wa ya Sepa estan Aud the Dissonance ‘Kauud Jeppesen ith an introduction by Edward J. DentGiovanni Pierluigi da Palestrina THE STYLE OF PALESTRINA AND THE DISSONANCE ww KNUD JEPPESEN WITH AN INTRODUCTION EDWARD J. DENT DOVER PUBLICATIONS, INC. NEW YORKCopyright © 70 by Dover Pabations Te Expat © 188 by Koad Jepsen, International Copyaigh Convetions. Pali in Canada by Gates Publeing Company, Le Published in the United Kingdom by Constable and Company, Lid, 10 Orange Stet Landon WE ‘This Dover eon fit pubahed a 157 is an unabeitged ‘epublicto, wilh minor corrections, oft {a 94 by Oxford Univemity Pees. Standard Book Number 6-2505-8 brary of Congress Colalg Cad Number: 60-1688 Mnulsctre nthe United Stats of Amarin 0 Valk Strext New Yore N.Y. 104 Introduction Palestrina isa composer who hat suffered much from indiscriminate dmiation. His name is surrounded by a thlek mass of tradition and end which eclentiic research has only recently begun to clear away, Eccesatical interest bas exalted his musi to plane on which the listeners expected not to erie but to adore. Fortwo hundred years pedagoues have nvoked his name os the model of pre counter- point, bt it irasidom that they have taken the trouble to make a cate fal stady of his works inorder to see whether thelr conventional rules ‘were In acordance withthe masters actual practice. This book of Dr. Jeppese’s approaches Palestrina in a stvitly sclentiic spirit I nota life of Palestine, nor even a comprebensive study of his works; it ses out merely to investigate Palestrina’ treat- ‘ent of dissonance. Bul the study of distonance in Paeseina ivelves the stidy of most every element thet contribute ois general tle, fand that study further involves a consideration of his predecesrore fand a consideration of the psychological principles undertying all ‘musical composition. English readers are a5 a rule repelled rather than attracted by books which display immense erudition. Bul Dr Jeppesen’ vat learning iso empty show His overflowing footnotes fare not the results of mere antlike industry. Every one of them sug- fess rain of new thought, every reference points to some book or tile which one ought to tead, some principle which one ought 0 follow up in the hopes of getting step or feo nearer tothe solution ff the ulate mystery of muical expression. From Dr. Jeppesen's sual stations end comments the stodent of musical history wil ferive afar more illuminating View of mediaeval music than i tobe found in many professed studies of that remote and dificlt subject. ‘The practical musician who wishes to perform some work of Palestrina ‘may lear much that is new a6 regards its interpretation.Teachers and suds of counterpoint and composition wil do swell to read this Book and devote carotl study to its arguments 1s Fotfying to find that De. Jeppesen regards Me. RO. Mores “Conta Punta Technique inthe KVIth Century” as by f the best book whieh thas beon writen on the subject. He 6 not aways in agreement with ‘Mr Moris, and it may shock the English reader to be told that the English composers of Paletine’s period hike others im Northern Countries, were considerably bebind their timer. Nevertheless, D. “Jeppesen does ful justice tothe eater English influences on mediaeval ‘music andthe more carefully one reeds his book, the more deeply one {is convinced of his sympathetic insight inlo the human and expressive specs ofthe conipsers whom he anatomizes. ‘Edward J. Dent Author's Note to the 2nd Edition {have but Ite to say of this now eatin, since Ihave not found fceasin to alter my orginel exposition on any essential point, But Since the ist publication there have ofcourse appeared various kinds Of literature, both practical and theoretical, which 1 have been glad touse and embody in my exposition. Further | have completely revised the book with the result that have made soveral small emendatins, tlteraions or adations Finally Ihave added at last some observations fon the trestment in Palestina of hidden consecutves ythich seem to te tobe peyehologically rated to dssonances, an consequent wil form a suitable supplement to tis exposition. Unovtunately the original translator of the book, Mis. Margret Hamer, died some years ago, but I owe thanks to Miss Annie Fausbell whore asistence 1 bave had forthe linguist alterations and sitions. Tally {should Hike to express my thanks tothe publisher, and to the Resk Orsted Foundation with whose finenclal suppor Ihave been honoured forthe publication ofthis new elton. Table of Contents Preface Introduction Foundations of Style ‘The Styl of Palestina Conclusion Append ‘Table of References aess HUE SaeeeeesTable of Abbreviations * ‘te = Act Malo, aie Brio Hn, AS Gl Al er Su er Man, Li Brot Hae 1 cca Greanas: Dodecchorton, Be, 50, are by Bete Bob ad pa Merwe” ee) Lt. 2 Nagle demise HL Kington Mugla, er a ta Bo Ha 1 th = Hh tans Wetihe Werke. Viena Ata Lig. rao & Thanh nc: Core Conan Sind prt ian, tar, Lae so tt erate Wate fame etn Sok tn = Mette Bande 18 fume ean 5 Se WW > Nau ATOM 14 1,183 me aon. a nn. Aor rin (Vols 1) paid y Ca Prose Regence 1 ke van Dc Ostet, ugegeen oo Pl De Jehan Wal ‘Amsted,Jtasnes Male Gna Bttuopt & He 108 — Men. (tan oid Hal Mannrps anced nde by A Re = pg Pas Were ai, 4 se i805) rlegrphie muse, Slame nd oun iene ena by We Wand Ll, gener, 108100 ‘Sie ayhtogiie tcc, po by W Woa Laglg aad erin Eee at vgs Rirounn: Gewete dr Musttec Lig Hawe, 2 Aa Shiny = Summing de nerostonle Mangere epi, Beibent ie Bho 4 Hae 01 eit sue Teer Cote", Den or Took a Oech, sne XI 1 zien = eit er iteraeonsen Mogens, Uap, rltopt & Breton & Hil 185-84 the Numa! Like Views. Avs grt po he wont f ng Pate othe peat tw vale Ia oder ations I ave sept motly Andras ya Mia (Cate 4 ‘Cote Fa: Mao BMV. (ot 29) cee Mn wpe "Amie gu” (Cee 25 To Goet perMSiemtar gunene™ feat 5, : Pym! Hout endo exer 10 ves: Haas "hsanane Cn” (Se ‘Tso tt ae Te 2 wl heres ean ee th te ett UBe lust br A'S placed afr a onan shows tte taken om 2 EoPreface This book must be regarded es being merely of «preparatory na: ture, a preliminary realise upon the history of dissonance treatment (ualy enough this subject, though generally conceded as beng among the most important for musical research, bas aot yet been taken up any serious, scientific way. Tht musical scholars upto the present tine have retained from entering this tea of work mey be partially at- Uebuted to the lack of sources. What is neodod here, frat ofall, is ‘ally representative selection (s complete as posible) of polyphonic ‘musical works ofall epochs in new editors ‘The realization of thi condition lee Tong way inthe fate bat ‘the energetic manner i which modern “Denker” work has gradal- I beon carred on makes it already possible to bepin preparatory 1e- search along this ine with tolerable security. Preliminary studios are ‘altogether, or et least fr the most per, wanting, Grattie is, how: ‘over, due tothe great A. W. Ambros, who In le “History of Music” touches incidentally upon this subject m such a manner as to arouse Xen interedt ini, Hugo Riemann in his “Genchichte der Musiktheori" also contribates some information, bat otherwise there dose not exist ‘much of imperance” Here and there may be found some scattered items "apc pace he wat of sicin mat f irowih oon e Important hemos poca whic scated i Engle mune soe he yor, bogs he “OLS manner hs nov, oun, hen polined ay tress erat ned of snipe cncening ann ttconcerning disonance treatment, most frequently In prelaces to new ‘ations of older musical works, lz relatively often in ecalstules ‘on siyle wheve the characteristic signs of the diferent epochs are explained. It is noticeable, Rowever, that these remarks are almost ‘exclusively based upon « modern torical point of view, ata le they concer the trespesing of the tenets of more recent textbooks, (false relations, consecutive fit, etc} Seldom is there any attempt to regard matters in their histori continuity, to consider them in com nection with temporel assumplions, This may be said ofthe entre Alida Iterotuze founded upon Jobaan Joseph Puxsfomour “Gradas fd Perms", which in Its tra i based upon Halla contepantal ‘works of the 16th and 17th centuries, Ths lteraturo can scarcely be ‘Blamed for being void ofthe genetic point of vie, since its office Yas merely of a practical pedagogic nature. But onthe other hand there fre good grounds for ericiaing ts elation tothe bass of tle, which. ‘Fux himself makes perfectly clear, is the musle of Palestrina. To (his arti has but slight eaton. ‘ltogeber the contributions ofthe musicel theorists to the history fof the dissonance must only be accepted with careful reservations. “The history of masial theory and the history of mosial style are far thom belag Mdentica.On the contrary we mist ake ito accoont the ‘constaniyrecoring mistakes of the therits with regard to the de- ‘Sripion of syle, These Innecuraies may be raced to certain sources ff eter, among the principal of vhich the following may be men tioned 1 An inclination that is common to these writers to theorize on their own account fperulative methods, an exepgerted tendency to systema ‘2 The moment of inertia which causes the theorists to transfer roles from oer textbooks to nev without proper eeteal revision 5 Inability of the theorists, when describing the practices of past times, to disceiinate Between these nd the elements of style typical ‘of ther own contemporaries, (which was the case with Fax) 4, Podagopicconsderations, which often tend to 2 simplification ‘or relation ofthe set of rules belonging tothe style, but often also toa tricter rendering of thee rules “fo the sake of exercise” Allof this doesnot, however, hiner the musical theorist, provided ‘ue criticism be exercised by the reader, fom contributing valve smoteria to musicel history, of from puting us on the Wack of new {acts and assisting in the establishment ofthese. ‘The reason that induced the author to choose Palestrina’s works expecially a hs frst field of investigation was his conviction thal in tacking a subject of such dimensions ax the history of dissonance Tueatment, tis necessary to start fom a poit ar central and se ele vated a8 posse, rom which the outlook is wide, and yet having cose connections withthe rest ofthe ratril Tn this respect Palesteiaas production undoubtedly fuls the re quirements beter than anyother music. Hi works might appropriate: ly be called avast summary ofthe musical development of the prec Ing centuries. Im them ere united al he various curcent—tome that spring trom sources in a deepiy-bied past, traceable through the ‘more primitive phases of polyphony back to the Gregorian age. And it 'sfnaly im his muse that we inert all the forms of easonance tea ‘ment that have been handed down from generation to generation, fom France o Englen, trom England to the Netherlands, fom the Nether lands to Italy-—all folly represented snplie, refined. He repretents toring point inthe history of dissonance treatment. Until this epoch the tues became stricter and stile, aller i they gradually relaxed, ‘Also with regard to later muse, that after the transition of style shout the year 160, Palestin's muse affords the most advantageous ‘weatment, is more peculiarly sensitive to a quick perception and ap- ‘reciaton of elements therein the newer music dtr fom that of Palestina, than if we proceed, conversely, through the musle of ‘Mozart, Scarlattl,Caisimi and Cavalli back to the beginning of the rts century On the whole it i gute evident that the characterises of any period of at whic offers contrast or hae undergone radal change, ‘il stand out in boldest elle when compared with is immediate pre- eceator. Passing from an absorbing study of Gregorian music 10 Primitive polyphonic forme, Irom the style of Palestine to the com-4 rencement of dramatic musi, of from Backs polyphony to the elas- fica art of Viana, would be the Best manner of proceeding for fe ‘ogniaing immediately the esentiat peculieriies of the new styl. A ‘tonologcally ascending method would be the wise couse ih this cae, wile st would caraialy be less sultabe ifthe question were of fan accurate account ofthe evolution ofa period of style I, for instan- ‘we would solve the problem before us, and (contrary tothe manner ecommensed in this treats) bez the experiment with the frst poy ‘honic period, advancing therefore to Palestina, we should soon be ome involved ina wildernertof dissonance forms, hopelessly confus tng to the min, I would only be possible wih the greatest diticlty to distinguish between essential and nosestentil forme—it being me ruitable im this connection to define the extetal at those in which the fdlomatic vitality has been preserved until the climax af the style, end Thich therlore are most easly recognizable thee. Likewise the er ‘ors of waiting and panting, that threaten the explorer int these lite feequerted regions at every sep illest be discovered by comparison with the typical fons belonging to the culmination ofthe style ‘Other reasons of a more pretical nature also conduced to the choice of Palestina a a starting-point, especially the significance of this musi for theoretical Snsraction in composition. ie an undenicble fact that the contapuntal technique of the 16h century Is to-day regarded asthe deal, the model, of nearly every serous, scenic ‘nd practice! sty of this Branch of at. At the same ime, the rule of textbooks ond thore regulating the practice of 16 century com ‘osere are site in accord with each oer, that an early comparative Fevialon is most necessary. ‘Thebistory ofthe sre counterpoint textbook may be briely given here. ‘The Malian mica theorists of the 16th century were naturally the ft wh attempted to compile the rules of Palestina’ style. One othe grstest ofthese, Giosetfo Zang, n is Hook “Listtutions ha ‘moniche” (1358) teats ofthis stylo—the mode of expression already ‘developed before Paessina'sappearance—yet scarcely of Palestine’ s ‘own production. What hes been said hereof "Listutons armoniche™ 10 be applied to Nicolo Vicentno’® independently and clezly 5 conceived work, “Lanta msi dota alla moderpa pratca (0855) also, even if to lar depres, to several laler works, such at (ratio Tgrint's "Compendio ella musica” (1588) and Glo. Maria A lusts "Larte del contoponto” (1500, Hut the fast work of a similar ‘monumental character to Zarlinos Book appeared with Pietro Cerone’: "EL Melopeo” (163), which especilly deste with Palestrina syle. ‘Cerone, though Htalisn by bith, was atachod to the Court st Madrid formany years a singet, and wrote his book inthe Spanish language. He wor an extzemely close observer witha keen eye for details. While hhe was not endowed with Zarin's afective git, and therefore sel dom attempts to explain the reasons for hi rales, he compensates fF this lack by not falling into the temptation to reine! these rles in their practice, which Zevlno very often does. He hada tne sense of Tealtes and i able fo perceive and reproduce shades of expresion ‘hat escaped the other theorists ofthe ime. When iti remembered ‘that he treats especially of Palestrina’ compositions, it wil be eacily ‘understood that hi work is of unusual value to investigators of style In the following period, fom sbout 1690, the relation to Palestina was temporarily weakened, which acti als evident inthe theoretical ‘works that eppeated during the last half of the century, among which {he most prominent re Angelo Berens “Document armonic” (167) and “Miscellanea musical” (188); also Gio, Maria Bononein's "Ma- ico paltico” (1679) should be mentioned among this class. The pub- Avstrian Johann Joseph Fax, mars the return to Pessina as the Standard of theoretical instruction. Fux’ book is writen in the form of conversalions betwen the pupil, Joseph, and hs teacher, Aloyiu. ‘Te tas-mentoned symbolizes “jenes vorzlfieke Let n Jer Musik den Prenestins, dem ich alle, was ich in dleser Wissenechatt we! ‘4 danken babel" However, Pix is under obligations not alone to esrina but also to Berard and Bosoncint, rom whom he borrows 17th centry roles aswell asthe contrapuntal “species these he ith fine pedagogic instinct, firmly and practically sysematizes go that they forma a plesant contrast to the clrcumstanial and plates arrangesents of his predecessors ti therefore al the more tobe rereted {hat he fits to distinguish clesely between the technical Idioms of Palestina’ syle and the peculiar characterises of the style of his own contemporaries. Notwithstanding these drawbacks, we are Lt febted to Fax for his practical skill and corret Judgment conceraing (he basin of contzapuntal seatruction, while his contribution upon the Fox fale, whether owing tothe too limited amount of materia st his “ispsal, oF to his inability to fee himself from the influences of the ‘ain century, nearly all appear stil uncorrected in the new 19th ‘century ediions of his “Grad”, This remark may be extended to In- ‘ade Heinrich Bellernann's “Der Contrepunkt” (1862) and Michael aller's“Kompostionsehre fr polyphonen Kichengesang” (181) ax swell a8 to works which, even if founded upon Fux, are yet of more Independent nature than the two Just named, a8 for instance: Joh. Georg Albrchtberger® "Grundiiche Anwelsung zur Komposition” (1790); Cherubin's "Cours de Contrepoint et de Fugue": S. W. Dehn’ “Lehre vom Contrapunkt, dem Canon und der Fuge” (1858); Ldwig Bossler’s ‘Der stenge Satz” (1677); Willam Rocksito's “The Rules of Counterpoint” (182), Prouts “Counterpoint (180) and Kitson "The At of Counterpoint” (1907), “The frst writer who demanded a revision of contrapuntal rules 16- atded trom a erica standpoint ofeyle was Franz Nekes, who inn Importentertciam of Hall's "Kompostionsetre" appearing in the (Gegeriuslat (1891-189), found occasion to contribute some valuable ‘attr about Palstina style. A promising beginning was made here, Which, however, up to the present moment has not been continued. ner Zitgencrson’, (‘Sammlung Kirchenmisik™ published. by Karl ‘Weinmann, 1018}, bas derived practical methods of teaching fm Ne- Kes and has personally added some observations of consequence about voicegrouping bul nothing whatever on aisonance treatment rors Spc go Sok A any ste Ears “Cate” (60, le fo acai “ree mance” 182, pee e299, Rosoetay tenets Gnatogs ts tonuan Kontapon™ 17 pe kd Peter Guiesbacher to teats the Palestina style quite freshly nd rinuely in ie comprehensive work, "Kirchenmuskalische Stistik lund Formealehe’, (HV, 19121, yet omits any tention ofthe genetic, Historic elaions of the dissonance. The same omision Is noticed Inthe book f RO. Morns, "Contepuntat Technlgue in the ixteoath Century", (Oxford 192) which, notwshstanding, seems to me the best ‘ingle treatise hitherto published about 16th century music! “ups: yt ft | a te Pott pups vc sys he Sines Ctr” Warped Wy en Frodo tetas, Ie, New Yo 19Introduction Musics in its own way, a language. Tis sentence without doubt expresses one of the mos! important principles of modern musical fcionce, whothe the investigator recognines it instinctively orto, and hha the folowing natural consequence: the task of the musical hi tovlan must dea! primarily withthe history ofthis language ‘The background agaist which such ¢ task shold be considered is of pryehologica nature, vi: the projection ofthe human into the musical. The way to th anton of thie problem leads from without Inward. sesking behind the motes pon the page their deeper psychological contents ‘The wage of musical language in different historical periods must fst ofall be made definitely clear by means of expitie-descriptive rethods* The next step should be, through comparison of variant ot homogeneous forms of language—whether taken from contemporary for from histortally separated periods—to indicate and fx common ‘qualities, which with certainty can be supposed to postese the essen ial accentuetions of these forts. The material thir obtained may then ‘serve asa bass upon which to build up the laws ofthe language, the fas of musical evolution. These, psychologically translated, finally develop into certain regulations aid divections of wil—ihe hidden force bebnd these laws—which ate of the utmost signiicance, music boing perhaps the most susceptible and tensive medium through which the human spirit evr found exprestin,—an invaluable material for anthropologists, Only discipline such ax that here oulied ean Inter worth th nay fat acting oe dab Cd Alar sau SoS i ett get ak ° sighlly claim the name of Masical Peyenology. The branch of science ‘which ao called at present dele with the problem fn rather one- ded, eatonary way, the objects of investigation being moslly now living persons In thet relations to msical mater, wile the method ‘of reeateh sketched above-—really historical in method snd viewpoint “equies a material comprising all epochs. Its leading purpose isthe ‘pursuit ofthe genetic in is coure, Ie fundamental axiom being tht ro deeper insight can be gained without comparing the present with the post, Therefore it isnot sufficient merely to understand the manner In whieh modern men listen to musi, but to ascertain as nearly at posuble the aftitde ofthe listener of the diferent historical period fn question —for the human spirit ean only be acutely comprehended ‘when considered wilh regard to is development inthe cours of te. Entering the fei of musical research work with these premises, the investigator wil find en infinity of subjects eating solution, of ‘whlch fee prncial ones may be mentioned ax for instance: the two Dimensions (Homophony and Polyphony), Consonance and Dissonance, ‘onality, Imitation, Variation, Cantus liemus, Omamentation, le.— problems of which any single one might occupy « generation of inc ‘estigators without being even approximately exhausted. "That the treatment of the dttonance was choven as the spac ‘object of historical Snvestigetion in this work ix due to the author ‘conviction that te atltude towards accent Is the decisive point in {etermining the quality of expression of the diferent musleal epochs the fac thatthe disonance forms one of the most important “accent Touslng” factor lving ita place among the most expressive aad, fom fs histtial point of view, most delsvely fateful elomonts of style ‘To cite practical example which may throw light upon the egal flcace of the disonance, the Canter of the twopart Motel by Or- landos Lassus “Oculus non vidt™ begins as follows “The melody sof datingushed bearing and well-balanced structure, typical of this epoch of Beaufl proguesions. It glides along peace10 rounings, tts expreaion is characterized by sinplicty and nobly, ‘hich isn po way altered when treated in several pars, either poly Phonically, asin Lass In both cases the expressonal character of the melody remalne the same a6 if executed in unison. The question i, substantially, one af degree of «fuller or richer expression ofthe same thing ‘Gute otherwise isthe revit i€ the free dsonaace Is applied, mode of treatment, nowever, which Would be historically as well a¢ ‘musically «crime, whose cocumision here is only justi by the Dpurpore of a clearer explaetion lumestately the whole characteris changed. The former calmness and innocence give way to a passonstences restrained only with di fictty under the quiet melodie surface, All is now tension, wibration, conscious volition, and ths grat alteration is due solely to the im Fiuence of the disonance, which le without doubt one of the mort potent expresional factors ip musle on the whole “The truth of this assertion is also borne out historically. The most radical expressional change thal ever occurred in the evolution of ius, the transition tothe opera, toe passionate” music introduced {in Taly towards tho end ofthe 16th century, is really and primary based upon a revision ofthe relation fo the dissonance. Montevers, fone ofthe leaders of the new era, baptzes tho young art (which em loys te free tealment ofthe dissonance) “la secotda practica™ sn Contradiction to "la prima practca",—the music of Palestrina, ‘which maintains @ trict yot delicate command af the diesonant ele ‘ment not equaled In any otter epoch Musical people of tat day thoroughly understood that the dis- sonance isthe erica tuning-pint of style It was therefore not 2c- ‘dental that Monteverdi's dissonance treatment pariulaly should be severely and bitterly attacked by Giovanni Arts, a Canon of Bo- logna. Arti, who was certainly nether narrow-minded nor pedantic ‘bt onthe contrary a learned and prudent man, could nol understand ‘or eympatine with the trend ofthe young 17h contery, what he dt understand, however, was tht the danger that threatened the old susie proceeded from the new dissonance eatment The muse of the Palestina ee is what i x becaute of ie covensnt with the dissonance; the breaking of this covenant meant the annulation of that ancient ft which Arts! Loved with all his heart ‘These remarks may suffice to emphasize the significance of this problem ofthe dtonance. Having thus brifty outlined the design of the present work, the question may erie as to where the place of the {enlus may bein a plan sehich in 0 high a degree contemplates the eallective, the compact The answer to thls query must be, thatthe ‘genius Is the great languagerenewar. His utterance frst of all com ‘mands our attention. He speaks not alone for Ns contemporaries, but he alto speaks more forcefully and more tutfully than any one else ‘We must have faith in im who masters what he wills and to whom ro convention of technical obstace bas the way to absolute Tuicity ‘of expression, toa language of eystalin clearness.Foundations of Style Temporal Conditions ‘The musician Govan Plerugh, who was born about 1525, at Pa esr inthe Papal Sates, belongs by virtue of his artistic gts end tis noble serenity of apint omong the most profound influential ‘composers of all times, His place is mong those genives foreodained to fl the plan of musical historical necesity, or-more exactly ex pressed—he appeate within the citele of thoes deeply inepired in ‘iduals whose mason ilo crown ad bring tothe higher flowering some past great epoch of ar "ir fe-work brought the vocal polyphonic ideals to fll develop- rent-—the ecclesiasicl art which had been culvated duting cont fries in France, England andthe Netheriand, to it final culmination ‘This i all hat we know with certainty about im, and this may very About his cvil existence, at any rte there e ut ite to recount Judging trom hs art he seams to have boen of an earnest, quiet dis- position, and to have been characterized bya certain gentle manliness ‘combined with aristocratic eserve, and a pronounced natural aptude for the harmonious. The few (most probably inferior) portraits that, have been preserved show a finely formed heat a digniied and some ‘what anchoretc expression of countenance—the whole Beszing be- spenking the Intellectual ritocrat, His handwriting is firm, steady fd of extraordinary bey “The leading characteristic of he rt i hie gent naturel genius for harmony, which 16 pared with an almost antique sease of the art of limitation, Ferruccio Buson's comment upon Morar “er hat den Tastinkt des Tiers, sch seine Aufgebe—bie zur moglcksten Grom, aber nicht daroberhinaus~seinen Krften entprechend zu stellen", {s vad in even higher degree In the case of Palestina to whom 3 Moaart, through congenslity of spin, ix easly related. Proske ex presses about the samo in oter words when he les inthe dy, Yetso feat and precee manner pecslar to hi: "Dass Palestina sein leben Tanges, nach Welle und Tlefe snermestiches Kunsschtfen dem el ren Kicchenstl gewldmnet,begrindet de ware Grae aeines Cheak "Aa remarked before, repose and harmony are the distinctive features of bis ar The Ite we know of his outer Ie offers no contradiction to this conception, He was brought up nde prosperous ercumstances, taken at an eatly age under the protection of popes end powerf ‘lerical dignitaries, famous already ata young men, and the occupant ‘of high offices inthe prinipl churches of Rome, He therefore probab> ly knew but few wordy trobles, notwithstanding contrary assertions by Bain and other ely biographer. ee was a true Roman, bound by a thousand tes to the "Bernal ‘city, fom whieh he rarely absented himself excep o visit his native home inthe Sabine mountsne ame 29 miles away. Casimir was the fiat to find Palestsnas name among the choirdoys inthe account books ofthe church of § Mara Maggiore, Rome, October 1597? Evid- cently he served his apprenticeship in Rome. The question ofthe identi> ty of hie teacher cannot be settled with certainty though inal pro: babilty twas not Claude Goudimel, of was formerly genezlly up posed." “an oraoe by Cases acsting to wich Floto, blr ating upon tows poe sin nnd a sn ae oem ey torte btu th sje of Pst mater os Atine Let wo mat[Every effort to persuade Palestrina to accept postions abrosé eg the negotiations which took place in S67 between im nd the Im pial Avian Court and also those with Guglielmo, Duke of Mantua fn 1560 failed at the last moment, it sooms, owing to Paesrina’s fecrot disincination to leave Rome. And so thls peaccabo, modest Tllan who was not without commercial isight and ho gradually ‘accumulated some wealth, lived on ia Rome ai a musician in the fervice of the church until hi death, the 2d of February, 159° Uwe inguse what ethe place ofthe musician Paesteina inthe ise {ory of Ciizatlon and how we are to wnderstand his azt i rl tionship to perid, whether I must be considered as Medieval Renas- ance or Baroque, iis not easy to find an answer. His civil fe Hslt Teaves no room for doubt. It war lived inthe Taly of the Council of “rent, under the auspices ofthe early Baroque era. An examination ot his works gives a diferent result, to aus atop at enter of Mane (76, Vol {een cans hve teen mae by Conic.) tt Pima Bl Fech ‘nian wha ms snantr of te ape! tS Mala Mogren Geer oc Ble kaneis Helmut von 58061, Se = MO HLA Dp 5 ett ay wt ows Me tc te Sune 1st Fer' few mein 58 pi ch ager hen conductor he ten Chapt ACh tn he eset i in on {Fete (ami, see Can) He tpn ened to forme ot ot Se Bete Ie is necemary to remember here that music hab is own techleat history independent of temporal conditions, No matter how try musician may fest himself «child of his own tine, how perfectly in fsccord with tx leading thoughts and ideas at they find expression in poetry, scence oF the paste art, nor how closaly tn touch with the Frirteel mood of contemporery le, yet ie of m0 aval i, at the Crucial momeat when he himsell mst speak, he does not master the ‘dequote means of expression. Though he may ty his best, what he ‘wishes to say Re doce ol express, ad there isa wide gull between the actual and the desired ullerance, Drastic examples of this are only too frequent. Amongst others we mey cite Francesco Lanna (1397) ‘who toa tex wit ll Kinds of cheap madzgal appurtenances, such at “ormento™ “eradelt, ete, sets mic which, t0 (0 aay, her not the quality of a single responsive quiver, Ths remark may be extended to comprise most of the 15h centry madrigel production; for in spite of ardent eforts to express the text, the relationship between tho latter and the music seems very lax. Whore this music attempts to express the meaning of the words, it has the effect of something Inorgani, of something supplied from without Consequently music whould be casi, not according to what i attomps to portray, but according to what it seems to express. From this point of view, Eoropean musie may properly be clasifed under two large, general divisions: older and newer muslc. The diving line ‘may epprotimately be awe atthe year 1600 ‘An expression in words, making perfectly clear wheten the dit ference between thete divisions lays probably not to be found. How: ver Ambros’ easly casification as objective and subjective music fiver something of the estentil in this connection, notwithstanding Ail the recent attacks oni During the entire process of musial development there may be observed an snnterruptedslrugele fora steadily Increasing rene- tent of the meane of expression. Buti e a maller of course that i order to express individuality, ti necemary to have a more highly ‘frentiated and 2 more thoroughly mastered material then i heectired in thesrct Palestinian achool of syle. It-was then, and not Like Ambros and others, it 6 tempting to consider this musieal emancipation ofthe Individual as the Renlssance which, delayed by tecnica eaute, finaly aserts sul! In music. The adoption of this Interpretation, though, ix hindered by the lat that the early 17th fmotions, while roch tendencies were foreign to Renaseance expr Hon, with its sense of the value of the harmonious inherited fom fnigue at (the immature unrest ofthe ealy Renaissance period ex Cepied), The ast of Monteverdi plainly shows that ts moto i sible Palestrina music on the other hand isso unimpassioned, so tle flfervescent, that a comparison either with the Renaissance, even ‘ough the later, at any Tate during the height of the period, shered the tactical mastery and clearnex ofthe former, or withthe Barony, fiver but meagre rerlts For thore who desie to employ exclusively the classifiatons ofthe History of Clvilzation there remain but ene explanation, namely, that the Renaissance and Baroque petiods in ‘music el simultaneocsly, because the stage of the necessry matery of subjective, passionate means of musical expresion was nol alained before the spit ofthe tine had already pssed over into the Barons “The inevitable deduction would be that misc had passed onaftected ‘through the Renassance period, which negative result nly seems to accentuate the impossibility of a division which atthe same time r= ogni both the specially musical and the historical eopets. The ‘wiost course doubtees would be for musica historian to abandon ‘hose rather futile efforts in favour of casiiation based pon the fnherent cai ofthe at ite betwen te ald athe ne, cctv nd rb nes ots gt ” ‘is assuredly incontestable that, in Palstina’s cultural surround {ngs phenomena end tendencies may be clearly traced which form spparent parallels to corresponding tendencies inhi music The epoch ofthe Post Tidenine reforms, with itr orderiness and distarts for te fantasti proinity ofthe Middle Ages, reflected i his musi. jst at ‘he typical architecture of an Andrea Pllalo seems to express 4 com sponding adequate intellectual form ‘he puieation and ripening of vocal polyphony, which had already ‘begun before Palestrin’s time, may not have been purely a musical process which, once set in motion, had to run its eousse more indepen ‘enlly of tempore relations. On the other hand iis hardly improbable ‘that the sympathetic contemporary surroundings, a well as the spin ‘ual disposition of the man Palestrina himsel, (which seems to have been propitiously adapted to such a task}, Jed rapidly to an extra cordnarly early climax of the styl, but doubles to its early decay ate. Probably tis with art as with frut favourable atmospheric con- Alons may acelerate the growth, the sun may shine end rain fll 9 ie season and quantity, as needed. Yeti the tre's own laws ofl fand development are notin fonction, the frat wil neither Be Isge Tes therefore a question worthy of consideration, whether in mu: seal atthe line whieh lads from one musical wor to another i not far mote determinative and fotefl than eny ler whieh mey be drawn ‘ncn mtn, ooh fr was eet ene, tn rny te er a “htc mandan, bss ety at ee ope twp he ese sone8 Rhythm i may be contientty declared that the emotions! element, which tao prominently in the foreground ia musical ar, isthe cause ofthe ‘hua dapositon to lay too tach ster, i explaining musical works “ind the conditions under which hey were compose onthe matter of "There exits, however, a certain primitive intellects! basis upon which eetain requirements rest fn heir tar, the fulflment of which Taturlly canst folly esute the sstbelic value of « musicl work, {et whore omission is followed by negelive results, This facts very istinety stated i the case of ehythm. nen for instance a sucesson of sound impressions is produced by a delicate scout iasument specially constructed fr this pur pose — produced at accurately equal intervals of time, and of exactly Cruel stength aod quality of sound.—e certain systematic plan will bevels In apite of te fect thatthe single impressions cannot be ob Jeetively distinguished the one from the her. After a sort tine st {voluntarily seems fo-the listener that every Second or thi ofthe “feria Is of greater strength and Intensity than the rest. This phen menon, which has Tong been a amar one* and whieh bas been SSonfialy teated by such authors as Dietze, Bolton and Stunpt ‘Thong others ts generlly designated or “subjective” ehythmic aceat In contradistinction tothe “objecive" form, which is « real accent ‘ator merely of payee asTare mun. Roweve, De Poel that tis STeromale syecesion of homogeneous acoustic impressions, which follow each other at tegular intervals of time, requires that these "the mute ebevtion ott snl By any meant ew. KF Ber (78 ¢ ( 0 inarvale ssl not spats 2 eat ‘ick pins are lillie Fr if the erin between te in ‘Fain Too get is impoasbl to st them propery ito muta) {Shttombip.The sre wil only epee engImpeeoce ‘Alo ato rep recsrence of thee cosecatve nprsine kes «ict a cast hem yh, soa wt nresing pity it tnay becomes tnposrble to dstingh hem tom each eer? De tattoos bet regen ea elder fly. Schallindrcken Ph St thane mot Taare conn or the extaon of mabpctve sthmic experiment re preset wnt stern Bebeen te single found impressions is 03.010 se. (hati, fom 3 to 5 impressions i 4 second). his indietion feemet0agroe ith the exerence goin rough oteinary musial observation, “The wore of subjective shythinie perception, whic, wince its not sed upon exterior matters, must be ofa psychological natar, i gem cally attributed by peycholoical experts to regular allenalions be. {een sates of keen and diminished attention” This problem being of ‘complicated and abstvuse nature, an expérimental psychological lueaumest ofthe whole matter is difieult, (hough it promises bettr results than have been obtained etherwive upto the present) it would therefore be more prudent to employ a collective conception, such a5 * set invite (Vir MUnerchngen dar den Zt” Te st het a Bae Pon yn a he 2 nia wat 06 t te meng the mea. eon a test Pot hohe in 5 Fey gn pee m1 oe eng. Muna sje oa tras to 7c der Sr anim iin, wich prone Wy gra to Dust if ST ALR Ke "rt Alo Al iin fee He apse ean hat 1 Bn “Beige ur eagle ata” St 308) on Ween zt Sir det Mode”, Loe Ia 8:» cacy", a8 Kota door—leving rom for futher posses TERUG te more detvely peycoloint term, “atetlon” The sag city rand ete he seme of the feeling of acy! of Tate Stestlon, ao frat concern ou domain, forms a ar com Pome iptan qucton vies bere, weer he phenomenon of he ste porepton of tyer—wbiek all of out generation bey santas is aomelhing sluhy connected wih human ae ‘Rivining wich Copenent neler pon etre noe itor, Dut teat i all ere “airy emai races of out day Dave musie which does not eck aerating cnt ke or The materia at and © Tepatnt ie however, to insipid escure and our Koo sna euimve pectoral oo ited opera rab con “en ‘regard to the older European music, and also to the Flemish- nates veal polyphony, ere fe song divergence of opinions TRIS [iverugnons Some maa that be 160 cenuy aed the eo funn he 18h ontury. des. The caer ofthis party wp to SETRSSAEG ean ee Iago flemann, whose comcon wo ht LAE 2c ae case poi ine ‘te De Tuc wed ew gegen rou his ace 4 1 ‘Br psc af tsa he we Ko tht (SAT it a ao Ow ‘penal acon tthe i bar (second acto the mere) Decaoe mat ric aoe Ga Oo Rae "rt ns SENOS by ety ec ne im tui nen mee oo oe ae Sn yes aie soe te ‘eee rain oe tr enates ~ the olermast tke in eniy, a mich more in common with the newer han we geeraly ar inclned to suppor Later on Arold Schering hen express dens coneming the thm of the Cinguceto nhs itecsing sty, “Tat wn Sagderng Inder Mast de 16 Jahan ‘Some other Investgeos advance views that are diamaselly op posed heave, caning that daring the 1h au oh sani the scaled “oachwshand™ con em meily wet Ts opilon Bas plac giound Ih eet este Specialy eva the works an erae of Aer’ Vopel”Schinemn.Kinkeey? ot Ore? “This hypothesis epelty based upon the following fel, ther mensural weal mic of tt epch @-Rat enpy bar Tn secondly is sors HEE ho metilon of ecnfuale er races 0 peas Sal fn when he “menue, eomidreé wo Toliowed Tale-emphaste- oF the Text occurs very ofien In individual Thor och to be I ovour a sucks conepin For ita dn the Gloria a the pat mae “Sie nomine” by Palestina Xi 12.2, | aa) th lowing psage occurs Pepe mg-me elon am tram w+ am Om‘a careless declamation as: “propter magnem gloria tam", That Some incon nb proved wah ques Soge t "Jo one only superficially familar with 160 century vocal poly ae maser couse on the twa la spl of “onan” Ta Sms ruc sys Tsim nde of tm wa a ee Gute ashen anentetpone nd hre aan ere at sous pods (og hah en apie 10 cere ers saul vee bate fc ta he EUS appearence of sor ote vee ponte power eeeee union ent ens enparso eer of et eT oe etatace os aeng at eee ey ne eer ced 02 wee ea tse omnes tthe mee te ym wel ae oan Plein sterol, where te cee duce eta of tid mini ple nm he oo8 Cink concn eal neue a one of ee ways Te tion be ptadg or ¢stecedog hs, te sco By ng tou fedehet taped mins the id tnt foe send ‘crotchet must be succeeded by a syncopated minim, [probabl 1 fo the general tendancy to alonce ie posivity ofthe eYNCOpS by |? n energetic intradutiog) Care should also e taken that quavers fi’ “Fherier tine when used isolated between larger aote values, should (Consequently when, as here, we meet this ehythmical figuration, (whichis praccelly never in our domain of style, and especially not | hen employed thematialy) there i no doubt thet the accent. do 1 Bol follow the bar lines iting thi, and placing these bar lines before the formerly on sccentueted beat, the whole figure immediately presets another ap- 2B pearance. Everything falls natrally foto ts place, and the melody Securatey follows the stese of the tes: =o aes ‘This anys makes it clear thatthe accentuated minis in Pale. trina style ere texted gulle oerwise than the unacceatuated. Tis Tat becomes ell more obvious when we exailne the treatment ofthe Alssonanee. If we count the minis from the bepiaing of some mes- ‘ataed choral compotion of the 15th or 16th century, iti apparent “ote strikingly 20 the nearer we approach the cemination of the Palestina period “ht the onney uu angst nate le pon the evan maabere rnin oo whal we ca he Sra par of the Hun’ The aly excep ere pace a a THs also evident with regard to cotchets, thatthe dissonance was jonlv employed onthe weak eal, end that moreover the third crotch zeceived a less forcible accent than the ft, about Hike this Melodie conditions, which we wil iscss fate, also plainly i cate a ference in the treatment of even and odd numbered note, 1 cannot possibly be denied that in vocsl polyphony thore beste which modern editlons designate of accented” consisely rigid, diferent musical treatment from that ofthe “unaccened” beats, But “Why should there be iis lechnicaldiferencs if no peychie situation 1 Beind i, (meaning our accent alternation, tht isto ray the alee tate eronger and weaker moments of mental activity)? “The lac of bar lines in the older vocal part-book music constitutes no real obstacle to the acceptance of thi suppoition, The sage of15th and 16th celures seams itary. They were the rle i the israel muse oblatures “Ins pA ven slr back a Pama Pundamentam orgeisa fi", Where a vocstpart with mensural notation has an accompaniment ff a lute for instance, bars are often sed in both part, bot ust ax fen, oF even more frequently, they are omitted,” Aso examples of Tate tablatres entirely devoid of bar lines are found: moreover even 4 compostions of the Jate 17th century by Tunder ‘he bar lines are offen lacking in the vocal past while appearing in ‘he Tnsrumental_sccompaniment, Yet the conciusion must aot be ‘iawn trom thes fats that thie aout, n which symmetrical group ‘onstruction lsoflen very marked, ees not intended to be subject ‘measure and accent(The choir mosic ofthe 150s and 16th centuries, {swell known, existe only in pats, and never has bar line here ‘vas then no srgent necessity for thse lines, for by means of the actor, a slgn from the conductor consisting ofan up and a down movement mostly covering two or three minima}, the peelonmance related elt With th desire fora general outlook over the entre Composition in a acore, the Tack of bar lines was fst realy felt But fren then they were not always writen out t sccm to have been the ambition of every good musician ofthe 16th century to be able to read and play the composition directly from the volce parts as vlten inthe choir books! This playing deety from the score was tade posible by the well known sytem of notation wed ia these part-books, which gave the same episode inal the voices of the com- Position on pages immediately opposite each other, but without bars oF placing the coincidently occuring notes under each other. How: fever, when there was the question of Securing a rleal estimate of ‘composition, even the best muricians of the 16th century now and {hen made uee of cote, Ths Palestrina wits tothe Duke of Manto, ‘who had seat a motel of his own composition to Palestrina, asking the oso doctrine de sguis musialbus”? Iatler’s opinion: “I have scored the motet myself in order to be able to judge it the better" CConposiions were watt out for amateurs either in tablatures oe probly mote rarely, in etl cote, At any tle but few bared cored) oF thie Kind dating trom the His all of the Th century are stil ex | Snntamentais deatech” (1528) and in the tract “Expliatio. compen ten scores of this kind Tram The second hall ofthe 16th century are found flener, an itliat printed cores Know up 1 TSe prestal, dale from The year 1577. These were the madrigls of Ciprian de Ror, publiehed in Venice by Gardano, who explicitly emphasized the pedagoaic purpose ofthe ‘Sometimes musicians with Inefficient raining facilitated their ww laying trom score by adding bar lies tothe parts which, a5 was customary, occupied opposite pages inthe old choir books. Such seems to have boon the case with the Requlem of Brudleu a composition ftom aot very late 16th century dates A study ofthe famous Codex 59 inthe Lateran archives iz also most interesting, As ie generally ‘Known, this Codex isan orginal autograph by Palestina’ soet af holt book, which notwithstanding its smal size has seen practical tse ot shown by te singer’ names written down here and the {nthe pats. The contents consist mainly of Lamentations and Hymns, the pars of the stitly mensurted compositions having no bar line, Bt there are also a fw fax hourdon pieces in the Coder $9, such ae ‘the Improperias, Miseree and “Beneictus Dominus". In these we find {hat bar Lines ae wed (at leet in te Inproperias and Miserer, wich * ac per mi cots opto Motte” Bet “Ma tule ogc 1 etiues per ap Feel Wa Ane Be6 Cini given csi) th, hares in ome composting, an “hereto fortis ferenc can bred expane. I iy smnaused compos the ba lines wore no nec epi | Tete prt books ttc | “tnd there came ate arly fast) With Shiai the cane wan fret Herd CEG wok RU rele Spying, Burrs Hea conformed othe eal hye, | hertre stn were nal to gle an Keo the gers loeb | Ine inoregenerl pecs o exscaton. The ores in those Talestinecmputonid net vide them nto equal ine quant _tat eum, besides the faction of faciaing te general survey of “| wi 1 be noned to terve an punctuation sig sila oho Cilio” gnnsn weer SW Tap the thers of i epoch that hee nek were intended to ue wih fren fo he conienal ecrence Sie contents fhe fret prs This however she int of ot Seine iafrmatin ftom these soa, hey ae ale regarding he folnt whether the bu linea tet tine oo ob wn, wee ale 8 obo the moc! woke themselves afd mistake idence a page se Sancta Maca gute by Hinkel, p10 pot at the fet at wor not move nog scr han he tnd he 1 etry. ‘pring mov nef the dove tant be apt secnly ripen sno dng! po pt tr 3 eure et Rls Seton jarani npr, pr log sever qe cea gp. a a that inthe 16th contry, or pethaps even eas. there was introduced, rea with reulary recurring acronis, etwenn which aad Se aga FHT oF HE TTS PAT re arose mutual st “aod contradiction, “These very obvious contradictions seem irreconclable. It is how: ever scarcely worthwhile to try t ridge over these ditferences, as {he phenomenon doubles has its roots in the principal paradox of Palesuina’s style, vi: the incompatibility, ideally considered, of the Tals @ERTE CERT ay be symboliaed sn The Flationsip of the two kinds of Istenes of the two of the single pat" and the listener proper, (the receiver of the tla Dut Tistens ata certain distance, has a difcalt—stilly speaking, bn posible—task He must assemble al the prtcpatng parte meatal land condenee them into a total impression yet he may not alway be able to abandon himslf fool to this total Impression, but sometimes be forced, or enticed, to follow and spintualy to merge Mmsel i tlngle voices or pais, However, the more he is abvorbed inthe totality fof the impression, the less isinetly vil he be able to follow the ‘course ofthe single lines; andthe more he concentrates his attention "upon the single pars, the more will his concepion ofthe collective sffect recede into the backgroundIt is therefore posible to hear =) composition of Josqun, Palestina of Victoria, peehaps 2 hundied ton as this oF that voi fr more or less brought out or covered inthe, endering We can assuredly not reject, in advance, the assumption thatthe educated listener ofthe 16th century disposed over « greater skill in listening to polyphonic music, than i ordinary to be found to-day; though @ portion of our modern musle is very horizontally ‘conceived, end teuly form not ¢ bad preparation for the appreciation of 16th century art. But even conceding a considerably greater degree2 of skill othe crit ofthis older er, there abil remains in the ine fated to disppear totally inthe collective impression, which only the ‘singer ofthe part in question can enjoy, oF perhaps nome listener who has been especially attentive to this prt atthe expense more or less ofthe oters—and just for whom ths part preferably may have been Just at melody and harmony are inclined to combat each other — the pret prominence of barmonie elenents tending to absorb and efface the peculiar melosi features of the single pert oes the yer” (paral! rhythm contradict and combat the “Macro” otal) yt. Tis sife has, however, scarcely had any serious consequen- ‘ces procically. When, fr instance inthe motel of Palestina, ‘Gaudent fn coos" PV. 96,4, + 1), the following passage occurs there is no plasibe reason to suppose thatthe executor of the tenor ‘art hete submited entirely tothe gueater shythm and sang "Christi" ‘witha fae sees. For what i thereto prevent him fom fllowing the ‘metrical acceat ofthe text and putting a dynamic accent on the fist syllable? The bar lines, at any rate, frm no hindrance here, as they eo own hte 6 ce apse cil a Aa » ‘would in newer music, Buti would be still more improbable to sup- pose, that the listener tothe total effect would allow himself to be misled by the tenor’ individual shythm with regard to the macro- zy, which sats nat th bepining ofthe composition, and eqular- Iy alternates between accented and unaccented minima Ip thie ave, he would near a tree digsonance aet ia upon the accented minim, fn ellect which wat considered too extreme an accentaal means in (bie stye, and therefore war prohibited ar being rae and violet Probably the listener either observed the tenor enough to remark ite rythmie peculanty, bot considered st as a weaker contradiction of his own stronger vertical rhythm, or the macro-thythm had grown £0 predominant in hls mode of Iistening, hat he didnot catch the special ‘hydhm ofthe tenor part Whethor such a manner of listening poly ‘oncsly inthe 16th century may be accepted as probable, (he truth ‘being that perhap in certain circumstances it was realzable, in others not) or whether a freer play of forces prevailed in which every ehythm Yat cone oe net we mya any rte reckon Wt we Prytmic dimensions in Palestrina musi, jot Fag 16a verieat thy with regularly allemating acents bei ‘on on he eter and ies quite nea toanme tat eve een scarcely received so etong 3 ase a later epoch wo lve “The reterve wih regard tthe melodie the quanllaive, ad The har tonic aeent which characeried Palestrina style, makes it seem ike Ty that the dypamie ac ie an" The “me uta of edule nw a open eo =) isa arb cei Sansa nc ka eo opt ( ee east te nc " hipmmage e Zac (tien Mas", 186. 2) seems appa tent gyre che meglo net camaro du oc) aso che meInvoluntary feeing of dissatisfaction with which we hear older poly- ‘Phonic work rendered with too forcible dynamic accents, may be ‘ccepted of am iatnctive witness upon this pont, whose eltestation Modes, ‘The music of Palestrina is based upon the eclslastcal modes, and the time. While his 0H fl. while me rigl writers were employing chromatic notes in thelr eagerness to Tend new life and britany to mui, Palestrina clone stood frm ond steady inthe midst ofall these seething currents, He knew his own ‘mind, and was but ite concerned about chromatic alterations. More- lover, he was aot alone reserved toward the chromatic efforts of his contemporaries, but alec his alitide towards Mie predecesors was research up tothe present, to form an estimate concerning the attitide of polyphony towards chromatic alterations fom the beginning of Harmony up to the year 1600. But it does not soem improbable that Paletina's oft may one day, when all the fats have been finally In- vestigetod and collate, be recognized as the keystone of «great pro- cess of ditonie development. At any rate itis certain, that im the rome notes were known and eniblaved, ih and 15th ox Swilch Poesia avolded, Taus, for instance. in the composition for ‘Three voices, "Bonte bale", by Johannes Cesrs, vom the end ofthe ‘Mth century)! both A fat and D fla occu, as also in the "Chrite™ ofthe "Misa super Maria zat", By Jacob Obrecht* * shane Wl induc der Nettehioe” eg 11, 9.34 Cte ‘The mode her is the transposed Phrygia, with A as final —A fat and D flat thus corresponding to E fat and A flat nthe original posi- ton In-. Fleer’ instructive esis be says: “Ein auseschrebenes [Asie jedoch in der sweiten Halfte der 15, Jahrhunderts bis 3 der Zeit Witerts immer nor in Verbinéong mit bb Vorzlcbnung anzi- teetfen"" This statement, consequently, does not hold altogether ‘though practically considered i may be corel ‘The theorists to confirm the existence ofa freer employment of chromatic effects in music prior to Palestina, We find correbora tion ofthis in the often cited mention by Marchetus of Padua, of the Beldemand's“Libelivs monocord”* ‘Avremarked before tis not unlikely that here may bea slow and gradual liguialion of Gromalic elemenls ithe Ue prior to alee “any ne i core me —wheter Haden Bad nybevebologil feature in comnon wih the proces of done evo tion wih tok place inthe Ith and 12h centuries ia plansong® of ‘ehether is was direc due to Gregcanifvence~ the later being tre latocty vide, the netrr we eppouch the cxlnoaion of ‘eal plipbone ‘However alt maybe, Pulesot's matic is as died atone ae any The tebe akes of crometc alteration dow nt betta Wy exceed whet war vali In plsionong. Hi ron the ter and is Undeiely polyphonic He gute undersood the nace ofthe ad, fd ina cena way how toot tbe mutations of hor any fate cles ec a ani vgard wo ‘hein, otcenbe that Be ks te ester thd (male), which tro the geet reference al ksi. Maer viel sounded eter ‘Behisear than minor He aways wet a maori fatal the ie ie employed athe fina chord when he bepne witha ull chord which does bat often happen ten ths to ts mott frequently © TEnor ted, Throughoct hi works be prefers major es upon al ‘moe prominent pasages (Tis WES Ta ma[GE Tin the Sst Shord eiises a eho fang of the irs in the Donn, the | Peoygen and te Aeolian toni nds that is he notes Fshap, @ {sharp end sharp. To obtain major thirds ominat ees) in he |{tiad onthe ith interval of the Dorian, Miacyaan, and Aeolian ‘odes, exacly the same note ace raguled. I the Phryien mode, the {ooo interval btw |p pulpal characters of the mode 3 ‘All the accidentals menoned are employed ot of consideration torbacmony, Oterwie ain plang ony tito be found nd tom ng aed with mat, td ving sdb ard amon feels nsnciy pelo soe sod ttre nda cote Heler to Stang experimen wit» Snese man “Bee at ‘the 7th and th ofthe scale sigh considered) 2 fn connection herewith E fat, though generally only in the transposed ‘modes, (auch as GDotlan, A-Phrygian, Fionan, et). ‘within thie limited cic of chromatic posible, Paleting un- {olds bis sublime at. I he oversteps these bounds on rare oceasons. ‘tis only to demonstrate that he dwells "exca muros". An instance of this cecum in the motel, Peccantem me quotidie* on the words amor mors coaturbat me", where he can find no batter means portray the perturbation aused by egony than by employing D sharp Inthe cadence. It can scarcely be made more clear that to Pals ‘uia this chromate signified a “contorbtio™ of that musical system ‘which be thought the sole corect one (Of similar significance i a passage inthe madrigal “O che splendor 4 tuminot va, |B XXVII, 15,3, +1). Here he employs a G sharp, (the mode being G-Dorian, this in realty 8D shar) since he had to fexprese something as extraordinary ot “una dolecr2a smisurata © without doubt the G sharp is especialy meant for “nuova”, ‘mnmensurable as sutely alo bad ite influence “ener tere "fo my knowledge, A fat doe not osu in alesis comport ‘ions. In a single instzhce T's written,” (to the text “pren Ui imseria (STmale"); but in reality this is not an A flat, but a disguised E flat— the mito bing the nope! Devan with fed Dat, ens rte fon, wich nao prcate mae ids tn, adalton,1 lininteGscordant loners fom accor, Cr Stlance the inns tad In stot polon) aceidenas were {og SERGI Tea loin Painsong eer to nol he dec tHions oF Etone lie paves fo flow tele“ nla super? sie to ender leps poste tat evinary ae ORBTEETor inuunce iat the seenlog males ha wnion, wl al Siounade te movencatlninate” Consrinally when we ae no eosteron be eo te sya Iovrdsdannent exten Spur would seem mpd tat cles Paetne' come vpositions were employed for the expres purpose of rendering di "Nevertheless {56 Groth ESHITOAE'Hep] ay be found here and ‘here in the works of Palestrina and other 10th century composers. A sittin fom the motet°O Ine et docu Hispaniae” Pat i (PI 3,+ 3 follows: ‘Similar passages may be found inthe following motets: Beatae Marie (@-1,55- + 2+ 1) Lapabunt Stephanum (PI, 5,2. 2and + 3, and ewise 85, 8 2}; “Canite tube" (, 1,44, 2,4; forthemmore in the third volume of the complete edition (cootaloing the third book of ‘motets from 1575} In which such instances occur comparatively often 5.3% 38,2, 2; 6,5, 10,2, 261,78 52.36%, 23,702 470, 4 Bt 2, 2510 22 132 1,2 194, 3,1 198 1,4 40,1, + 4 Examples may likewise be found in the pert masses com 1601: P->CKH, 1,2 234 + 2+ 4, 118.2. + 1, 12, + 2. Refer also to the macrige Vergine tale P XXIX, 3,3, 4 + 3), All these instances have tbe quality in common that the change of ud dogs not tke place smsltanenisy oth 7 Tian ond are therefore not to be classed with modes of expression lke Te next example" Here the change of chord coincides in tine with the chromatic semitone alterations. The feeling of conscious chvomatie alteration 1s flso much stronger im this example. The eim here Isto enhance the Tichnes and metalic huste ofthe chords—in reality only ads with “tnur-rolatee™ roots, which anticipates in the cinquecento, an effort, fof which Romantic composers ofthe 19th ceatry were very fond ‘This phenomenon esrrely signed the same in both eras—overripe Ihomophony! ‘AS previously stated, the examples quoted from Palestrina are all of another kind. Only one of them, (an antipon, “Lumen ad revla \onem,P_ XXX, 15,32) resembles the pessage cited rom lege, this resemblance being strong enough to characterize the already du- ious composition as not belng 2 genuine Palestina work ‘The quary arises, however, whether all these instances of chromatic progression cited from Palestina’s works, should realy be taken feriouly Alfred Einstein inhi study. “Claudio Merul's Ausgabe der Madrigele des Verdlot™ calls attention tothe fact that in Verdelot's second book of madrigals, (158) several passoges with chromatic femitones occur which aze reprinted without theso In later eins of ‘he sme collection (c.g. Gardano's edition 1856, and Merul's eiton 1500), Likewite v Ficker, in hie stay of remalie alterations already sentioned, goes critically to work oganding similar modes of expres-% son inthe literature of the early part ofthe 16th century. Probably {We phenomenon may aise out of « misapprehension ofthe manner of ‘olation inthe old printed edition; at any rate this muppositon holds {ood afar a8 Palestrina is concerned itis common knowledge among ‘musicien, thet the componers of Dat time were not very exact about the application of accidentals, In cases where the later were consi: cred eeovident, they were not writen outa ll an in other instar fees they were very imperfectly noted. For Instance, when it was ‘esied to sgnly that several notes of the same pith ehould all be tether raised or lowered, was seldom thought necessary to give exch hole an acidental, but ony single note was so marked. Usually this ‘ecidental was placed Before the first not,rometimes, however, Wak placed betwosa the frst and sacand noes. That bot notations sign! fed the same Is shown by the following Tes ‘he instances of chromatic semitones cited from the fst volume ofthe complete edition of Paletin's works, (which was based upoa ‘the first book of multipart motets from 1503), ae all removed from the second edition of the same motets (Venice 1578). Where the 1569, ‘edition has a sharp placed between the fust and second noes, In the 1579 ton only placed before the fst note 'As forther evidence may be cited the theme of the par mass, “conftebor tbh Domne”, PL XXU, 111, 22 Wewre € i ‘There isnot a doubt, therefore thatthe sharp inthe frst example 's intended forthe fist F. We gta sia result we compare inthe fame mass the tanor pant of the fist chorus (118, 1, +2) wih the @ wor part in the second chorus (18, 2, +1); oF Hf we compare the passage, "Donine Fil unigente", (Cantus, 18,2, 1 sqa) vith the ‘corresponding passage, (Pll, 135,22) im the moet upon which the rae i oso “Though it seems Heyond question that all the examples so far chosen fom the complete edition are due to mistakes of the eitrs tll cannot be dened that afew instances occur in which the seme” tones cannot be eliminated: Buin teas cases the semitone Isa "dead™ | | env, that its notes donot Belong to the same musical pease | Win the moletsiready mentioned, "Pecedniem me quatidi™ (PI 74,3, +2), we find an interesting mode of expression is plain that the breve im the thd bar ofthe upper voice mast be Gand not G sharp, because the following ote i F Raising the G ‘would give an augmented second, which i otherwise never em ployed. Ii, atoll events, conceivable thatthe F might be changed Sudip ast sr Woah PIV sea + Leek Lae “Tae seventh may atta cecur axa “dead” tnerrl. Compare for example, the alto i8 Into F sharp but this would necessitate an F sharp inthe bass instead (of F, which would bea melodic impossibility owing the Blt expres- Ty indicated in th last bar. The passage citod is leo of Intere es proof tel, even ab eatly asthe 16h century, composers clearly felt the ference between msjor and mine, jst as modern composers do, (the smal triad on “Uimos” being without doubt a tonepiture)* Par: sages where the chromatic temitone i used a8 a “dead” Interval, may be found, frthermore, in P. XXVE, 25,1, 4 and XVI, 6 2, +f Palestrina's attitude towards chromatic alteration on the whole Is ‘ & noticeably negative character, What he omits is in realty of tore interest than what he allows. Its, however, of importance to ‘observe his procedure in this domain, for he revels hist! a master Im selecting and rejecting-ax one to whose art there adheres no particle of anything casual Treatment of Words ‘The relation to words is pesaps that in which the tendencies of ‘modern art come out most strongly, and in whichis expresional wil Intensified to extremity, is most pronounced ‘To our ear he sixteenth ceatuty’s primitive efforts at word: palnt- ing seem rather childish and superficial. However, it should be re rembered that they orginsted inthe intense deste fr the expressive. once of fin opi: Zane, “ahi” p23). — pele {eons bo dee ow) quedo pon a Tema meg a pte pe Hr o Generally the result was that the composers merely succeeded ia securing a snip of the garment, though their intentions wore ofthe Dest "Even the rest, fo-sesing Zarlino (1517-1590, who was one ofthe rmost cistinguished misical thinkers of any era, looks pon this ‘Phenomenon with loyal tolerance. In bis work, “Listtuion! harmon! he" (1558), he advises composers to avold extremes, and also against, ‘welling too long either in the high of low registers in thelr works, ‘ecept for the accomplishment of special aims'—"which isthe inten lion of modern comporers, (whom only the overwise would allow themselves to lam), when they descend in the sale In melo texts depicting anything deep or gloomy, suchas descent, far, lamer tation, tears, ete, while they ascend in tones expressing elevation, ‘ehemence, scent, oy, lughten” Altogeher the Reoriats thoroughly ‘understood that i this period the end and aim was expression above all, and that the arictest Tales could be relaxed when such vit features were a stake. g In his "Lantica musica rdota alla moder- ta prttice™, Rome 1557, (a fille which shows how far back the Hel Tenizing tendencies of tho 1Mh century reac), Vieentino says that in seting music to madrigals andthe like, one need ot be too trypulous ‘bout keeping to the mode: "ma sara solamente obligato & dae anima, 4 quelle parole, & con Tarmenia dimoszare Te sue passin, quando {aspre, quando dole, & quando allopre,& quando meste—" Lp. “The tone also may sometimes be employed in syncopes when itis esi to expres harthnes: “alcune uote nelle componitiont wana “1s datn sea pop pric | open eter M pe en ‘Srotme cate ge been pond, da, tne pt, lage 4 alee coe ‘in nso cntnare suet le lo moto! rum undo iene ‘Sta set, no, egret an coe eon moe ei ana” ‘eerste to "Spline Bons” Lp 31 On te prt of aaors na ws we Ft Coton, fash ln pitt ime baring foe aw etcomporte il Tito sincopate In logo aquaria; & x fa & dae, & tee toss, & perehe & ai natura aspa, Ie parole moueranno il Com postore & far quello” (p. tv. Palestin's attitude towards this wos steadily marked by sett contol though he wrote medelgals, (for which be later thought fit to ‘spologite), and also church musie which showed that he had not been ble to Koop himsel ently free fom the influence of contemporary Seculat music. That he understood,“ dare sist vivo alle parole”, ‘sppears not ony fom 8 letter to the Duke of Mantua but also, and ‘even all more eleary, fom hie compositions. Tt ie for instance selt-evigen, that to the moricions ofthat time the meaning ofthe words "ap" and “down” coresponded to ascending and descending movements of tones, Plestrna also found taificlt toa “descent” without going dows, and ascends” without sing Tt, however, word-panting ofthe mort faprant order when Pals tring places @ general rest on words Iko “sospio"* or when in the rote 0 patrao” (P-V, 94, 2,2), he musically interprets the ede tive “longa” by means ofthe "Longa" note-value. Besides this, be let the ful spat chor sing the eacond! port ofthe motet "Vid urbam rmagnam’, (P. 1, 158, because the text bepins “Et omnes angli sar bunt, and onthe other band he only uses a four-part chor when the text later says “et quatuoranimalium", “The declamation of he text is ately mor ty characteristic of Palestrina than this rather supetticlal worepant ne is clear though, with segard to declamatory technique, that it rainly shows to advantage in homophonous compositions. In contra ‘untal web-work, where the ingle voice or pert i very apt to be ‘covered by the others, Palestrina isnot 0 scropulovs about textual ‘emphasis, though he i sll a pret deal more careful In this respoet * Nomeroun eee of is Kd ats, te cd Ptr Wass “a than either the Jeaguin or the French school, or than his grt com temporary, Orlnds Lose ‘rom the very earlien period of musical history, note-against note has always been considered as especialy characteristic of Palestrina style rom od records it appears tha the timp of the Marcellus mass must be attbuted patieulrly to the aatneiness of the text, which, In its tua, was due tothe strong influence of note-against-note Speake tng of thi mater, Prati sys thatthe ener composer, in conta Astnction to Palstrin,thought “llln af le Fugen und Noten und cht auf de fecus und Gelebonmigkait der Waste Burney, who really was the fst to analyze more closely the individuality of style Im the Marcellus mass, forme his obrervations ef follows? “I can venture to aazert, that ti the most simple of Palestia’s works: no ‘canon? inverted fugue or complicated measures have been allempted throughout the composition, the harmony le pure and by its facility the performer and hearer are equally exempled from trouble ‘The Marcellas mats the most simple of Paestrna’s works! Co. rectly as Burney has judgod here in one way, ho can still thank a lucky chance that he remained right. In realy he id no fn could not possibly know all thie master's compositions; for fat that time the greater part of them were still undiscovered teas lures. Nevertheless, as remarked before, his asetion x true t0 ‘The requirements of the church at that tne, with regerd to poly: [pooni urgieal musi, primarily conceraed the intelligibility of the Te is quite obvious that in the case ofthe mass, these exactions especially seated to the long, wordy texts of the Goria and Credo. [ln te Kye, Sanctus and Agnus Dei, st wes of less conseqvence that Ue texts were sometimes veiled by the music, the words here being semoat art sun Dh a Icing a he 57 tna few, and therefore easly caught and found coherent. Besides, the shortness of these texts necessitated repetition in most eater; hence there yas no need to avoid imitations, which otherwise might cause Inconvenience in extended texts of en eple nate, and make i dificult for the listener to follow them. ‘A mloute examination of the Gloria and Credo of the Marcellus sate reveals at first sight, the fot that note-agenatate is employed fo an extaorcinary degree in these pieces, while intation i nied to e minimum. Ths ie erpeilly tre of the Gora, this mode of treat ‘ment not being earied out quite o strictly inthe Credo. This Gora, indeed ranks high above all the other pices of Paes tuina’s mart, both with regerd to distinctness of text and intalligh>- ity of declamation, Te following rekematic plan may serve to thuow rome light upon thes relations: “The Goris ofthe sb masses indicted were wed os basi materia {or thie analysis, ‘An investigation of Palestrina’ total Gloria production todo the selection of the numbers from 2 to 6 in the above plan, these being ‘specially chosen because they make extremely ite use of imtation, (nthe other hand, the Gloria ofthe "Ad fuga” i included fr exact- Iy the opposite reason. ‘An attempt has here been made to procure, i possible, numerical, evidence thet the supposition formed telly fom general conaldera ‘ons, ofthe greter or lee distinctness of the tex, correct Here as elsewhere igres per se will prove nothing about psycho logical phenomene of higher degree of development, yet they may ‘Should th pieces chosen be analyzed with regard to tetua Uigibility, then it must be done by examining the ineligibility of he single syllables, since that alone wil oaure the intelligibility of the whole text, at any rate in Palestrina us, which always user syllables which belong together in conspicuous proximity to each other, and. (contrary to the custom of earlier Netherland composes}, voids se Darang sylobes ofthe same words by to0 prolonged omamenttions, fad sill lear allows the diamemberment of words through pauses? 1M nay be affirmed without hesitation that syllables which occur ‘either inone part or coincidentally im all the pars, assert themselves ‘most distinctly. In the foregoing plan, the places where entie of this ind occur in the mses cited have been counted, andthe respective numbers have been placed under section A. Conversely syllables ‘which are inrodaced in one or several voices coincidentally with the maintenance of quite diferent syllables formerly nuoduced, have a Ieee intelligible elect, (Goup B, in the plan), while diferent syllables entering at the same time will be sill lex distinctly understood, (Group ©). In order to faciitate the comparsen of the groups, the ‘umerlcl relations are given in percenlages in the fllowing. ‘The text of the “Ad fugam" is Least ineligible, whieh was to be foresoen, because thls Glrla (of allthis kind of Paestrina’s com Potton), sth one in which the imitation ofthe voices ie most cam SSrtently carried out. (the piece Being constructed asa srct double anon) In the “Miata brevis, which bas one of Palestina’s simplest andpotyphoniclly leet elaborate Goris, the corresponding percentage Smounts lo 21.94 The figures of the other 4 masses lle very close tach other, "Paps Marcell ronks highest with ts 58.45 ta which nly surpasees the Missa “Betus Lauretive™ by an Insignificant fac- tion. However, ts nether the A or theB grou, ach so nearly of gual Importance as to render closer distinctions practically sspervow), hich contibutes the most welghy evidence ‘owerds an estimate sing texualiateligibity. Upon this point, preponderance lies ‘with group C, under which all vague and confused passages, arising (out of the simultaneous entey of diferent syllables, ee cllocted 1 now wee examine the nimeriel relations of group C, we cleat ty see the dance postion ofthe Marcellus mass, fori is apparent that the later has only 86 "sof the kind of eases mentioned, while ‘hemars nearest approaching i, “Assumpta et Maria", has as much 14 i, “Mian brevis” has 446 %, and "Ad fogom” 70.98 Me That the Marcellus mass occupies a quite dstincive postion tn ts creator's production, may thus be considered proved, since the figures inthis case confirm a supposition reached in a purely practice, Bain, who, notwithstanding Mis high merit, has sn the couse of Lume been placed in a semicomical light Boesure ofthe ten aitferent kinds of style which he, in his orderly way, thought he could point out ‘in Palestrin's production), is not altogether wrong in believing it necessary to reserve a particular Kind of tye solely forthe Mercallus ress, (unfortunately, however, withot any father explanation of his motives Considering the fact that this work in certain ways stands isolate, sod that i seems or if even Palestine himself did not think it necessary to carry ott the Principles of style asterting themselves ‘ere in is eubeequent prodution-—later publihing a nomber of max ses in which relatively lie attention was paid tothe iotlligbiity (ofthe text—the hypottess of a change of style, wit this composition 4s Sts statingpoint, is highly improbable It seams more like a de- rmonstation [Undoubledy in the Mareelas mass more than In any tther of his tastes, Palestine endesvoured to make the lex! as ds- inet at pouibie; the style of the Marcellus mass isnot continget 6 merely upon purely artistic and suslcal demands, bat also upon ex- terior, practical exigencies. I is evident that Palestrina himself yas conscious ofthe pecllar character ofthis styl fom the expression “nove modorum genere™, (ee the dadiesion in P Xt. Ti, and more ‘over from alter to the Duke of Mantua, in which he inguites whether the latter wishes the mass, (hich he had engaged Palestrina to wei), to be “long or shor, of composed so that the words may be under: sod." The Iter cae, therefor, oot conadered a malter of coure, ‘bot dependent upon a distinctive mode of wating which could be ext ployed at wil. That Palestrina maintained this mode of wring inthe ‘Marcellus mass with such consistency, whatever the exteral, rely practical circumstances may have been), mst doubles be considered in connection with the views on ltugical musi, expressed at the ‘Council of Trent, ("ut verba ab omnibus percipt posit", as remarked sma proposal regarding the reform of ehuteh musi)! and perhaps also in connection with an event which happened in the short reign of ‘Marcele Ik? ‘Such a supposition Is coniemed by the fact thet fragments of ses by other compoter, which form the nearest approach hitherto known to the syle ofthe Goria in the Mercelis mass, ae found in id’, BH, p35, cle son to pgs in Ma "Daren ‘Ness them to oy hat us tt soa ood Fy be lca te fe songs fo te pvr shal be line (Coan Team ch Pan scan. 6~ penton mote oo a inet comsndtm, cane la vol 6 ve @ ent gore ptr, sa gan pec poet) Heo 2“6 ‘collection of masses published in 1500 by Vincenzo Ratfo, musical Conductor atthe Cathedral in Mile, and expreniy cheracteried by him at. "novamente composte roconda Ia forma del Consilio Ta Sl we must ake into consideration that inthe Marcoss mass we are not desing wih alle, bloodless experiment, but witha work of fr of magnificent proportions—a marvel whose lke is scarcely met ‘with once in @centry “The problem here was not only Now to bring out the text tothe polyphonic mosic most clesry—in that ease, any ball-grown ehoristor ‘ould have quickly solved stot how to secure textueliatligIty tthe same tne as the artistic value remtined unimpaied. fn other ‘words, ow war note-ageaataote Lo be treated In ofder to hold the ‘Satbelic interest, even. when this mode of wuling Was continued Ahroughout long periods? Palestrina solved tis question with the utmost elogance especialy by the exhustion of the ries, soaorous possibilities which compost tion for 6 part fers, He lets groupe of Yoies, iferenty combined, sncceed each oter in reiing the text, and refreshes the ear with ever few souné-combinoions, at shades of ew and deticete colours. AL the same tine, he employs noteagaiastnote in a peculiar manner, ‘ving ssking preference to the pper voice, and endeavouring to {ndue i with special beauty In contrast to the nual reer recltavelike, stationary note gsinsote of the Netherland school, the fons he employs i distin {ulshed by its high qualty of plastic art in metodic constuction, by the beauty of ts outlines, Buti not our intention to cla that this form wer Pelestrinas ova invention, or that it vas usod here forthe fis time is tru of thi as of the technique of sonorous alternations fo the whole, that oth were known and used by older masters, yet Seorcely belore with sich intensity a inthe Marcellus mass “The sirens which these artistic meant received through their tre ee bone, ps, Rcang Tee Cota Aas (1) a Conse quent use in this widely renowned work—which eardinals and musi- ‘Jans alke hailed with joy as the model of tae eclelateal mute raay feazonaly be considered influencing the development of the noteagainstnote motets, which, (in a delicate, sonorous treatment and with a more moderly developed upper voiee), came into notice bout 1570! Thus far might be seid that exterior circumstances exerted ae ftuence op the evolution of this tye, But the syle of Palestrina certainly 8d not arise out of any deere of the Tridentne Counel Even i the legend thatthe Marcellus mass was written especially for the Counel should be tue it cannot be denied thet other works by Peletrina and his contemporaries, which show relations to imitation ‘and declametion altogether ditferen from those of the Marcellus ass belong. nevertheless to the purest Palestina style. Perhaps the sympathy for distinct textual rendering to whieh the high prelates fave ullerance atthe Council of Trent, may possibly have forwarded the distinctive positon ofthe mass n thie rego. Bt that which gives real significance tothe Marcellus mas and other masterpieces of this poch, thelr eminent artistic culture, cannot be explained by any tingle event in general history. The problem reeolves sel fnally Into an inner musical matter, the adequate explanation of which can be found only In the works themstves. {e's ir me, °O eer tee” hy Peo Vie fn scallion f Sper Gctapat”, and inna Molo "Adame t Coe” a computes i titer woeve mia fe pra fom the 1h fhe 3 cary Bg ot econo nodes of wig voce tn hve maybe Yop Me Ite frm hy wy Due wonetthe Moment dr Vosplyveie (te ‘Wagers Lapse 8 po) ‘wien on piThe Style of Palestrina In Palestina style the starting point isthe melodie line, and the technique ofthis att consists manly In inventing and combining such Independently conducted and conceived lines. The art of Palestina is therefore of a prenouncedly polyphonic natue, and consequently it ‘haracevized by the tension between melodic and harmonic elements However itis especially inthe variable strength ofthis tension tht fone polyphonic style cifere fom other histrlal styles of similar races and the dissonance is without doubt the most sensitively indicative manometer “upon this point. This exterion of style, Desides the abovementioned general value for musical historical reaeateh, consequently het a special function of the greatest in portance. However, before undertaking an examination of the degrees Of tension stasing from the dissonance, it wil fst be necessary to consider separately the causes of thls tension, vn: the Razmonie and the melodie ideale of the 16h century—the wo conflicting power, the outcome of whose mutual struggle constitutes the style. Melody we judge the diferent historical styles by the course of the relodie curve, its really surprising to remavk the very characterise fd deeplysooted diferences that appeer. The curves of elevation or ‘undulation inthe melody, which characterize all musical ar, show a striking varity Indifferent epochs and reveal much of the psycholog ‘ally fundameatal contents ofthe style-indeed they seem to lead ino ‘the inmost receres of the Latter. “There ar two types of movement, mutually contrary to each other, which especially strike the eye her. ° ‘The firs might be graphically Mhustratod ths, Sy off) wo liked to give bis welodle Curve GeeTOpens « browd| Slowly ascending ond gradually intensited movement, and then—bev dng aly reacod the colminaton point, breaks off and suddenly thes downward i — a precipitate, claret f 48. Bch, Onn Se ger! Js ei ‘The second types a short, scarcely noticeable ascent flowed BPS avery gradual and cal floating downvwaré—much like a itd which is suddenly seen inthe sunlight, a shining stationary mark high up in [the air, and which then gides downwards on outstretched wings softly and almost without moving ye Te Cte ex spe (Gul oman 98, 6) “hi curvilinear form, which is fond parla often a egSHaR seen Fs na ae te pt (tet wi nur nae Vrsurng gets va fing” Aarts Gunigen dr ner Konan TA. pt it tea! Bl es canis Linnie en et een ‘cov tieren Susie dat nit evee Elves ach onde Bee Srerung sat von tr pty sua Lnnoge st ta at kt Tl ‘nem Rateon iadtic an expression ofthe style-ceative powers and ideale of plainsoag, tthe other form ome par, rote deeply in the payenological back: round of the dramalcvexpansive Bach style. In these stking cut Yilinear contents one is rather Inclined to see typlal criteria of @ crtain mytic contrat of slyle—which contrast is ab easy to com prehend intiivly of ts dlfcul to define in conception and words, Irhether the termed arcendent descendent, ecsatc contemplative, of {i conformity with Nietache "aionyischapolinieh” ‘On the one side: the Will to accentuate vehemently, to give vent in tempestuous and explosive manner—on the other: the Endeavour to odjut the forces in a clear and harmonious way. Inthe former the interes ie stongest in the geness of things, the rapture of experiencing the evolutionary course ks dominant—In the later te ates falls upon the concentrated appreciation of the sa tionary, harmonically Mnited forms, Palestrina sve, properly speaking, belongs to neither of thee two sroups. It does not incline either to the very intense expansion of nergy eradully surging up against heavy presse, or tothe practice ofthe extended, long-austained downward sweep. Palestrina’ typical uzlinear form would approximately be Mat Seat ean PY 6 ‘As seen here, the ascending end descending movements counter ‘balance each other with almort mathematical accracy. Tht is very ‘often the case with Palestrina, though seldom ofcourse so completely sin thie example. Especially the preference ofthe ascending curve fs unarul the trend of Palestine being otherwise rather towards the ‘broader, downward tendency of plansong. The curvilinear course of energy In Palestina music might appropriately Be likened to serenely flowing waters which, checked in thelr progress at a certain point, 3 quietly and unobtrusively glide owt over hindrances and (to retain the influence of the ethos of the style Inthe sill) spread themselves a8 over fertile felis. Proportion and serenity are the principal tendencies of Palestrina’ musi, and there is petbaps no other musieal style in whieh the pa Sonate momentum, (ip the sense of violet and extreme excitement) fla of ert However, he principal means ot expresing passionate emotions, in spoken language as well a in tml, i the viclent and sudden accent “ine inordinately strong, high or rhythmically striking tone oF hat ‘mony. One might certain also say: the reat consumer of attentive ‘energy, for there exist, eyond a doubt, an intimate connection be tween the passionate emotions aid the violent activity ofthe alle lon. That which atracts our alenion suddenly and ineney, affects lus at an expression of extraordinary activity, and involuntarily creates @ wave of passion within us! ‘The attitude of Paleseina towarce the accent is characterized by xe stctestseitconeol end the most exquisite refixemest. Musically ‘and technically tis is shown by the subi discrimination with which everything is avoided that might make too strong a claim wpon the tention, end consequently create the impression of foo great activity In order to throw a clearer light upon this relation It wil, however, be necessary fist to draw up the fllowing leading piacples, which are partly. dliecly selfevdent, and pectly of a more hypo: ‘hetial netaze-for which Teazon they sbould be interpreted merely {ae atenon an es thera prose the elec en an, the apap sus rt vor fess pune rise Weg won ee2 explanation of certain technical face in muni, which will be touched upon later. 1. Langer melodie Tapa aroure more alain aid ara"@asoquent>) ly fet to be expressive of stronger payehical activity than smaller 2 Tho same isthe cate ith higher compered to deeper notes, and consequently, ikewise with ascending in relation to descending move: ee ——— “The melodic material of Palestina is, secording to section 1. 26° latsaly limited (Onky th following otevals are egulaly ust the jor a minor second ond thd, the perfect fourth, the perfect fit, he igor sath (ascending ony) end ths octave The reason why the Thinor sath ie only sed in ascending movements snot easily expla fei we will therefore ll this question res until verous presuppos! tions, not yet touched upon, heve been discussed. Taken aliagalba, 400g, only the minor sath ascending and the octave have been added fe polephoniemusig® Bu would be a miniake to suppose that the Gregorian Intervals remained intact during the whole. polyphonic period up to Palessina's tne, and thet only the minor sixth and the tctave had esablisedthemteees bythe end of thi perio. ln realty the melodic art of Palestine siaiies rather a roturn to the stricter rnelodic feshon of plainsong with regard to Interval. In the music of te first and second Netherland schools for instance, the following intervals are found MnO am et 15 8,4 2) ss ‘Also in Tr. 90, 2,299, 1, + 2, 97, 8.9.7. 38 4, 4, 6 + 2) 14,3, +3, 150,3,1 = te a Refer also to Joaquin: Una musqu de Biscaya, Cruciinus, bar 12 Andreas de Sylva: Missa. Cedo, bars 4 and 43 I Ith 45,6 > 3 (Obr I, 83, 2 Obr. VIL, 82, 1, + 2 Claude Goudimel: Credo of the mass "Le bien que fal". (See P. Wagner: Geschichte der Messe, 28), Gouimel: the end of the motet “Domine qd malic", (Burney: History of Music, Vol. Il, p. 270) and Czedo of the mast “Audi fia™ (according to Goudimers: Missuo tes, Paris, Adtien le Roy et Robert Ballard, 1558) atthe “Qul cum Pate" "Though the two Inter examples from Goudimel approach in the lfect “dead” Intervals, yet the tones of the 7th are thytumically 30, sundesiod ed “The ninth also occurs though only in iolted instances Joan de Pe Mines Mate tO “Qi ai SS = 55 ‘Compare Josquin, Miss; Una musque de Bscaya Kyrie I bar 28, and so Amb. Il p17 I, 65,1. -F 3 ‘the occurrence of the tenth ir compecatively lest rare, Ano ms ae Di Demis 118 3, 2 Compare also Obr. Th 125, 2,1, 18,3, 2. Obe TV, 3,3, 35 62,3 35 162, 3, + 2. Ob. Vi 103, 1, + 3. Joaquin ds Pads, Misa: Dida, Geta (Domine Deus, bar 12; fa the same work, the Sanctus, ber 21; Miss: ‘Lome ermée sexi ton. Creo, bar 62 Miss: Sine nomine. Oram, bar 2 fa “Al all evons/it ie qietion whether these large leaps im Pre: Palestina compositions are dve to instrumental practice orto the in- “fluence of insirumental moc eels Is asserted most emphatically ‘by Arnold Schering” "This supposition may seem probable im ite all the more since!) ins be considered as proved that istrumestait also assisted Th the {performance of ecclesiastical compositions in the 15th and 16h ‘Ye iti questonable whether this instrumental practice exercised «realy seriou influence on style. At any rate it should be kept in ‘mind tht these large leas, which were not used in Palestrina style, were also only used in excepiona instances by the early Nether landers, (in their masses and motets, a well as in instrumental ta Iatues). If these melodie progressions had been based upon the greater extent and mobility of munca atraments, i might Be So- Hable to suppose that they would be found much oftener in the In stramental music ofthe perio than isthe eae. But they seman the ‘xcoption here af elsewhere, and assuredly may be asigned a place among the licences about which composers the 15th and early 160% onturies wore not so stritJust as there was lass appreciation then of tho fine reserve of the style than during the Horescence of the Roman acho ‘We find neither seventh inthe nor tenths seas real itervale fn Patetrin's works Of regular intervals he ony tes (extemey om) major sixth, thus a major ascending sixth in the ‘Such sixths (and also descending minor sixth) are also not often ‘wed by the Netherlanders, though more frequently than by Palestina, ———— | Sev ako Jou, Mina: Gateam “En api’, ba 28; Age sue I, bar 19) Misa: Sie nomine,Agovs Lhe third fom the lt 6.3.2 Ob V, 7, 3,272 2, 153 1,3. Obe V7 5h Cor View, 2 Palestrina cffen employs both major steths and descending minor slats o “dea” intervals! This i also fequonly done by the Nether ‘scr the ela aoe a he ith otf mates (Carano 155 st tin ste of tor) sold B © Starnnane uy, + 8. XX, 2,2. WH 22 pean niea aR LI 4 LPAI TT RMA LEE Poth is V0, c2 PRO Ae GILT A PINE 1landers, The example fom Clemens non Papa which Gresbacher cites ‘nhs “Kirchenmorikaisehe SUlistx und Formenlehre™ (Vol I p. 48, Pr a, 6 1 Mes Vor a === shows a “dead” interval of the sath of thie kind, which, consequently, |s not very exceptional “The legitimate lesps larger than a fifth are not excessively em- ployed by Paleszing, but when it does happen they are always fectvely wed. An example among others ofthe minor sixth i found in Concerning octaves we ind tat they are used both in the ascending ‘and the descending direction. Bellermann is not altogether wing to ‘admit the descending octaves, but finally concedes that they too were ‘sed in contrapuntal parts "Dass man die Okteve aber, auch abwarts- feigend, als wesenllichen und charakteistischen Beslandtell cos ‘Themae Benet hate, ist mie aicht bekannt"* [Nevertbeless thy occur, usod in this way PAVE G45 42 2 FV, a a ADC 8 PK o 6158 8 4 Oem: amber ‘That Palestrina alo uss the descending leap ofthe octave thema- cally where, in contradiction tothe two foregoing examples, there ‘sno question of atonal picture is evident, Inter ale inthe fllowing example PM 3,1. Me Bi In Palestina style, however, oer elements than extent con al have aiming effect upon the vse of intervals, Thus, a swell know, augmented ond diminished intervals are not employed, or a any rate only as “dead” Intervals* This cccumtance may be owing to these Intervals being. considered too striking modifietions ofthe simpler, Aiatonic intervals curreat since the time of painsong, Palestrina's melody 1s extraordinarily interesting seen fom the ‘viewpoint of our second aston: Higher notes aroute more attention, and therefore are felt to express stronger psychologic activity than Aoeper notes. “Tie thought leade us oto a domain where we approach the com ron origin of spoken language and music, Its thes a pillogial fact, that sess and relative ently, thou vaya afe-Telaied Tie rule has also certain valdly with nd dtd te oe tov gh enya exceptins. Compe Tr Ile 3 € Conere so tee he ome mam Amb p19, Mim: Fert dep Sey tne rt engregard to music, and has exerted grat nfisecewpon the development tot thisart_As Robert Lach expresot it Das Haupitel aber der Lauvereiung ond snordnsng, das Grondpiip lle Cllederong thethaupt st as ALsetuerungsprnspindem der Akzent elnerss ‘etoile von unbetonten Sen abet, andererseits der betonten S- te eine hohere Tonsife zuerRenat al Ger unictonten, wid er so Tur {Grandwurzel und zum Avsgangspunkt Jenerthytmiscen und tonalen Diferencierung die in der Musik einersets als muikalische Architk- tonlk enderersits als Ancnanderrethung verchiedener Tone nu ek hem neuen, eiseiishen Cansei 2ut Melodie atgetit™! The Ponetic rule that “he more weight the tought places pon the word the higher the note it wil be given"—which rule may be daputed, Since sites («strength of foe) for instance may have the sme funtion as pitch isa all eveats musically vali in is inversion “the bigher the pitch of melodic polnt the stronger the Impression of ial enegy* The well Krown thylimereaive effect of high or Teltvely gk ole ie founded pon thi pricple® But in mse at in language, other factors besides pitch end strength of tone may also produce acental effect, expecially duration of tone In adaton we terns Cot be scr ugtgen on ten Tob une nd emgleit ‘Sie sie or i oo one fu acon Cone {ee Everng teu cnr mentee Za um are Yb mete Inet 2 (crocan ent var nig dase tel grige, oben nteiten unger 1 Setundn it acer nest fend ssn sch waved Tene) ‘wei guts, ato nme egumes” Gate Marr bar te Re ter Kage noben mit chaos Hobe are, owe whe bhsge Uae ie, ‘nave the typically musical factors: harmony, dissonance, omamenta: tion, and probably several other elements constructive of yh "Thee diferent factors ehow a eetaln tendency to cooperee, to appear simultaneously. For instance, i sa generally recognized and experimentally proved fact that in playing we aze involuntarily die- posed to broaden out the dynamically accentuated notes somewhat ‘more than is suet correc’ Ths we have the co-operation hereof the dynam and tine secon ine TiksWwze there ie no dovbt that thee isa tendency to an exag erated delling upon the relatively higher notes, which means Combination of the metodc andthe time accents? “The relations ofthe dynamic and ielodic acents ar especially im- portant ia musical form construction. As already nated ther combina tion in Tanguage, though often a fac, is not altogether necesary* ‘cui on eesnt hi dan, Tn cotary, howe ae po Sto oun by fh ite we expe hemp ste te wh {tn Risen Sr dyemucos Mneterang (eur) an Sr toon Touran Fatt nfm a tp et ucla ‘Toe et on pecs Cheriton capa Suman ep Cou alo Kat art Zu Bale oe Pace den Ratoman en Temgo” (6 Pea Te. 1 ee ‘We ve eyo shee «ge ametyuned agig tase No ey esd on nigh nt of hemody, uch hgh nol hs alo oer ‘cena on ron, ign ed teem re gestae, ude ten eer geSomething similar olde good in muse, There san obvious lspostion ny rate to place high notes on dynamically (or ebythmicpeyenolo ficlly) accented points; nd it probable that sf we were Lo g0> Through our entire musical Mteratuse, counting the cases where the ‘scending movement goes from the unsecented {othe accented beat, Jand comparing these withthe number In which the opposite takes place, we should subslantate« majorty—though, may be, not a great fne—for the is group./A eloter examination would show that very ‘Tarent kinds of technique inthis respect are found in the diferent epochs ts expecially Interesting to observe this technique in Paes trina musicchoracteitc and eloguentof the poyehologc atmosphere ofthe style J. Tels wellknown fact that jgins were emploved mainly stn | nits in the mde of the 16h century. Usually there were four of \V ese minima inthe bar of which the fst and third were stresse, ‘while the second and fourth were unaccented. Tt often happens that the melodie culmination points fall upon the stressed parts of the measure tus causing « descending movement fom the Reavy tothe Light mini Buti also happens very often that there is @ gradual ‘movement upward from the accented beat likewise tis quite wal, {though not 10 frequent asthe opposite ces), thet an upward leap ‘tom the dynamically aeentuatd beat occurs. For instance: Po, 1-H me tn por uo es To a er pin in Kan, eeu ans er Spe Feu couted he upton tongs ir he mtr se mds sg ns ey ns Shr“ a To, a aise Ohman fc p98 come snr rr Rater eis 6 ber er Ausreck mses Bema Lgl 92, p40 The general statement may doubles be made that there is no very Intimate coreation of the dynamic and melodic accents in Palestrina, at any rate where the movement progreses inthe time units, But on ‘onsiering the style with egad to crotchets fa iments) we meet ‘with the astonishing fact, aot previously observed, tata ul witout yard trom af accentuated Solel Downward il ig, however, legitimate os the following oF ‘amentatons show: "Th mal ed mayb fond inthe wing lace t= F, .3+ BRS Riv tats PK MGA + HGS PVT Steer aK Gy steed PARR L I Pde DERI, Baba uha oe RVI HG go 22 OR hea a PR 83 ae 2 aE PV, 4 1H 3. XV, O29 PAV, 5 daqgyion a agg y= Pt 22 Pv 8 52)909, De fg bn PM 2 3M 2 PR 2B HL Bay Soa Fay ua bt? Way 1s 8) Om A Be SoH 10,41 fh =F XV 08 8 PTH BL 8 PAK Gane ee uasnn ana ie isnt sae xxv am 21 (ee ele 1 a0 att) 10 PR ay = Pe a{Senecio ape AVL 242982 ng ets) XVIL TO Ae “Pacmag tr Psat ttt S12 Gt). B22 84.8 + Yon, tand +2 POV, ht (a AAV 442A PX, (Uh tot Wh PAWL nA ea PXAE 4 19 very common. 8 PV, o ‘These modes of expression are = motive in No. yet Ihave never encountered itn Palestrina {at any rate where te tie units are minis, nor do I know, up tothe present, ‘of more than one angle instance in works dating rom the lorescence of ian vocal polyphony ‘commonplace a thelr inversions MD. 01 1 Conn Pot, Mot Vii eam agate, roe— Ee MOL erie tPCT FCI AP VEIL ERVIN 3Its clear, however, that there was a dilemma about this phrase, the Gof the bast eing manly Intended as a means of avoiding conse sive fifths, which would otherwise arse between the bass and the ako, 'A very significant fact also Is tat, although the ornamentation in No.8 = {sone ofthe most commonly sed in thi atyle and occurs nummerable tines in Palestrina’ own compositions its inversion in the 16th ‘century i 60 rate that Tcan only refer to six such examples from Palesirin'sauthentc works In two of thee istances the laps of the third ascend from the third crotehet in order to avoid faults in composition, ch ae fits and et P98 1 Ot: Conte Ro Ds when found whieh i extreme seo), ae se for th mot part 1 evade unwelcome parle of thi Knd or feats i he texte Alston” When rich difeles art, may happen mereover that eTeep larger tan a i, ad ascending fom an ecco troche ised An inegulaity ofthis Kind nny ae be cei by the exigency of moving the mend to «higher aad yealy more gatelpoilon? may depend also upon other factors as fr In Sancethe conection ovo themes wheshyehytsialy cone lstuaton i rot abou (VI 16,22) an all ls pon “asterng” (ume of tide, P33} Emus, however, be emphaalzed tht al hse eases just cle At he great quatty of materi which hasbeen trom sake dnl consideration, oly aaust othe std exceptions tht prove {he eule wich 1 wil calle high-note lave of Palettes AP) ((eotance aa o pombe of excending Ips rom acetate to} cette croton Ts ncontesabe Gat farther exception oth re than the abovementioned may be fund in the works of Palestina and his contemporaries; bt thse lence, vbich wil a be explained), ze of rock a ear and comprebensbe carecter, tht they not al om we ese [iirc he! ty of he Sp 44 What previously een stated that tne wits (ninims) are weated a ‘at [oraitei by Palestine tan rotnat or ot regent Geer ese ae |B Mae 16S pear WHAT TESTA infin, But i Pl eee ‘wna style the ayTaBler ally can only be placed upon time unit — = - aly For instance, the continuation here of the F of mii in the se- cond measure ofthe tenor would cause consecutive fifths between te tenor and alto. A similar case is the example P. XXIL, 47,4, + 2. lao figures lke $2 FHM, 1,5, & Se eine P.3OOK 170 1, and + 1 (8) P. XRRL 3 2, ena) 1 3,9. 4a 1 9 35,21 SO, 8 + app meg. 2% cevidestly because the change of syllables on such short values as Colchets wes considered impractical. Nevertheless it sometimes hap- pens that the movement of the syllables takes place on crotchels mutaneousl in all the parts Whole composition (osvally madi (ls) may be this contrived; but this technique may also be found {Employed momentary in works, (hough extemal seldom in Paes tina's) where the tine unite are mainly minims: PV, 172, 3, 1 ‘Mott: Poeri Hebrasorum. (Compare Ukewise Vietra I 44,3, + 2 sn tls treatise p. 29. Jit probable thatthe passages were performed with eiadantS) | for which reason ite undersandabie thal the cotchets were employed | in the same manner ax minim, Perhaps i was also a signif Tact | tet hve ced lag ot STA wc wentene J | thei mtu! connection, “Another exception tothe given rule i less dtectly explicable. Io the works of Palestrina and his fellows we tlativly often encounter oseages like the following PXK.M138 Mn: Quad la pr ‘in wich an vpwod leap from an accontod (te) crochet also occurs” On closer examination, however ail these cases ate found to have the feature common that is otted minim nan ascending leap ofa Aled (generally a minor third), wich then Takes Hep of te second “ovenvetd olsned most often by sll another step of the second in ‘Rie same direction, Taus thre is here a conventional mode of expr six or svg amatenalcaicee fowever Tis ms 56 oer areca PST ent eect fon the [Netherland school; fori the works of masters ike Obrecht, Joaquin land Isaac st found much oftener than in the second hall of the ‘einquecent, (On the whole, ascending leaps starting from accentuated crotch sce not very uncommon with Wanvalpine misiclans and become pe coplibly moze trequent when we go bac int the polyphonic prio tenn twars mings cnt only cep kw hig? RX ‘fang i, 23, 3202052" 8 ake 9,34, 4 4 Ob Lae At 14,204 321298, 4 + 1. be. ¥, 38 1 + 2 4 32. Obe VE 142.2, Mee A, SK oe HM ta de kam SSS enn“The ftiowing observation may serve to give an insight into the psych logy of these ornamental exceptions, Palestine’ Spart mass "Nigra “som” (XIV, 81,4 3 has the melode passage: But this theme had alvendy in the came mass (68,3, 4 been given the Following shythmie for: ‘We notice that the minis is dotted inthe fst bat not inthe second case: Concerning Pletrina's masa, “Nigra um", may call attention tothe fac tha the basis of thie mas iter unknown), i a motet of the same name by 1Herter” In this motet the orginal form ofthe phrase it ‘a re nt nm in ei we ‘i conte or Map. 4€, Atte same tine Tos ie ol ao {pun mae (Xp. ns) show ht the eo tes were compen ‘Sesame bs vie Fest tpt maga ot won vet «7 Cs cee ee eer ee ee reumstne ih ld nt chong tpt sane nue esate eco othe “iho a rove as tect sissy ey nn, to i oe ea wither oes de hover cy wang a Son's b oes ie tnt en fe me ca rt af w ine aneHowng bck ho en on Senne eee ere ey erecta arene ee tan exec deceive yn te ene ene ‘Seach gee! mht et at eer Sly wit sy we pepe ndings Gt es cat ‘Moro sao nt pone n, Hel nw espa sate he apes mar & mre tne ves a s—~—ssSC secret he pues sos se la dou Arcee SScetccs Widest, ete ing See eo SENG etl seca wl, hore pet eh cot cnet vt een’ gsr Set fo ont oy tment et ray ce Pets sleecieeeven te sgt dee oe ec P| (elo Gn ep" rer een pr ony ce ‘Ca pal en) et pec eating is [SCOPES fe om gay be ua an eno ata i been aa | Seis SE A ha ace in [Frets OL MC Bota he mins on he contery ae Her * vi la: Die Gruaen der Taka, 2 ein 1018p. 2 Huge Tip. es“! ar "Copeteatoung”cgeps haben wi de Eig es Spee evenness”| istant rom this 2000, and consequently ther chythmical connection | Lis ot so perceptible. =~ a Tait asthe lap may be made downward from an accented crotehet, itis likewise possible to leap downward from an unaecented: how: fever, the ascending leap is alse possible here 1 96 = tle pa cia) vo commen a karly wath wile oe Far xu im cer ¥xIWeh | P23 PV eg 2.2 7 xv ae 4208, 12 PL 3 ah PHN oe 2 fete ay a av 0.2» Heh 4 PAAR Bad 2 KF t ene er vo a oh a2 Im te belo Pt Meqtvan ea tn 4 +3. a0 at Hh 1 1624 Pa Poe ree eee eve eee eee eer es 1 04 073.2 1 4 1 Pane TOLER RLS Fim eH aaa og 3a ea TL PAM EE sa, S139 3503 602 ton bees Oe Hao 22 B13 TRL FH eZ eP AULA DSS HLA IOs iL ea Ines caeve eae Vere ee est Nee eet Tees a 2 128 2 4-24, BOD I eh, La oh PRIA 1234, 3m 2-4 3, 3h.9) 3h 4 Bd GPL Hand 4a 2,3), 2.5,96 3.5 10.2 3,101.3 PV ga ea A S26 Fis a 1d 2 aaa sB ta 4S. PHATE, Sete 775 toad 427.4 es 84M Ast 4 AD HLF Bary waa ws gsea hws tea hy way mh ed P78 41 aed 5 80% 36082, 100 42 08 2 I es we PV LAF e MAAN Lue thm Gti L aie e 2 Beate PARLE TOLLE GEG Rug st 3D 88 day MTR OGL tues eu aLe b 3a 49,5, +9 amd + 80 a ‘Mortis gives the following rule for the melodic treatment of ‘rotchels in ie “Contrapontal Techaigue in the Sixteeath Century” {p26 "The student should remember thatthe minim Is normally the ‘salle! harmonic unt in "/meanre, and that consequently a crochet ee ele ack tae arn aide es HRLe Mm ahi he N URAL EN CNL RSLS Scinmiame+ omy 24029 ues ee TA Pomme ee +3 ms e243 Pvea 228 VM 163, Bec paas 2a M2 ena kB Le Oe ASA FR SG Whe hea aad ham kt) ea HOA BO, G3 aM Mud GHA HDA PARDON SALLE ALN Pe tian 2b and 499907143 2a 69182 4 ea (ta tes Da haa 2h 38 2 2s 8 ri rearr erent itr ren et erry Heath PM0LI a a th hI I Sak Pot tae 2g i08 F238, 1,2 PX IG 2 4 44 Shand 2 PRI, 93, 912.44 1B AEH AT, AF 3h 24 HD Ppa amas Paws 8250507, Ghia Wiss, tenteimianxvinioaeryina ti Satie m2 feueiand baat yim nt PAYER Aaa wT ISR, Saat aaa aia igs PARAL A TOTO Tava. 9 29h 2m 2 O82 1 A Foo aa Lb SLAG ZT LEAL teat wa Phantom kta A AOA HAL LLL WAG veer verte -srereesi ere ere eee re Pree renE chit nere cere Sete eres) opera verre eee rer Peete est eer ty Bhd neeag tne 24 28314 Fe M31 3 HD 21 BRT fon aa teem 162 1 Sak ae 8a een that looks like @ new harmony note may have tobe tested technically ‘sa discord, quited in conjunct movement only... Exceptions to this vale can be found, bot they are very rare” Acconding to thi ‘opinion whenever, im the voral syle ofthe 16th century, a unae- ‘ented croichet is inroduced by a conjunct movement fom an ac ‘ented erotchet (in a Ye measure), i i necessary lo continu this pro- ‘gression by stps (also in cases where it doesnot cause a discord, for thon at all events there must be a change of harmony). The ornaments Homa 128-2 8nd S928 A RE tas yt 09,5, Mek ba ah a eb eke, 2 ae Misma bam ATRIA TMA ES EL Fem CGM as MOGI TM RHA APM G Le PV. nacho tad te a+ ARVIN DO M4, HH BP Mth PM MAE A BRD, BS A RCA Thc. RON 3 ton 2 RO a3 aad a Fett tant $982 2anq Shh oF2 PAD 03,3 hg GD Px ind im eM Fos 22 F RN ah 9 72 ha SA FAR Sb -b9.P VI O23 PMID, Fae HN 3E 2 3 eb Loh 1B AP A, 9, rrr ree ter ere tere ere eee te! 14 2:9) and Sand 22030242; DO. SL PV a, tesa GPA eB 43, A Ay AL Woda pak I 8 2k LOS 2 PIL ba S42 BP cata aa mah WIA Fa NMEA DAE Hov.ta atm. FATALE RD Eh mA LEAN Peed Verer ret rer ere err teers BEA G yA hAP AVLAD Gad nee ew err rer ests teen eer eer ee 023, Mater 3, Aha ame HR BOE ona PRAHA TELS MIT LIA AMENDS HEPARIN 41,93 Fa ada eg 43 PR S520) ee KL 8244 3, an LAR, A a *Fahasaayt 43 1 8 dogg tan BAR, OF a em a ited above, (26S), sa whlch the lp always tales place from the ‘Second (uaccented)ertche, which ie introduced by step, contadit the above rule of Moris by reason of their great number “Tae exceplions hore can surely not be counted as “rare” even in Palestina style. Yet st must be conceded that a sill mere common ‘practice inthis syle isthe coninualion of step-progresson into! hets when once begua. The reason, however, seems really 10 be “Furey melodic one and doubtless has nothing t6 do with a change ‘of chords othe Like ‘An investigation of the melodies of Palestrna's time wil speedy demonstrate tha, sere the melody, moves constantly In the same ection, conjunc’ movement is prefered, Notwittanling, i often “Fappens i suc a situation that slep‘propessions and leaps, or lrger ta smller leaps inthe sate direction, occur by serie, in this case the following fate wil be noticed: 1. Gasconding the larger movements are ordina beginning ofthe curve, while the ly placed atthe —SSS= 2. diced) e amar moves, on senehy aad tay ae oo THRE i tn Da? * Such onappreanin ois ng Ma inparacy ncrd whe Pe ‘Staple or nunces FXG 2PM Loh oe Ft FH TSC 1a tm 2 Ani thatthe escort wes Smt ot blag Soe PM DO2E ER 1 aI HA HA HL” tm conformity with our leading principles 1 and 2 these two observations wih respec o syle canbe explained thor(ia wseeing~ owemenis' larger leep canGOY-Veiy well be GDS ater steps of ‘smaller leaps, because” the ascending movement inceares the Projection of ettention, and consequently reer leaps (which are in themselves of striking effect) are perceived ay the outcome of an exaggerated end undacipined activity when weed inthis manner. Lew larger dercenting leap followed by smaller interval create disproportionate effects, for here there isa decrease in the projection ofateton therefore the Largr leaps that are laced hus apes to0 daring n elation tothe smaller Fle, however, all lade Jaw af generally set with red to the movement f-aches Yor a alieaiy observed. the most favourabe tine-conditons for © smusical comprehension are prevent here. Consequently it can easly be explained why phrases the the following wil be sought In val sn Plestina mui: ad sl ea ures of this kind SS As shown by the citations of the omamentations 5, 10,12 13 612g) and 30 (p. 70), even phrases which have the correct succession of intervals with expect to size ate rarely found, The only figure fof this Kind generally used {e the omament No. 96 (the so-called “cambiat’). The preceding dzcutsion should make the reasoa fr its prefeence tothe following figuration perfec cleat tbe very anal gratin. VE 24-2 Campae alo remain No. ‘vol. 2'p st Alo Shennr Fost Courter 8 Impeion 23 and. 8 = Indeed these Leaps, aller the step progression has flst been in ‘troduced and one has become accustomed to the lower levelof activity, have forthe greter pert something striking about them, aside from their direction ec It is therefore comprehensible tha the continuation fof the step-progression as far ar anole whose value exceeds a ‘ratchet, which produces @ more even and a calmer effect, was pre- ferred, and ths is probably the explanation ofthe observation made bby Moris In this way it sls explicable that one ha to exercae ‘more cate with leaps which succeeded several crotchets in steppro- ‘retsion, dan when they were used after only one oF two of these oles of lester value. While phrases lke the following are very com ‘monplace withthe early Netherlenders, smo peptone Spa 0 tn ee wresee mhkae SSelewencusn rangbenawa su) Xa a ro DET iaea kh i gab HAN Nk re AASto the unaccented minim was not regatded by Palestrina as a breach even if preceded by several crotchols. For the more marked the com ‘ing fone ofthe leap, the more srking was the eflec, fg. P. Xl 107, 3, 3p. 205 ofthis teealise). Fo this reason als it was not rare that leaps were made fom accented to unaccenetminims after & Tonger progression of erotehets for example P8182 Mal Que at In the last example tobe rare, there leap ofthe fourth from an tnaccentederotcet to an accented minim, but the Level ofthe move ‘ment in both these instances has been extended by the preceding leap ofthe third in the opposite dzecton, which mitigates and neutralizes often with larger cotchet leap. Therefore if leaps succoeded by other leaps In the opposite direction belong to the altogether legitimate methods of Polestsina, on the other hand, a superficial glance wil show thatthe alteration of leaps and step progression i sll more common, and better in keeping With his melodie deals. As an example, ‘eaten oh os Ms pod wt the pstage XVI, i 4-4 Phe ke ar ot be ond 7 Pt 3,4 2 Mle ae Me LSS “The lst cited example is particularly Interesting, The lesp fom ‘down to its octave ie not succeeded by an ascending sep progression, but by an ascending lexp ofthe sixth from G to E fat. After this leap ofthe sixth the part is conducted downward by saps and then taking {esp up tothe fourth it again descends to the second below. Thus ‘torould seem that leap upward are rocceeded more gular by con jonct movement in the contrary elrection than leaps downward. And infact it is 2; though the vpwrd leaps are ot invarlably answered by seconds bow, yet tis quite clear that exceptions to this procedure fate much rarer than in instances where the lope descend ‘While phrases such as in minims eepreent an ordinary phrase sa Palestrina style, (out an txtiomely rave one wih eotchets 98 already noted), oseoges ike: re not found que eo often—the leap ofthe tld he filled out. Atypical ode of expression i: ‘with teape sil larger, such a sixth and octaves, the dtference in the teatment of ascending and descending intervals & distinctly