use as a "general-purpose sign," with a broad range of meanings of which diminution was only one. This interpretation is open to challenge on both factual and methodological grounds. At present, there appears to be no basis for abandoning the received interpretation of ϕ.

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16

Calvo-Zaragoza, Jorge, Alejandro H. Toselli, and Enrique Vidal. "Hybrid hidden Markov models and artificial neural networks for handwritten music recognition in mensural notation." Pattern Analysis and Applications 22, no. 4 (March 30, 2019): 1573–84. http://dx.doi.org/10.1007/s10044-019-00807-1.

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17

Watson, William. "The Other Missa Prolationum." Journal of Musicology 37, no. 3 (2020): 267–304. http://dx.doi.org/10.1525/jm.2020.37.3.267.

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Johannes Ockeghem’s Missa Prolationum is a well-known specimen of fifteenth-century notational complexity. As it is notated in the Chigi Codex, it consists entirely of mensuration canons. However, the other complete manuscript copy of the piece, in the manuscript Vienna 11883, eschews this complexity in favor of resolved notations (resolutiones) with uniform mensurations. Reexamining these resolutiones in light of generic mensural norms, statistical analysis of the work’s metrical structure, and subtle notational correspondences between the two manuscript copies suggests that the resolved notations in the Vienna manuscript are the result of a productive, formalist music-analytic encounter between their creator and the Missa Prolationum. Seen in this light, these resolutiones offer a new perspective on the early reception of this music.

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18

Gutiérrez, Carmen Julia. "De monjas y tropos. Música tardomedieval en un convento mallorquín." Anuario Musical, no. 53 (January 24, 2019): 29. http://dx.doi.org/10.3989/anuariomusical.1998.i53.274.

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Un manuscrito litúrgico-musical de un convento femenino de Palma de Mallorca escrito en época tardomedieval contiene un rico repertorio de piezas inéditas y numerosas peculiaridades. Se alternan en él piezas de la liturgia monacal escritas tanto en canto llano como en notación mensural, se incluye repertorio monódico mensural del siglo XIV, polifonía de la misma época, un gran número de tropos y algunas obras latinas con repeticiones musicales que las aproximan a las laude latinas, así como canciones insertas dentro de la liturgia de la misa que podrían considerarse de danza. Estas y otras piezas indican una fuerte relación de este manuscrito con fuentes contemporáneas italianas. Además en el manuscrito de Palma aparecen numerosas indicaciones sobre la interpretación de las piezas que nos aportan interesantes datos sobre el canto en los conventos de monjas de la época.

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19

Iafelice, Carlos C. "Elaboração mensural e motivicidade no Agnus Deida Missa L’homme Armé Super Voces Musicalesde Josquin Desprez." Revista Música 16, no. 1 (December 25, 2016): 161–78. http://dx.doi.org/10.11606/rm.v16i1.125011.

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Este trabalho consiste na análise das elaborações mensurais e aspectos da periodicidade motívica presentes no Agnus Dei da Missa L’homme Armé Super Voces Musicales de Josquin Desprez. A análise é fundamentada a partir dos apontamentos sobre cânones mensurais realizados por Glareanus (Dodechocordon, 1547), Bellermann (Mensuralnoten und Taktzeichen des XV. und XVI. Jahrhunderts, 1906), Apel (The Notation of Polyphonic Music 900-1600, 1949) e por meio dos conceitos da ‘Motivicidade’ de Joshua Rifkin e ‘Agrupamentos Sonoros Plenos’ de Marcos Pupo Nogueira, elucidando características das estratégias composicionais utilizadas pelo compositor.

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20

Calvo-Zaragoza, Jorge, Isabel Barbancho, Lorenzo J. Tardón, and Ana M. Barbancho. "Avoiding staff removal stage in optical music recognition: application to scores written in white mensural notation." Pattern Analysis and Applications 18, no. 4 (September 21, 2014): 933–43. http://dx.doi.org/10.1007/s10044-014-0415-5.

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21

Catalunya, David. "Insights into the chronology and reception of Philippe de Vitry’s Ars Nova theory: revisiting the mensural treatise of Barcelona Cathedral." Early Music 46, no. 3 (August 2018): 417–38. http://dx.doi.org/10.1093/em/cay052.

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22

Malcolm, Joan. "The Ampleforth fragments: a preliminary survey." Plainsong and Medieval Music 7, no. 2 (October 1998): 129–40. http://dx.doi.org/10.1017/s0961137100001492.

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The fragments of liturgical music held in the monastic library of Ampleforth Abbey, Yorkshire, consist of thirty-three manuscript parchment leaves of varying sizes, most of which appear to have been used as strengtheners for book bindings.1 It is difficult to determine their provenance but some clues may be found in the variety of their neume styles. Six of the fragments are written with staffless neumes, the rest have staff notation, including eleven leaves from an Office antiphoner. There are also several fragments with square notation in a mensural form. The neume styles indicate a wide time-span, probably from the eleventh century to the mid-fifteenth century. The geographical region suggested by the notation is, for the most part, that of Lorraine and of southern Germany.

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23

Luko, Alexis. "TINCTORIS ON VARIETAS." Early Music History 27 (October 2008): 99–136. http://dx.doi.org/10.1017/s0261127908000296.

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The twelve extant treatises of Johannes Tinctoris offer a wealth of insight into almost every aspect of fifteenth-century music theory. A graduate of the University of Orléans and a doctor of canon and civil law, Tinctoris was an expert in both the language arts of the trivium (grammar, rhetoric, dialectic) and the mathematical arts of the quadrivium (arithmetic, geometry, music, astronomy). Such was his erudition that he was extolled by Johannes Trithemius, one of the leading German humanists of the fifteenth century, as ‘a man very learned in all respects, an outstanding mathematician, a musician of the highest rank, of a keen mind, skilled in eloquence’. Given Tinctoris’s towering intellect, it is no surprise that frequent citations from many of the major thinkers of antiquity – Pythagoras, Plato, Aristotle, Ovid, Virgil, Cicero and Quintilian – appear in his theoretical discussions on mode, mensural notation and counterpoint.

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24

Planchart, Alejandro Enrique. "Notes on Heinrich Isaac's Virgo prudentissima." Journal of Musicology 28, no. 1 (January 1, 2011): 81–117. http://dx.doi.org/10.1525/jm.2011.28.1.81.

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Isaac's Virgo prudentissima, composed in 1507 for the Reichstag in Constance that confirmed Maximilian I as Holy Roman Emperor, is one of the composer's most complex and extended works. It is also a self-consciously constructivist piece that looks back to the repertoire of tenor motets pioneered by Guillaume Du Fay, Jehan de Ockeghem, and most prominently by Iohannes Regis. Yet its construction is markedly different from similar motets by his contemporary Josquin Des Prez, who used a nearly schematic construction in Miserere mei Deus, and ostinato techniques in Illibata Dei genitrix. This article takes a close look at Virgo prudentissima in order to show how Isaac achieves both a great deal of variety in textures and sonorities and a remarkable degree of motivic and thematic unity in the piece. The unity in Isaac's motet is largely due to an interplay of two basic textures and two kinds of motivic construction that are exposed in the first few sections of each pars and then fused in the concluding section, and to a judicious choice of which phrases of the cantus firmus—an antiphon for Vespers of the Assumption—he chooses to paraphrase in the free voices. The motet's mensural structure—one section with all voices in ◯, and one with the tenor continuing in ◯ but the other five voices switching to ◯2, with semibreve-minim equivalence with the tenor—has been ignored entirely in all modern performances of the work that have been recorded in the last thirty years, usually with disastrous consequences for the performance of the secunda pars of the work. Isaac's notation is implausible until one realizes that he is using it for symbolic purposes and at the same time pointing to a correct tempo relationship between the partes by his organization of the phrase structure and the imitation at the beginning of the secunda pars. Isaac thus places this motet in what can be called a mensural tradition, which has its beginnings in the motets of Du Fay in the 1430s and in the wholesale adoption of the “English” relationship between triple and duple meters in the second half of the fifteenth century.

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25

González Valle, José V. "Reflexiones sobre la procedencia y evolución del “ritmo” en la monodia litúrgica y polifonía medieval (y II)." Anuario Musical, no. 64 (December 30, 2009): 3. http://dx.doi.org/10.3989/anuariomusical.2009.64.37.

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Continúan las reflexiones iniciadas en la primera parte de este artículo (AnM 62, 2007, 39-74) sobre la procedencia y evolución del ritmo en la música de Occidente, surgidas en la lectura de destacados escritos de música desde la antigüedad cristiana hasta la configuración de la notación mensural hacia la segunda mitad del siglo XIII. Esta segunda parte se funda en los escritores latinos de música, desde San Agustín hasta el siglo XIII.

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26

CURRAN, SEAN. "Reading and rhythm in the ‘La Clayette’ manuscript (Paris, Bibliothèque nationale de France, nouv. acq. fr. 13521)." Plainsong and Medieval Music 23, no. 2 (September 3, 2014): 125–51. http://dx.doi.org/10.1017/s0961137114000011.

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ABSTRACTPrevious commentators have maligned the La Clayette manuscript as a source of Ars Antiqua motets on three grounds: that its layout is not arranged for use in performance; that its notation is unsophisticated in its use of mensural forms; and that it is heavy with errors. This article offers a palaeographical account of the music fascicle and its methods of production, arguing that its layout was tailored to match the manuscript's literary portions, and was designed first by a text scribe specialising in the vernacular, which accounts for many of the supposed problems. The article describes the notator's ‘house style’ and his means of dealing with the text scribe's frequent errors, suggesting he was largely successful in transmitting usable musical readings. All this provides an opportunity to think through the historical possibilities for literate interaction with written polyphony in the thirteenth century. It is suggested that La Clayette was understood by its users as a tool with which a single reader could teach other, perhaps non-literate people to sing polytextual pieces.

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Lefferts, Peter M. "A RIDDLE AND A SONG: PLAYING WITH SIGNS IN A FOURTEENTH-CENTURY BALLADE." Early Music History 26 (October 2007): 121–80. http://dx.doi.org/10.1017/s026112790700023x.

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In a rich and learned article, Lawrence Gushee explored the tabula monochordi of Magister Nicolaus de Luduno. The tabula, which was copied into a music theory manuscript of c. 1400 of southern Italian provenance (Rome/St. Paul), consists of three associated parts. The first and third I shall call, following Gushee, the tabula figurarum (an elaborate musical example) and the tabula numerorum (an extremely elaborate table of corresponding information). Between them lies the enigmatic text of a six-stanza musical puzzle poem, ‘Ut pateat evidenter’, with which Gushee wrestled inconclusively. A concordance to the poem unknown to Gushee in an English music theory manuscript of about the same age (Bodley 842) associates these cryptic verses with a polyphonic chanson, a two-voice ballade that has never been published. The ballade is a sophisticated demonstration piece for tonal and mensural behaviours, and I believe that this song is the original complement and key to the poem’s meaning. It also offers a significant new point of entry into the complicated world of Anglo-French tonal theory as it developed in treatises and compositions of the fourteenth century.

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Zazulia, Emily. "Out of Proportion." Journal of Musicology 36, no. 2 (2019): 131–66. http://dx.doi.org/10.1525/jm.2019.36.2.131.

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Guillaume Du Fay’s Nuper rosarum flores (1436) has been subject to symbolic interpretation ever since Charles Warren suggested that the structure of the motet reflects the architectural proportions of the cathedral of Florence. More recent analyses have accepted the premise that the motet’s form has extramusical meaning, in particular, that mensural and architectural proportions can be directly analogized. These tantalizing connections have led scholars to canonize this motet, now a mainstay of music history textbooks. The extent and specificity of the extramusical associations Nuper rosarum flores enjoys—an occasion, a place, and a secure attribution—are rare in the fifteenth century. This fact alone makes the motet appear to be exceptional. But reading Nuper rosarum flores alongside the norms of genre and notation and against the grain of the work’s modern historiography suggests that it isn’t all that special—or at least that it is no more special than Du Fay’s other ceremonial motets. The interpretive history of Nuper rosarum flores exemplifies what I call “false exceptionalism,” which relates to a more general problem in music studies—the alluring but often elusive relationship between musical form and social meaning.

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29

Zayaruznaya, Anna. "What Fortune Can Do to a Minim." Journal of the American Musicological Society 65, no. 2 (2012): 313–81. http://dx.doi.org/10.1525/jams.2012.65.2.313.

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Abstract Among the numerous references to music in the writings of poet, composer, and Burgundian chronicler Jean Molinet, none is more puzzling than a passage from his Roman de la rose moralisé (ca. 1500) that describes the misadventures of a note—a minim—fallen victim to Fortune. As it rides her wheel, it becomes a maxima and then a minim again, while its pitch is raised, then lowered. Another passage linking Fortune with transposition and mensural change occurs in Molinet's Petit traictié soubz obscure poetrie. Both stories are exempla divorced from their immediate contexts, raising the possibility that Molinet may have been influenced by specific musical compositions related to Fortune. Aspects of notational usage and cantus-firmus manipulation in the Fortuna desperata masses of Jacob Obrecht and Josquin des Prez make these works—especially the latter—likely influences for Molinet's strange digressions. And Molinet's exempla, insofar as they can help clarify previously misinterpreted aspects of both works, are an important early example of musical hermeneutics. The difficult relationship between Molinet's musical stories and the ostensibly sacred texts from which they digress also offers insight into the devotional functions of secular mass models.

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30

Berger, Anna Maria Busse. "The Origin and Early History of Proportion Signs." Journal of the American Musicological Society 41, no. 3 (1988): 403–33. http://dx.doi.org/10.2307/831459.

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In the late fourteenth and early fifteenth centuries rhythmic proportions were indicated through coloration, Italian note shapes, mensuration signs, and fractions. Even though Johannes de Muris had introduced in 1321 a division of the breve into from two to nine equal parts, theorists and composers used only those proportions which could be indicated by a combination of various mensuration signs with the assumption of breve equivalence: 3:2 shown by ○:⊂ or ⪽:⊂; 4:3 by ⊃:○ or ⊃:⪽; 9:4 by ⊙:⊂; 9:8 by ⊙:⊄; 2:1 by ⊂:⊄; 8:3 by ⊄:⪽. Other proportions were not used because musicians lacked adequate signs to indicate them. The invention of the fraction to show rhythmic proportions presented, therefore, a true innovation because it permitted the indication of proportions not naturally inherent in the mensural system. However, fractions were used until the late fifteenth century as if they were mensuration signs, that is, they were not cumulative and they determined the mensuration of the following section. It was not until the late fifteenth century that Johannes Tinctoris and Franchinus Gaffurius emancipated proportions from mensuration signs and used fractions in an arithmetically correct way.

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Palumbo, Janet. "The Foligno Fragment: A Reassessment of Three Polyphonic Glorias, ca. 1400." Journal of the American Musicological Society 40, no. 2 (1987): 169–209. http://dx.doi.org/10.2307/831516.

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The first Gloria in the Foligno fragment is the earliest known example of a very small number of English-score pieces which entered the continental musical tradition through continental scribes. Focusing on FOL No. 1, which has concordances in Grottaferrata 197 and the English fragment Lbl XXIV, this article examines a point of contact between the continental Ordinary settings of ca. 1400 and the English repertory of Mass movements notated in score. Notational anomalies in the FOL and GR 197 sources of this Gloria are the result of the continental scribes' misreading of English trochaic semibreve pairs. The GR 197 scribe's efforts to "correct" the notation of this piece so that it conforms to the rules of French mensural practice are examined. Reconstruction of the layout of FOL clarifies the stylistic features of the two other incomplete Glorias which are unique to that source. The first of these two remaining Glorias is most closely related to the Apt-Ivrea group of Ordinary settings, and the second to the "hybrid" French-influenced northern Italian repertory represented in GR 197 by the compositions of Zacar and Ciconia.

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COOK, KAREN M. "A new reading of Binchois'sMon seul et souverain desir." Plainsong and Medieval Music 24, no. 2 (September 25, 2015): 167–88. http://dx.doi.org/10.1017/s0961137115000121.

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ABSTRACTThe copyist of the manuscript Oxford, Bodleian Library, Canon. Misc. 213 was detailed and well versed in numerous notational styles, and as a result, examples of unusual notation in this manuscript have drawn a critical eye. Yet the unique transcription of Binchois's rondeauMon seul et souverain desir, in which the copyist alternates between the two common note shapes for the semiminim in the cantus voice, has thus far gone unexplained. This notation has no rhythmic significance; as such, it appears to be a superficial anomaly. In this article, I lay out a rationale for a reading of the notation of the semiminims in this piece as potentially deliberate and meaningful. Over the course of compiling the manuscript, the copyist increasingly aligned semiminim shape with prolation: the full-black shape is used exclusively in minor prolation, whereas the void flagged shape becomes more frequently restricted to major prolation. Since the rondeau is in minor prolation, I suggest that the copyist might have used the void flagged figure in order to suggest a momentary shift into major prolation. In so doing, the copyist might have left to us a witness of a performance practice in which the mensural and rhythmic possibilities inherent in the built-in tension betweenandwere explored.

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Everist, Mark. "Reception and Recomposition in the PolyphonicConductus cum caudis: The Metz Fragment." Journal of the Royal Musical Association 125, no. 2 (2000): 135–63. http://dx.doi.org/10.1080/jrma/125.2.135.

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AbstractA membrane fragment in the Bibliothèque da la Ville de Metz (réserve précieux, MS 732bis/20) contains parts of four works (Premii dilatio, Ego reus confiteor, Sursum cordaand one as yet unidentified composition), of which three are known from the Florence manuscript (Biblioteca Medicea-Laurenziana, MS Pluteo 29.1). The notation, decoration and handwriting of the fragment suggest that the manuscript from which they were taken dates fromc.1300. The notation of the fragment clearly distinguishes betweenlongaeandbrevesin passagescum littera; insine litterasections, the graphic presentation of ligatures reveals attempts to reflect changing concepts of notational precision from the last quarter of the thirteenth century. The Metz fragment is therefore analogous with other late thirteenth-century redactions ofconducti.Although all four compositions in the Metz fragment are in three parts, concordances for two of the works from earlier thirteenth-century sources are in two parts only. While normal practice in the late thirteenth-century transmission of theconductus wasto strip away voices, the versions ofEgo reus confiteorandSursum cordain the Metz fragment added a new third part to a two-part original. Such a practice was more typical of the motet repertory, and in this as well as its use of mensural notation the Metz fragment shows how theconductuswas beginning to approach the compositional priorities of the motetc.1300.

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34

Maw, David. "REDEMPTION AND RETROSPECTION IN JACQUES DE LIÈGE'S CONCEPT OF CADENTIA." Early Music History 29 (July 21, 2010): 79–118. http://dx.doi.org/10.1017/s0261127910000070.

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Jacques de Liège was the first theorist to use the word cadentia in relation to harmonic theory, preceding later such uses, as far as survivals attest, by a century and a half. The concept he developed under this term (set out in Speculum musicae, IV. l) has been connected in recent times to ideas in fourteenth- and fifteenth-century discant theory now related to the notion of directed progression. While there are linguistic similarities in Jacques's exposition to that of this (mostly later) theory, there are also important discrepancies in the concept's content; and there is an ideological anomaly in viewing Jacques as the exponent of an important idea of Ars nova harmonic theory. This article proposes a different reading of the concept, one congruent with Jacques's conservative intellectual stance. It identifies two contrasting, though complementary, aspects within it, and examines the role of an expression of approximation (ea, quae prope sunt, sunt quasi idem) whose ultimate significance remains uncertain. What emerges clearly, however, is that Jacques regarded cadentia as a process whereby imperfect concords were redeemed for perfection, so that their presence in polyphonic music might be tolerable in an aesthetics of retrospection. His account of polyphony draws upon an established idea in mensural theory dating back at least to John of Garland; and it contrasts significantly with the contemporaneous but more modern account of Marchetto of Padua's Lucidarium.

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35

Zazulia, Emily. "Composing in Theory: Busnoys, Tinctoris, and the L'homme armé Tradition." Journal of the American Musicological Society 71, no. 1 (2018): 1–73. http://dx.doi.org/10.1525/jams.2018.71.1.1.

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Antoine Busnoys's Missa L'homme armé commits one notational error after another—at least according to Johannes Tinctoris. As several scathing passages in his Proportionale musices attest, Tinctoris abhors Busnoys's mensural innovations. And yet Busnoys's notational choices, while certainly idiosyncratic, are also arguably justifiable: the composer was merely finding ways of recording novel musical ideas that had no agreed-upon notational solutions. In this article I argue that Tinctoris's response to Busnoys is not limited to the criticisms in his theoretical treatises. Tinctoris the composer responds far more comprehensively, and at times with far greater sympathy for Busnoys's practice, in his own Missa L'homme armé. He echoes Busnoys's mass notationally, in that he treats it as an example of what not to do; his response is also deeply musical, in that he tackles similar technical problems as a means of achieving analogous contrapuntal effects. Tinctoris's and Busnoys's settings need to be understood in the context of fifteenth-century masses, one in which composers were not necessarily content to work within the system but invented new ways of writing in order to create new sounds. In doing so, mere “composers” could sometimes achieve significance as “theorists.” Taken together, the L'homme armé masses of Busnoys and Tinctoris raise a range of historiographical issues that invite us to reassess the figure of the “theorist-composer.” This article thus not only contributes to the discourse on musical borrowing but also opens out to a broader framework, asking what it means for a late medieval musician to theorize—in music as well as in prose.

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36

Brothers, Thomas. "Vestiges of the Isorhythmic Tradition in Mass and Motet, ca. 1450-1475." Journal of the American Musicological Society 44, no. 1 (1991): 1–56. http://dx.doi.org/10.2307/831727.

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The article examines a small group of masses and motets by Du Fay, Busnoys, Regis, and Josquin that may date from the third quarter of the fifteenth century. Each piece reflects the composer's interest in preserving various aspects of the isorhythmic tradition. One such aspect is a compositional technique referred to as modus disposition, the control of a piece by making the total duration of a section divisible by two or three breves, depending on whether imperfect or perfect modus is in control. Another feature that is a vestige of the isorhythmic tradition is the planning of a piece so that precise ratios are created between various sectional durations within the piece; several important pieces displaying such ratios can be thought of as manifesting number disposition rather than number symbolism. On the basis of similarities in compositional technique and unusual mensural features, the argument is made that Du Fay's Missa Se la face ay pale may have inspired Busnoys' Missa L'homme armé (as well as several motets by Busnoys and Regis), and that Busnoys' mass in turn may have inspired sections of the Missa Di dadi and Missa L'ami baudichon by Josquin. Issues surrounding Josquin's Illibata Dei virgo nutrix are considered, particularly the notion that the motet transforms stylistic norms that were associated with the isorhythmic tradition, as mediated by Busnoys' In Hydraulis. The use of perfect modus in Illibata seems to be a further reference to the isorhythmic tradition. In an attempt to assess the unique stylistic properties of Illibata, relationships between it and other motets by Josquin from the 1470s are explored.

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Horyna, Martin. "Medieval Organ Tablature on a Manuscript Fragment from the National Museum Library." Musicalia 10, no. 1-2 (December 1, 2018): 6–42. http://dx.doi.org/10.1515/muscz-2018-0001.

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Abstract The manuscript fragment in the collection of the National Museum Library in Prague under shelf mark 1 D a 3/52 is a sheet of paper with writing on both sides, containing two strata of inscriptions. The first stratum consists of accounting records, one of which is dated to 1356. That is also the terminus post quem for the other stratum of inscriptions, namely the musical notation of two liturgical plainchants in two-voice organ paraphrases. This involves the introit Salve, sancta parens and the Kyrie magne Deus. The discant is written in black mensural notation on a staff, while the tenor, which quotes the plainchant melody, is partially written in musical notation on the same staff, partially notated by letters for note names, and partially only indicated by syllables of text of the original plainchant. This notation documents the transition from practise without notation to the written notation of music for keyboard instruments, and it significantly supplements the material found in treatises from the milieu of the ars organisandi, which are available to us from fifteenth-century manuscripts.

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38

Maw, David. ""Trespasser mesure": Meter in Machaut's Polyphonic Songs." Journal of Musicology 21, no. 1 (January 1, 2004): 46–126. http://dx.doi.org/10.1525/jm.2004.21.1.46.

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Comments by Jacques de Lige suggest that Ars nova notation operated metrically at more than one rhythmic level. This is borne out by Machaut's compositions, the lais in particular. Inconsistencies within and between the two complete editions of Machaut's works in the reductions of note-values used for transcription indicate that the matter has not been fully resolved; uncertainty concerning metrical level in the polyphonic songs is evident in the different barrings of modus-level rhythmic organization. The system of 12 "modes" (mensural types) in the Compendium de discantu mensurabili by Petrus frater dictus Palma Ociosa reveals that meters centering on both "modus" and "tempus" levels were equally part of polyphonic practice in the mid 1330s. Editors have been wary of recognizing the modus level in Machaut's polyphonic songs because of the frequent irregularities in metrical grouping at this level; yet variation in modus is acknowledged by the Ars nova treatises. A full re-evaluation of the presence of modus in Machaut's songs is warranted. Coordinated analysis of rhythmic "layers" (figural grouping, agogic accent, simultaneous attack, and syllabic rhythm) in two ballades (B35 and B25) justifies the irregular modus recognized by both editions and points to an important distinction between mensuration (pertaining to the notation) and meter (pertaining to the rhythmic organization). Figural disposition, varied recurrence of material, and syllabic rhythm provide other criteria for recognizing variable metrical form. A full-scale analysis on these terms reveals the extent and nature of Machaut's use of modus. His technique of metrical variation conforms to four types (phrasal "distension" and "contraction"; cadential "contraction" and "extension"), and ties in with a 14th-century aesthetic viewpoint that attached great significance to "variety." Machaut himself recognized it as a musical corollary of the amorous condition in lyric song ("trespasser mesure," Motet 7). Reassessment of the modus level has consequences for the editorial approach to notae finales, sectional rests, and also for the choice of tempo in performance.

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39

Brand, Benjamin. "A Medieval Scholasticus and Renaissance Choirmaster: A Portrait of John Hothby at Lucca*." Renaissance Quarterly 63, no. 3 (2010): 754–806. http://dx.doi.org/10.1086/656928.

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AbstractJohn Hothby's career as cathedral choirmaster at Lucca is one of the longest, best documented, and most exceptional of any Northern musician active in fifteenth-century Italy. As director of the cathedral school and choir, this Englishman embodied two models of music master: a scholastic trained in the old Trivium and Quadrivium, and a professional maestro di cappella. Fulfilling this double role was but one way in which Hothby differed from his fellow oltremontani by ingratiating himself with his Lucchese patrons, colleagues, and citizens at large. Another was the integration into his curriculum of older pedagogies of local and regional origin, ones designed to appeal to his Italian students. The most important example of such appropriation were the laude that formed a basis for his students’ exercises in two-voice mensural counterpoint. The latter appear in I-Lc, Enti religiosi soppressi, 3086, one of only two examples of student work to survive from before 1500. These newly discovered exercises thus illuminate not only Hothby's career, but also a hitherto obscure stage of learning by which aspiring singers progressed from strict, note-against-note discant to complex, florid polyphony.

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40

TANGARI, NICOLA. "Mensural and polyphonic music of the fourteenth century and a new source for the Credo of Tournai in a gradual of the Basilica di Santa Maria Maggiore in Rome." Plainsong and Medieval Music 24, no. 1 (April 2015): 25–69. http://dx.doi.org/10.1017/s0961137115000029.

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ABSTRACTAn early fourteenth-century gradual produced for use in Avignon and today preserved in Rome at the Basilica di Santa Maria Maggiore is a new source for understanding the musical and liturgical exchange between France and Italy in the fourteenth century. The present article will consider compositions written after the main body of the gradual, and found now in the initial fascicle and on the last three folios of the manuscript. These folios contain a hitherto unknown source for the Credo of Tournai as well as other works not recorded elsewhere; for example, a polyphonic Gloria, a polyphonic Credo, a troped Sanctus and a Credo in cantus fractus.

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41

Meyer, Christian, and C. Matthew Balensuela. "Ars cantus mensurabilis mensurata per modos iuris. The Art of Mensurable Song Measured by the Modes of Law." Revue de musicologie 81, no. 1 (1995): 126. http://dx.doi.org/10.2307/947355.

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42

WEGMAN, ROB C. "WHAT IS ‘ACCELERATIO MENSURAE’?" Music and Letters 73, no. 4 (1992): 515–24. http://dx.doi.org/10.1093/ml/73.4.515.

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43

Machatius, Franz-Jochen. "Über mensurale und spielmännische Reduktion." Die Musikforschung 8, no. 2 (September 21, 2021): 139–51. http://dx.doi.org/10.52412/mf.1955.h2.2688.

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44

DeFord, Ruth I. "The mensura of φ in the works of Du Fay." Early Music 34, no. 1 (February 1, 2006): 111–38. http://dx.doi.org/10.1093/em/cah195.

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45

Meyer, Christian, and Jeremy Yudkin. "De Musica mensurata. The Anonymous of St. Emmeram." Revue de musicologie 77, no. 1 (1991): 125. http://dx.doi.org/10.2307/947188.

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46

Witkowska-Zaremba. "A NEW SOURCE FOR FIFTEENTH CENTURY "MUSICA MENSURALIS"." Revista de Musicología 16, no. 2 (1993): 943. http://dx.doi.org/10.2307/20795946.

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47

Lochner, Fabian C., and Jeremy Yudkin. "De musica mensurata: The Anonymous of St. Emmeram." Notes 48, no. 3 (March 1992): 859. http://dx.doi.org/10.2307/941700.

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48

Hernández. ""MUSICA ANTIQUA", NUEVA REVISTA MENSUAL ESPECIALIZADA (Córdoba, junio-noviembre de 1986)." Revista de Musicología 10, no. 1 (1987): 323. http://dx.doi.org/10.2307/20795127.

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49

Schütz, Hannes. "Wiedergeburt der Ars subtilior?" Die Musikforschung 50, no. 2 (September 22, 2021): 205–14. http://dx.doi.org/10.52412/mf.1997.h2.984.

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Kennzeichnend für die Ars subtilior im späten 14. Jahrhundert sind die im Vergleich zur Ars nova größere Bandbreite an verschiedenen Notenwerten, die Gleichzeitigkeit verschiedener Mensuren in den einzelnen Stimmen und die damit in engem Zusammenhang stehende manierierte Notation. In der rhythmischen Konstruktion der Étude pour piano Nr. 2 - <Cordes Vides> von György Ligeti entsteht durch die vielfältige Kombination einfacher Konfliktrhythhmen ein hohes Maß an Komplexität, wobei die Möglichkeiten einer Rezeption der Techniken der Ars subtilior sichtbar werden. Die Notierung verschiedener Mensuren in den beiden Händen im traditionellen Notationssystem erlaubt es, die Gleichzeitigkeit verschiedener Geschwindig-keitsschichten für einen einzelnen Interpreten spielbar zu machen.

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50

King, James C. "Notker der Deutsche zur Mensurberechnung der Orgelpfeifen." American Journal of Germanic Linguistics and Literatures 2, no. 1 (January 1990): 53–66. http://dx.doi.org/10.1017/s1040820700000378.

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ABSTRACTNotker's short five-section treatise De musica was written exclusively in Old High German, except for the retention of technical terms in Latin and pseudo-Greek, with De mensura fistularum organicarum being the last. In De musica Notker abandoned his practice of giving the Latin text before each part of the German translation, for the discourse was no doubt intended as a manual for organ builders, of whom Latin could not be required. In this study relevant passages from the Latin texts alternate with Notker's translation. Then the four manuscripts preserving the fifth section in full or in part are compared in their fidelity to Notker's accentuation and allophones of initial consonants. Finally, the twelve terms retained in Latin and pseudo-Greek are enumerated.

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