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greater Here we find the explanation ofthe fac, to which ellsion has fleeady been made [p. 52), that Palestrina a leap ofthe minor sixth ‘may 2 up but not down, Inatnich as the larger ascending leap are possible to perceive the minor sith in relation to its second below (the perfect ith), ot 20 mich ae an independent interval, but rather an energetic expansions kind of logical fonction of the perfect ft. Such a perceptive method of hearing was not natura in caves of descending leaps, since the relation here tothe second above is much ‘more vagee, and iti for this reason explicable thatthe descending Teap ofthe minor seth was not risked However the reason why leaps downward could better be wi: ‘eaded by leaps Inthe opposite direction than when the lap fist went ‘pear ies in the fact that in the fst cate the noe to whieh the leap ‘in made is "Soepnote", while in the second cate i is “high-note” ‘Therefore ascending laps were moro conspicuous than descending and consequently accompanied by less actively operative phrases, since the sitaton otherwise would assume a too unquiet and not sul ficiently disciplined character. But when the leaps descend, thege ite vale being fee dtnely remarked, ar aleay noted), do not require 2 much toning down Through the ricceeding musieal incidents; «| ontiuation of the disjunct movement in the eontary rection may therefore be more reeily permite. CGriesbacher, (he firs, 1 believe, to make thi observation) cll ‘attention to the interesting fact that while the figuration SS is often encountered in Plestxna syle, the inversion of this phrase does not belong here SS n ‘Yet Palestina himself oeasionally wee this melisma, vehich atthe same time i are enough to rank absolutely among the txceptons Neither did the masters of the second end third Netherland Schools make mich se of i tall events not in eclesiateal muse, it ie more Ikely to be found in lute and orgen tablatures from this period. On the other hand, ie of very frequent occurrence in the ‘works of the lalian “ors nova", with which style it immediatly be- Came a pet phrase; for instance, ‘ML Ran de Cilia: Temane pi he a) ‘The cae of tu prion ih our of the than 6 ce une ney be east Oe tee puto ane ase oe eee gc Pern ach wee ntcehy pret in spt As melo Sone ina Reet Ger Aatnang ee Op. 9 a hm Spe “Tevet suchen, Wenigntns se” Yor Vor sur Saupe be lerocultre by degrees was browpht to 9 higher slate of refinement, the ‘character ofthis phrare wth ix ential second and fourth notes wae found empty and ull. Berardi" expresses this in terms more adjusted to the harmonic conception of the 17th century, follows "Si pribizce fncora quelle modulatione, che vien chiameta gicandoltia,overo ‘loco, particolarmente quando i ante ferme std sopra d'una edema onda”: ‘Tous Berard thought that al euch tras should be prohibited in curtand clear tems, especially where the second voce lies stationary. which causes a repetition f the Vertical intervals aso, But a com Paison of 16th century practice with Berard rales makes it clear that Berard generalizes too much for instance in not afferentiating ‘between phrases in which the tu i made withthe second above, and figutations where the second below is used: ‘Yet in this apparently Immaterial itference les the reason why a * ang era: Maas mule. elagn 1H p18 Ao Hee“ ‘rc milo 1p argo pt a gual pre a Ca ‘pce a ssang oe san, sure dn ute spate spe a Redes ‘number of melodic phenomens were altogether acceptable to Paes trina, while others were rarely wed here avoided enlzly- A. com Parison for instanceof the numeric relations of the figurations 57,38 50,42, 4,44, 45,40 and 0,41, 47,46, 49, 50 (p70) wil show that the latter group, in which the leap is made from the high-note which is inirduced trom below in stepprogression, is decidedly in the ‘minority. Doubtless the explanation ofthis fact s thatthe high-note fepecially in unacceated places (where In reality It doesnot belong) {s parcolariy prominent, (se our lading pincple no. 2 therefore the attention Is especially dnected to st continuation, and af & consequence it mint be teal with great care For this rearon iti ‘more dificalt not to hear the romewhat thin effect of note repetitions ‘in phrases where the turn i made with the second above than where the sublonal fom is employed. This observation explains why the following phase is very common in Palestina style, of ie kind re that I only know of a single example ‘hte F942 963+ 4061 L722 43,32 AVL asech tin tend t2 ee PAV 9353.7 AVI ALS 4 2 Babys as PK, IU Lee ITEP AKAD 42 we {6.4012 FW SF 9 6 22 aR 2 M2 cP HRW, WS 2 DL] ANVIL 4H 1822 PHO4341s De Fe Likewise we meet with the following figuation sa Palestrina ‘ough seldom RY, 98,442 Mi: Dita ena’) wie ite inversion 4s very sparsely ute by the cvlier Nethelanders and, to my knowl- ‘ig, is nowhere to be found in Palestrina’ works. ‘Some phrases, akin tothe above-mentioned, are occasionally en- ‘countered in ullrmontane compositions, sich as Soh he 1124 PIS EAR LAV om ‘but are not employed by Palestina? This snot remarkable since three ‘notes are repeated here, which greatly impoverishes the melodic ‘contents luo the following very harsh outline by Orland Lassi, ‘who i ater robust at ines, MD. 1 2-42 Ml Chan rages ‘would never come from the delicate pen of Palestina, even ina tone- plete ‘A noble sepose and simplicity are the foremost and fundamental ‘tea of Pleatina's melody, Here is indeed an at of fine tans tions which keeps every vulgar element at a distance,—but without ‘weakness or dogeneracy, a style which pursues its expressonal aims ‘with the marvellous energy and consistency peculiar to all great art ‘Above ait i, however, characterized by ts lrectness of aim, always seeking the shortest way and employing the simplest and est conse ‘ous means, never fling ints wondetfl obedience to the claims of nature, Out ofthese springs a serene genleness—unmlstakable token Same OHA HII CHS one IV 285 "ety ec Gevioy ote) vintaof supreme cultre? Paesrin’s style is an art of placid movement srithout hath effects or violent contrast. Tn an slementary psyehologie Inode of expression, might be designated a certain equalized ab forplion ofthe atention=transated Into musical terms: «fee and Snobriracted flow of melody without sudden effervescent outbreaks ‘or forced climaxes, wlth no unprepared cessation or exhausted fll —a falm alternation, as devoutly accepted and bore a te alternation of the houts of the day —a caltre which completes the orbit ofits course by becoming ntare ogoin:cortesia! Harmony In any style whateoever, the presence of tension between the toriontal and vertical musical conceptions may be substantiated: but inthe one syle, th primary Soterest Hes in the line-in the other, t Hes inthe chord in the first, one has to do with melodie impulses, which recoil fom the impact with the sonorous equirements—In the econd, with the sense of sononty, which finds an zsthotc corrective fn the linear demands. “The line is undoubtedly the starting-point of Palestrina’s style, The ‘exactions arising ut of basmonic aspects are realy only intended to ‘coure the sonority of the individual monte ments, “Harmonie” Goes not signily here any independent sphere of interest chords bad hot yet reached a sage where they had thelr own vigorous Ife, a in Bach's works All hat was equi ofthe vertical n Palestrina’ time wa clear ness and sonortys the real wahetic incidents were sought in other Aiections. With Bch it as quite otherwise, I asf the fundaments) lunging = Se Space deren chart se dh este ‘Shree Tooteaigy wired leet te tldschatn sod Bee [evurngn tn Carn ud Ree see Shaper ser. Die Hache ve {ein be ey Mil eho fh Dna 8 men mii een eomeg = 8 compository forces hore may be tacod back to certain chortlke, ‘modulstve and emotional impulses, which break lke light through a prism into a myriad of shimmering colours—a multitude which teen, on closer inspection, to be illesory. With Bach the vertical ‘requirements are expressed inthe exactlon of a precise, Logical sue- ‘esson of the Keys, an exact arrangement of the modulations. With words, Conscnance—tha iso say i the passage isn more than two Pars: the fll triad “Aleady Zaring teaches that one should always endeavour, as far as possible o employ in harmony the third he fith (or sith) besides the tonic “Osseroardadunque il Compesiore questo, cho deto nelle sue compostionl ie, afr pi hello pota, ede st itu la Tera, {la Quinta, & qualche tela Sena in luogo a quest, oe Replicate ccioche la sua cantlena wenghi ad esor sonora & peng; & acioche Contenga in ® ogni perfttione harmon”. And Ariel says leo in plain terms thatthe fll triad should be used when there are more than two parts “Dir dl pli che per rego inflibile, deve it stuioso, tel componere le sue Canllene, auerie, che mente, che & pil di ‘de woe, le parti cantao insiewe, sempre habbo Ii sul accord, che sono la Otava, Quinta & Terza, che quanéo sone pve 6 della Quint, 0 della Tera: Saddimandano quelle Cantlene pouete, Harmonia, fedbe percio cereare ogn uno, le vichezza dell Harmonia, & oa la overt” ‘Unquestionably tis sene of “ln richenz dl Harmonia” has deap- ty ofiuenced musical development. If we weot through the Tiverature from the Netherlanders yp to Palestrina, counting instances, we should observe that the percentage of incomplete, emply-sounding chords ‘eadlly decreases, That the tendency exerted deep influence upon the historical development of the lineat course, admits of no question Iti indeed remarkable to observe how an eminent technlist Ike Palestrina is able, (upon the Bait tue of skill hat it had taken ‘generations to peste), to devise themes which fly meet the regure-% ‘ments of both Dimensions—so admirably edapte, for instance, to Tniaton, that in their development the best sonorous effects th Could be imagined ete spontaneourly accomplished. Thus the begin- hing ofthe part motel, Ave Maria [P. V, 164 ‘Tae theme here, very exactly eared ut in imitative manne, is ‘besed upon a Gregorian motive? but rhythmically its Palestrina's own: his hand is also evident in certain remodellings of the mod, which is much more freely treated here with regard to th plainsong the, for instance, the same theme in the &paet mass, “Ave Maria ‘The imitation is conducted, with all conceivable regularity, in tnison and in sich wiee thatthe woices sieceed each oer with In- terims of two breves length. The seslt of this horizontal accuracy, ‘considered from the opposite standpoint, i that the volees unite when- ‘over the opportunity oes, fe, when the thd vole sets in), inthe fall tia, Even if the compower had been entirely wnreducted, he ‘could searcey have found a more beautiful sluton. tis on the whole interesting to ote the importance which Pale tring ataches to consving that the imitation in the third voice should form a fll tid with both the preceding, elther in supplementing & ‘previously place third? (a favourite effect = ie anions po nae ele Ra 192, p28. Both the last 2 examples have interims of unequal length between the incidence ofthe voices; inthe fis, 1" breves between the Iat fand 2nd incidence, (ough In-reallty only 1 breve, af the theme actually bopns with minim wich f extended the firs time tothe duration of a semi-reve, since the custom ofthat time forbids « pase {5 beginning). On the other hand, there ie an interim of 2 breves between the 2nd and Sd incidence, and similarly between the 1s and ad in the fecond example, while there Is here an interim of ‘only 1 breves between the 2nd and Sed incidence ‘The 2rd voice thus awalte a favourable opportunity forts entrance; ‘hat it actualy comes too foon in the last example is due most probebly to the major thir, which, (automatically produced tn the fmitation onthe last sem-breveof the Ah mesure) through its flor ton to the fzst tone ofthe thed appearance of the theme acts Hike ‘2 maguet. How much stress Palestrina id upon having the 'B fa rad just where it sis shown by his altering the imry fhe 5th measure Inthe next to the upper voice: for, intoducing the theme 40 early Inthe upper voice, the four im the voice next the upper fetween the lat yllable of “cervue" and the fst of “Gesdera"} could not be retained, and thi aeration also gave ise to other small changes THis unquestionable that harmonic consierations have exerted decisive influence here, In spite of this tS admiable how well Palestina seconded in velaining the essential in the outlines of the faltered voice The notes which fall upon the declamelory centre of fravity, “Sica cervus desiderat ad fontes", and which atthe same tine foom the top notes of the musical line, remain inlact in their ‘harecteristic elation, (second and fourth), lo the fst note of the theme. We may here reler to place where the regard to harmony le demonstatvely istine, viz. ia the part mass, Ave Maria @.xv1.29) a> em De “We heve hese a break in the imitation for the sake of a full rad ot the entrance of the Grd voice. The first ote ia the Ath ‘measure of the lower voice ought, in conformity with the theme, (based upon a plainsong motive, cf. p 6) to be F, but i replaced by ‘8D, which (oppementing the thitd inthe upper voice with the tone), fiver the fll iad. That the molodic progression Is stil excellent hotwithstendin the change, is another mater. Like most great men, Palestina was an opportanist of genie who understood Row to make the moat of the crcumstances, whelicever they might be. To the shove examples is oddod stl another, (PV. St) ‘The note Fin the Sth measure ofthe Alto (next tothe upper voice) ‘i uted here solely becaute iti ha third ofthe D minor ti, and i 'sdesized to ill out the empty fifth which would otherwise arise. There ‘but ite reason to suppote tha iti dictated out of regard to the Tine; on the contrary, i does not soem particlarly well motived if the voice is considered in relation tothe melodie antecedents ‘The notes Fand F in the Sth meazre ate en exact repetition of ‘notes in the preceding messure, This is a breach of the rule com cerning “tres-notes", whlch rule forbids the use of previously em- ployed note on all important melodie points, since the interest inthe melody is weakened by a repetition of these notes ‘The special reson why the repetition in the Sth measure produces och a weak effect is thatthe motive in the th manure it 0 pro- Iminent in interest, (probably owing to the “memory-accent™ of the miler motive in the 2ad measure upon this th measur), that its notes have become ite exhausted, and ae therlore 100 weak fr an elfecuve repetition. “The atractve force of harmonic principles 18 not, however, the% se reason forthe deviation ofthe line fom itz course, determined by individual nner laws Rhythm ar well ae hormone impale i fMvence the syle-complex of Pelestrnian music ala, “The existence ofa vertical macroshythm a opposed tothe Ror zontal individual rhythm has already been mentioned. A conception ‘concerning the totality as an independent rhytmic organization must naturally atfct the individual thythms, and thereby the independence fof the individual votes, ‘The rhythm regurements on the part of the totally are mainly evident in the exacton of steady, fuld movement in which the thy fof one voice fits into the others in such e manser oo avd stoppage, fand thatthe greter noto-vales in one voice are ofet By shorter notes in the others the whole to result in a uniform, stesiy flow {ng stream, ‘when the movement has once begun, i is requisite, as aru, that at east one voice, (ther by means of «new note or sable}, shoul imark every single beat, (Le, In the usual Alla-breve time, every ‘inim)-It isnot considered good musical form fortwo or more voices to remein stationary et the same lime, as fr instance, In syncmpaton. ‘Vicentin? remarks With regard to this “EL sauertid che nel procedere di pi d'una 3 due note ieseme sincopand, non s faci on tutte Te pari; perche non parerd Sincopa, Imper® che la Sinopa si pud discemere almono per cagione usa parte che cant nella batt.” ‘A passage like the following, trom Joaquin des Pré’ “Pange in: tus mass, was not therfore considered good form in Palestrin's a mn Patetrina one ofthe voices would for the most part be re. contingent upon the otter, and the one voice influences the other's ours, 50 that we can, strietly speaking, no longer talk of independ: fence. This is very distinctly sen inthe following example, the beg ‘ing of the motet: Dum autora finem dare (P.Y, p. 7) 1 wil be noticed that in th lst measure ofthe upper voice the ‘heme has a minim-zst ater the word "dare, after which the melody ‘is continued in purely thematic tones. Inthe Alto (the middle voice) ‘he minim-rest is omitted, most Ukely because the syncopated F in the Soprano would otherwise hang suspended inthe sir, and the ac- contual requirements could not be satisfactorily met, Probably also the greatly extended Fin the Soprano acted asa splendid invitation — like canver too tempting tothe palates ‘A comparison wih the beginning of the pert mass: Spem in alum (2. XII p. 3, shows that such an sasumpton ie jaredtee eee zi Ie wil be noticed that the second half ofthe 4th and the first half of the Sth measures ofthe mott correspond exactly to the second all ‘ofthe 2nd ad the ist hall ofthe Ard measutes ofthe mass, The fact {given tothe upper voice in both instances) shows beyond doubt that the counterpoint here is formed with a view fo the theme rather than for its own sake, and that it also must be characterized a afune- tion of the rhythmic character of the theme. tn all probably the exceptionally favourable opportunity for conunet development of the melody, and of an excellent contrary motion in the pars, exerted 3 ecisive Influence upon the progression ofthe lower voice In every att which employs the two dimensions, divergences from the stit polyphonic principle of independence may be found. They Also occur in Palestrina’s works, s presumebly demonstrated, In conclusion one more example is presented, Jos I, p. 4: Ave Maria, 8 1 cannot be denied tht thls vocal lin, in each and every pat ‘as beautfl as can be conceived, Just he single tat that the Tenor, (the next tothe lowest voice), takes the A and not the C asthe ze, note in the Sd measure, shows plainly enough tha he linear equi: tents were paramount. Fom a verlical viewpoint there should be (Coil out the otherwise incomplete wad, but this would spot the vocal progtetsion of the tenor pari isthe A which gives character to the pert, and coincidentally produces a fine contzary motion with the upper voice. In contrast to the foregoing examples from Palestrina, {he linear considerations here ostrank the verti 'No similar examples from Palestrina have beon given simply be- cause tere are eo many that it seems supertuous to draw attention ‘especialy to then. "We thus see the tenslon between the two dimensions already dle tinetly expressed here, but it becomes still more sing when we consider the style from the point where the two spheres of ideas cle lide with the greatest force: the dissonance.Dissonance Phases of Dissonance Treatment In the history of disonance treatment we recognize three phases of decisive importance: 1. Dissonance as @ secondary phenomenon, (meodically induced accidental disonance), 2 Dissonance esa primary phenomenon (‘musial” dissonance In ‘conscious, deliberately stressed contrast to consonance. 4, Dissonance employed as 8 means of poetical expeston. ‘Though the order of succession in the aipostion made here i ‘onuingeat upon time, it must not be understood that the one of these ‘hoses definitively supersedes the otber. What has once boon attained fe retained and employed co-ordinately with the new. Nor may We ‘venture to mark the divisions of the periods too exactly. Although the beginning ofthe frst phase may bo putas simultaneous with the tarliest regaled polyphony, the second phase at about the year 1400, aod the third a¢c 1600 stil the germ of the later phates may be traced back lle naturally tothe earlier. the periods mentioned, the characteristic instances inceate 40 inordinately, both in number and distinctness, that the Base of @ historic division seems to be resent. In the fist phase, te dlsonance has merely the character of an sccompanying phenomenon,—what might be called meloie fone tion, I is tolerated ost of consideration for melodie development, but ro stress of significance is attached to i, Consonance is prefered ‘upon all accented points dssonances are, 36 far as posible, packed together upon unaccented beats, In ita most Mighly developed form, this order of dzonance Becomes the pasingnole (er pasing discord), “This rather nogative srt of dissonance conception lead ia the high ‘est phases of dissonance treatment, tothe src execution of the rine ‘ple ofthe passing oF conjunctly moving, dissonance Inthe second phase the dissonance is dered for its owa sake, end 48s consciously employed ab co-egual contrast to consonance. The practical consequence of this highly developed conception isthe dis- Sonance of the syncope—suspesion. Finally, in the third phase, disonance is employed a an expre sonal lato, most often to symbolize painfl or pathetic emotions ‘These three phases are al represented in Palestina's compositions ‘though instances ofthe third phase are very rare. In en acount ofthe relation of the Palestrina style to the dissonance, it would therefore ‘be quite natural to caslty the enteral sccording to these phases — ‘which clsaicetion indeed hat Neen made the base of the following treatise Dissonance as a Secondary Phenomenon 8). The Passing Dissonance ‘One ofthe oldest notations of West European polyphonic muse that ‘ome to light vp tothe present seems tobe found in the tract *Masica fnchilads) commonly ascribed to « monk from a Flemish closer, St Amand, by the name of Huebsld (@ c.990), However, the tract, ‘ates from such a Tato part of tho 10 century tht tis more likely that a younger theorist and not Hucbal, wes is author! The music examples coplained in "Musica enchiriais” demonstrate the so-called “Organum"~2-part compositions that, according to Hucbald, may be extended to 6 parts by doubling the otaves—which is produced by Setting 2 lower voice to a Gregorian melody, the counterpoint ae fompanying this melody mainly in similar motion with Ath and fourths. tn the earliest Orpanum, however, thre isa prterence for fourths abore all other interval, while later fits predominate. It ‘ought by some that this music is not to be taken seriouly a al. Raphael Kiesewetters remark as to its “moral impossibility” isa clas. ‘se expresion of this view.6 Bul moze recent scholrs also express the supposition that *Or anu” merely represents rather awkward theoretical efforts accord {ng to antique theoretical recipes" which aimed et the correction of ‘he current musical practice, ha ie eupposed to have taken que a ‘other and fee form in popular se, far removed from al the anous ‘Singing to patllel motion, and moreover witha probable prelerence for thids and sixth. Since then, however, the rather new branch of ‘Comparative Msical Science has really rendered these interpretive sifors supernone by proving thet fourths and fifths are commonly tsed by races in a primitive sage of musical developmen, for exam ple by certain negro fetes of Bast Afica* the Burmese! and the CChineue* The Leland “Tvisang” to bears significant testimony in favour ofthe theory ofthe living foree of “Organ” ‘Should thee, consequent, be litle reason to doubt that soging in fourths and filths existed also a¥ a tical reality ia. Western Europe, the problem ofthe origin aod antecedents ofthis form of sn is one of high interest. Assurediy it must have boon preceded by an ‘extended period of fesiy improvised polyphony, which has been ‘esigoated, by a term borrowed from Plato, as Heterophony* Ia this ‘ind of peeudo-plyphony arises through all he voles slaging what ‘a really the same melody, only with variants inthe diferent voices, [Naturally these voices often move in wniton or the octave, and eon tinue in these intervals at great extent, Likewise generally beginning land ending with them. Bu it often happens also that one oF another of these part leaves the besten pat, and proceeds in notes diverging ‘tom the leading melody. As a rule however, they donot venture very “Levape= eccopece de moa [pS lS. EMC 8H, p18 * Soe Gd Aae “User Heteravon Jbonch de Monk Ft ” far from the tra firma of this tune, but commonly keep within rodent proximity tots borders Polyphony of this sort may be found among many exotle nations, for example among the Chinese, Siamese, and Javanese; according to the testimony of Pato and AYistoxonos of Taranto, it was known aso ‘n ancient Greece Indeed, itis sid thit music of this Kind te stil to be heed in Greece, and heterophony plays an important role a ll vente in Russian folk mute ‘Concering the transition from hetorophony to parallel singig it {i itfical 19 form an opinion. It may be thatthe sense of hearing notes together was developed through heterophony. Aer singing hoterophoncaly during centurisprobably mostly occupied with ‘he individual singer in his ornamental extravagances, (hough per- tape also with appreciation ofthe mythic variety), t probably oc- curred one day to some ingenious sou that the combination ofthis and ‘hat musical note in self had « srking effect. Ths tem was then taken under special observation~specialtrestment—and inthis way the vertical proces of selection was finally worked out t may aso bo thats came about more accdentally—as Homose, with several others, essimes—for insance where a single voice end ¢ chorus literate in singing. and one of them sets in by mistake on the con: fluding note ofthe other: or where players upon instruments hap- pened to touch adjacent stzings simultaneously with those they were to play upon. Ax already noted, such easualczcumetances may have Ted to the frat rey of light fa thie domaln. In soch an involved ques- fon, however, we can but surmise; the only absolute fact tbat we ‘know at present le hat inthe 10th century there was a cleat com prehension in Western Europe of the conception “consonance”. The elation to daronance wes beyond doubt YerY uncertain, however, {and natualy there xisod nothing whatever of disonance treatment ‘ropes Its tue that “Musica encirade” gives a rule which Limits stung Gah des Keenan fp 8a © 5 * Soe Bop "Ear nee hn de Falls in Red” Zp miele ou. me toe Laon Bec Sher de ‘tog reer Riepesngerr Stoops der pest Kame ercy ‘he extent ofthe 208 lower voice in order to avd dstonant fourths, Uttones\* However this rue in the fst pace, was not stiely kept {not even by Hucheld himeel, axis exemplified, for inlance, by the ssogmente fourth in . SI, p. 17, last example) in he second place, {it Teas fo intervals of the second in many canes—a disonance which i mach harsher to our ears than the one i was to roplace. The pos siblty that thse intervals sounded diferent tothe people ofthat time from what they do to-day, however, cannot be refuted. Moreover it seems quite probable at they may have had an especially stong perception of these disonances beceute of thelr divergence from the [At any rate there i no question hereof any dissonance teatment tn the real signiiation ofthe term, but ot most of preetion for ‘orain consonance, and a not entirely consistent rejection of an in- ‘vival dissonant relationship. It was not unt the appearance Inthe 1th and 19th centuries of Menautal music, “Ars antique, that rgul rules for the employment of dionance were introduced. With the Franconian lav, propounded about the middle ofthe 13th century by ‘certain Franco, (probably fom Pais), ina tract called "Ars ants renturabilt" here came, in a monumental form, the fr, ad allo: tether one af the most important, ofthe fundamental lowe governing ‘issonance treatment Its to this effect “In cmmibus modie wend fest semper concordant in principio pertectionis,lict sit longs, bre i el semivevs" That sto tay, tht inthe beginning of a meesre, (Franco wsing“pertecto" here in the soso of "measure", ag all the musical works of his time seem to prove there shouldbe consonance In-all the “mod, (certain metrical series), whether theft note be ‘\tooga, brevis of semibrevi. This isa rule which, with one single ‘modification, (he ted dissonance, suspension), stood fim and un Cs. 1s ee end aetna ec fm ehnn de Ca ame "be meee mean po” (8 1p ech une sop lant pi Ae Cty ce De Agee ett changed throughout the entice Nocescence of vocal polyphony up to the hour of destiny, the Year 1600.1 was, however, comparatively In Francos own ime it obviously took serious efforts to reduce this raterial to sate of subjection for instance, we go trough the filty motets from Ms. H. 198 (Fac. de méd, Montpelier, which CCouseemaker published in his work “Lar harmonique atx Xlle et Xllle sels” (Paris, 1885, we recelve the impression of a constant strugale towards the goal of Keeping the accentuated beat fee om Aisonance; but, for the most par, the technical difclies proved insuperable These alificltion wore by no means inconiderele, ‘especially in motets. This miscal form, the mos ligentty culated of that tine, was constructed by composing 2 or 3 melodies of a fonscously musieal Independence, to a cantosfimus in the lower voice, (ether a Gregorian fragment or a secular melody, which in- Aependence was farther emphasized by giving to each individual voice Sts own special text “Thus st happens quite often that there is @ desonance upon the Principal accented. beat of the measure, though there are severe ‘motets in the Montpelier Ms, which are ently fee from dissonant ‘accents, (in Coussemakers collection, Nos. 34, 35, 0, 4,42), of in ‘which there only occurs & minimum of instances, at in Nos 12, 21, 22,24, ond 3, also from Coussemaker). When, inthis connection, ‘we refer toa poce as being free fom dissonance it means that only the folowing tonal combinations occur upon is inst beats the octave, fifth, fourth and thie with their respective inversions, inthe forms ‘wually reckoned as consonant. It may feem arbitzary to include the fourth and third, in splte of the uneasy and uncertain feelings with evn te Borg i huy “eat mts ese” Ro if ra ‘Empatoe wont ony actated davon tl wile fort tae: inst me mt Snr aCe ‘ee pig ce eet eel mewhich the erly polyphonic theorist regarded the later interva, and the unstled character of the fourth on the whole, which, however, ‘only became more apparent about the begining ofthe 15th century. My classification, however, fe based more upon practice than upon the dogmas ofthe theorist It is amatterof fact thatthe beginning snd ‘conclusion, (and especially the conclusion of compositions dating fem the early polyphont period, made specially rigid demands with regard to consonance. These are sleo the pointe which held their own the Tongestegoins the recent ever increasing invasion of the dissonance ‘That which has the conclusive faculty, of Is appropriate as a begin ring Is the thoroughly reliable consonance. But in the 120 and 13th centuries, and, for that mater, up to the 16th century), the ursal ‘opening and concluding chord was—to use modern terms—the bare tulad (without the third). OF the St motets published by Cousemaker, 45 begin in ison, with fithe or octaves, ora combination of these Intervals, while 48 of them conclude in lke manner. One single motel, (No. 35), bopins with a major tied, (he same composition withthe same opening intervals i given in Aubry's edition of the Bamberg motets as No, XXII), while Nos. 41 and 51 begin respectively with the fll major and minor triads, There are also in Aubry’s collection several pieces that bein with the fll minor trad, lor example, Now XX, XXXIl, IXXVID, Nos. 2 and 29 in Coussemaker's collection ‘love upon an interval ofthe fourth with the bass? while Aubry’s No. [EXXVIIIbogins ina similar manner i is not unreasonable to a= sume that major and minor thirds, ab well as perfect fourths, were Considered consonant inthe practice of the “At atqua” period and consoquently thelr employment upon acented beats was nota breach ofthe Franconian law atti, Praca mao (18, her 1 ap “Pie ‘in nscjngoe antes suman ar onan pring =~ Vero the nado he nacry corr Mas Rea, ware cra Salis Aisin er tn Ac, tis ica to ascertain the relation ofthe seth in this regard, it does not occur, to my Knowledge, ether in opening oF closing ‘chords, and theorists ofthat date consdered it mich inftir tothe third "Ars cantos mensurabis™ ranges the major and minor thirds ‘among the imperfect consonant, while on the contrary the major sith Is reckoned among the imperfect dissonants, the minor sath even a8 perfect dissonant. Though it may ace rther logs, especialy tomodern eats, sll tought it safes. in my inquiry into the obser lance of the Franconien law, not to count the sith as a consonant Tt would exceed the scope ofthis featise to follow the fate ofthe nconian rule throughout the changing periods up to the time of lesrna. For the present It wil only be noted that this law was nover lost sight of, even if it cannot Be said that there was any fn creasingly suet observance ofits tenets. In the beginning of every new period there are generally Tot of new problems which, as the particular constructive factors of that period, are of such absorbing Interest that other, secondary matters are alowed to glide along a8 best they ean. Yet at soon a the modern factors have been fairly fsimilated, the requirement for consonance upon the accentuated beats aries anew. For every period through which this demand fought sts way, it became steadly stronger, evermore imperious in characte, mn Palestrina it reached the climax of ts power Inall the works of Palestrina there doesnot exist a sngle example any infringement of ths law. Apparently a few eases may be found; Ihowever, these are all due to faults of tranecription or misprints. As ‘these faults are generally overlooked, and as itis also of practical Importance to have thom corrected, I seize this opportunity of draw: ing attention to them, In Haber’ eaition ofthe mess "Escesacerdos magnus” (P. X, 20 the “Agnas Det” bogie‘The time units ate minims her. The accents are therefore upon the Jet and 3rd minio n each means, the 2nd end As being unae- ‘ented, Now twill be noted that there fourth athe third measure ‘upon the 2d minim, thus an accented diasonence introduced in the tenor voice. At frst sight one might believe this tobe an archalsm, ‘a the *Eece sacerdos" mass is perhaps the earliest of Palestrina’ ‘works, A comparison with the orginal 1558 print, bowever, shows at ‘nce that we Bave to do here with an error in tranerpton. In the orignal, the tenor sings: [As the mensutation is perfect here, each breve has the value of 3 semibreves, The signature having a line trough (a consequealy, fm transcription, the note values being halve), this means that the fiat note should in reality only have the value of He semibreves fnstond of the 2 cemibreves given by Habed. The 2nd and 3d notes, both eemibreves are placed between 2 breves: Hein thu isolated, the second of there notes mist, according tothe rls, be altered, (Coubed), ‘The passage eppeas then: ‘The fourth falls upon the second minim, and the whole moves quite regula 103 In the moet, “Valse honorandss est, in the frst book ofthe (part smolts, (156), Eopagne's edition, (PV, 8,1, 2), the following occurs Here the next to the lower voice has C on the fst minim of the second measure, which produces a dissonant relation with D of the ‘upper voice, There is no sense inthis extremely hareh effect, which {is without doubt a misprint. Unfortunately i seems thatthe fire ee tion ofthese motets is no longer extant, and of those stl to be found have only been able to examine the following editions: 1613 (Phale- sius, Antwerp) 1622 (Lucas Antonis Soldus, Rome) together with a copy of the edition 1595 (Scots, Venice; Sasabibliothek Bertin: L 105) Inthe 1622 edition, (which agrees with I. 195, while the 1019 ‘dition corresponds to Expagnes and the Inter also to Proske's edition ‘in "Musica dvina", whch in ite torn a based upon the edition of 1574 [Gardano, Venice), the tenor is writen thus: BSS eeAAs we may cleay see al falls naturally into place. The dissonance ‘is ped asie—away from accented beals—and reclves only a ight ttansient character The tenors progresion also wing In beauty and flexibility inthis frm, ln which the sudden itfen, (ve to the series of 8 minits succeeding the ertchet progression), i finely neutralized. ‘There can be no doubt that this is what Palestina intended, and that the mode of interpretation adopted by Proske end in “Ges-W", (po rater how accurately they may follow older eitions, ix based upon Finally, we find in P. XVI, 52 4,1, that according tothe edition ftom 1504 (Prancscus Coattinas, Rome), of the Th volume of masses, the second note ofthe tenor should not be B flat, but A, whereby @ heh dissonance on the third minim disappears! "The very few other instances ofthe frely treated dssonances that ‘occur in Paletrina's authentic wotks cannot be reckoned ar breaches ‘ofthe Franconia lee, but must be classed parlly under the heading ‘of pedal dssonances, and pally as expression dissonance, in con- nection with whieh fons they wil later be examined. i pc, Fw 2, 2 wh eacy apes wih “rene Mare ‘bet ase he apr race 0 27 shold be cusped fs mim Oh ven ifthe fll and undoubted validity of the Franconin law in Patetrinin misc i prove, this says but ite of the exental fe tures of dissonance treatment in this art—jst at we can searcey cha acterize the sat of Justice ina highly evilized community by proving ‘hat crtaln primitive notions of right, (be they ever eo fundamental), ae respected there. Ope of the foremost exactions of “Ars antiqua® was that all accented beats shouldbe consonant, The vunaccented. bests ad to get along with ether consonance or dissonance, a it might chance. In contradistinction to this, Palesvina syle subjects everything— ven to the minutes iem—to the roles. Here it wat no longer aul ficient merely to consign the disonance to an obscure pol the lows of acentuaton in themselves not yielding a sulicient guarentee of the ineligibility and clears ofthe musical impression, mich more sas exacted with respect tothe melody, thytho, and harmony. “The melodie requirement war, in brief, the passing dissonance, ta otter words, the wnaccented dissonance was to att in by degree and continu in eonjunet movement in the same direction the en trance, (ceaslonally, though more rarely t might return to the tone upon whieh i begen! Tt seems to be the vale thatthe new means of musical expression goncrally exist, and have been in protical use for some tine, before the arival of what might be termed the decisive proces of “peycholo- sical precipitation". These expressional means appeet mostly inthe fuse of secondary atlets, (byproduct), which are apt to be over looked (or at leet searcely notices), until suddenly the aboveen- oped cracil moment of precipitation brings them iato he ful light ot eay" Music after alli a process of the inner man. The physicl por: sSilities have probably been the same in all eras. Aboriginal people have perhaps perceived the same tonal combinations innataral sounds the howling of the wind, the tnkle of faling drops of water—with ‘whieh our own generation have recently been familiarized through ‘pe example of iepossiblities tht vary, the capacity to hear intensively and connec- tively, andthe ineressing sll in mastering ever more complicated ‘Phenomena, the descipion of which constitutes the real history of Imusic. The same tonal combinations may symbolize quite diferent ‘hinge in elferent periods of time, not what iz actually written on ‘he popes, but what lies bahind i ir the question. The manner of perception characeraing the people of any perio i determining with Tespect toa cortethistorleerination of ie music] works ‘We moot with the passing dissonance, ot any rate pro forma, ina very early stage of polyphonic marie. Ax soon as noteagaintote, ‘Organum’s mythmic constrictive principle ix abandoned for an oc: ‘caslonal replacement by two notes against one, the passing dissonance arses quite automatically; for conjunet melodie progression, (unquee Lonably the most natral andthe most weully employed) ie extremely ‘apt to produce disonances ofthis order, Iti therefore problematic ‘ebethes, in pasiage lke the following from an “Are antigua” com Position, (the motet “Ave virgo regia” [Coussemaker Le 48, t,t ‘considered fom within, the Cis really passing note: ‘The question Is whether there are any reasons for assuming that this form of disonance was thought expecially gentle or mild, and wan therefore preferzed to others, or whether ils use was bared folely upon melodic motives, The truth i, probably, that all forme were equaly esteemed at fist—or, more correctly, all were ‘equally unnoticed, being only the by-products of the collision between the independenty-condacted individual parts, where the melodic rele- tons entirely absorbed the atention, When the feling for tonal 107 ‘combination developed after a time, there was @ demand for clear harmonies upon tho accented beats; but the unaccented also were fgradualy drawn into the vertcal sphero of interest. The result was that, (withthe exception of certain stereotyped ornamental forms), the passingnote was deemed the only worthy bearer of the unae- canted dissonance, The oldest instance, known to the author, of the ‘mention of anything ke the passing dissonance, se found in the tact, Compendium de diacante mengurabile” of Petrurditut Palma ocioe, “Rota, quod quamvis in ists dssonantiis non debeamos dlutus ‘ommorar,possumus tamen ascendere et descendere per eas breviter fad omnes allasspacles sive difrenias dscantus lam pesfectas el tmedias quam eam imperectas"! Perhaps the reference ere docs not concern veritable pasing die: sonances the omission of the word "gradatim” in connection wth “a= fwnere™ and “descendere™ Is probably of litle significance, though ‘rendering the interpretation of the pasage less cera. In a similar, fa all evens very early, parsage there is also the same Ink of certain. ty. This i found in a tact clled “Are nova", a work by Philp de Vitey, (probably from a somewhat later pat of the 14h century thas the tease by Fetus, and fom wich we quote “Et proper earum iscordantam ips non stimar in conrapincto (note aginst note) red ‘bene es timur in canta factibile i minoribus nol, wt quando sem ‘brevis ve tempus in pluribus nis dviditr id est in tibus pactibus, tune una laram trum partum potest ease in specie discordant ‘The conjonet movement of the parts isnot mentioned in thls In- stance also, though in all probability iti implied. Not unt the Une of Tintols and Gafurus, the great 15th century theorists, ws fall Tight shed upon this subject. Tincors says “Ordinatio autem cujuslibt discordant haee et, ut tam ascend fendo quam descendendo semper post aliguam concordantarum et ‘roximarum colloetu, ut seeunda post unisonum aut tertam, quarts ost tertiam aut quintm,septima post quintam, aut octavam et sie de108 lie Ethane ipsam dacordantiam,concordantia uso era vel duobus faatum, quamvis hoc ravissime, distne ab ea immedi sequetu Tague si ab uno loco ascendatur vel descndatur per eliguam di ‘condantiam ad eandem continio non ert revertendum, as psa dix fardatia ado parva st ut vir exaudiatur™* “incor here enjoins that the dissonance mutt he approached by ‘onjunet movement from the neaest consonance, and mist Be quilted ‘by degrees or lapsof thirds, in thelater ase he was obviously think ing of certain orameatal phrases, which wil ater be discussed), To be sure, nothing is said about gulag the dissonance inthe same direction fom which te approached, but a the lat part ofthe quota ton especially concerns the retursingnote, (compare this tease 109), we may take i for granted thatthe first part ofthe quotation Concerns the regular passing dissonance” ‘Gafurior, whose view exactly coincides with that of Tinctoris— quite naturally, since i sth rues of the same mosicel practice that Both formulate—gives his observations in this form “uae vero per syacopam et pio rursus colert transit att is cordantie admit io cantrapancto™? ‘We have here clear explanation of the motives for passing dis sonance, in conjnction witha statement ofthe contemporary relation towards the whole dironance problem, vi: daronance sified some- thing vehement and violent, aril was unavoidable, the olnt at sve ‘was to conceal and muffle It as far as possible “The methods of doing thie were! 1. To place dissonance only on unaccented beats 2, To allow dissonance only on compatativelyamall note-values! henna Sons Tacs one at danaces of hi tapenade at tn een cart neo i ee (CS ap state he mea he pesing none soe et ‘3 To use dissonance only when introduced and continued in com jnct movement, cf tested as suspension’ 4. To allow dissonance only when introduced in such a manner that the mutually disopant voices do not simultaneously pro ‘ood to the discord, (Dissonance In noteaganst-note Is conse ‘quently pronibite) [As the relation of Paestsin style tothe first point has slrendy been discussed, we may proceed tothe second “The question now is: upon what note-valus Is dissonance alowed? It Is Interesting to turn hereto the Ite historical sketch of dit sonance tcatment which Vieentino gives—though seen trom « rather one-sided quantitative standpoint, ii sl quite remarkable in die: Cipline which, in iste, very rarely adopted the historical point of view:-"The reader may Know that, ftom tine to time, some progres ‘sade in music, and that one may see composers, in works that are rot modera, place fee dissonance (passing dissonance) as semibreves ‘against alongs" hovld probebly be brevn, “and place the ist pon the strong beat ike consonance, and the second upon the weak beat Ike dissonance, later, however, fecling that this harshness lasted too long, they gave up this mode of composition, and in order not to of fend the ear too severely, they substitted minime—the fire consonant ‘pon sttong beats, and the second dissonant upon weak beat and his fatrangement allo lated fora tine, In ur own era we have given Up ‘tetas 6 dance gd dona noc a oma etree ‘fs gue are acest mite Fa su pcp ple aoe pve ‘ea igen acne nn dina Mao © 4 intra, reenter) com’ mot qu, Chama gisthe curlom of employing the fest minim consonant and the second ionant,seetng thatthe minims are now too perceptiblo—and not ‘lone these, but also the aemiminins are heard too perceptibly if not ‘correctly paced, which is the reason that tls customary with ws to ‘employ only semiminins and quavers as dissonances"® (Considered from a historical standpoint, this observation of Vicen- tino isa thoroughly reliable one. The “composition, che non sono ‘modern to which he refers must presumably have been works fm the Dunstable Dufny period, where semibreves were occasionally ae as lsconant passing notes. onl: ate plan” 202,55. exit ign eta a comin hen te ee ht hin oi eg lay tempt ete pp, et 2on soles gua, mx chert emis Fae Danette Oh 22,34 Day: «Agni DEP 188 544. In die meanyhil it cannot be doubled tht the semibreves were here ofthe same duration as the minims dering the last decadet of the 15th century and inthe grester pact of the 16h century ecclesia: {cal music. The minim i the shorter valued note that occurs in the compositions from which the above examples are cited. Cotchets ‘were seldom used, and serles of them only ax rae exceptions, (not ‘lk quavers in the 160: century), ‘When wo consider the history of the disonance from the sand point ofthe duration of dissonance it is necessary fst of alto sete the question ofthe time unit of “tempus” a it changing significance in ferent eas, In the earliest mensural notation, “Ars antigua” the breve was the unl. In the uecento this was changed, and the semi breve reckoned asthe tie unit Towards the close ofthe 15th caaury the semibreve hed to give pace tothe claim ofthe mioim a the unit of tine, sich portion it retained during the 1th century, x0 fer as ecclesiastical msc ie concerned, In madiigls on the other hand, crotchets were commonly used as Ume units” The victory of the "lr Georg Schineen: "Gch ds Diese” pHrotcet was confirmed by the beginning of the 17th century, and to hy its the most commonly employed unt "We thus sce thatthe notation with rerpet to shyt meant very Aiforent things in diferent pesiods. I therefore we wish to compare the duration of dlsonances which do not proceed from the same pe- riod it wil be neceetary to reduce them fist to « common denomin- Stor, to establish thelr relation (the rapidity of execution) towards & fixed time uit, The fe rather sicut under the circumstances, partly because the conception of tempo ia the various periods isnot sharply defined, and partly because diferent conceptions may be comprised lander the same notation, even ia the same period. We have exper: nce upon this point nthe practice of ou own time. If we open one of the Protestant hyms-books nov fn ute, for instance, we find thot @ tnelody may be written here in halnots, while in another collection its notation may be fn crotcels Certainly we would not therefore play one teanserption twice a fast as the other, but would determine the rate of execiton bythe musical context. ‘Compositions frm the 6th century are often encountered in which the semreve isthe unit wile in others, Che majonty from this cen tory) the uni is he nim. And finaly, as hasbeen remarked eae, the medeigal most frequentiy ses the crotehot analogously with the sminim in sacred music. 1 Palestine style the minim edociealy the standard unt of time, though there ie no doubt that in eran situations or instance Where 5 emibreves occur In each measure, there should be ofthe sine tine value as the 3 or 4 minins fo the aseasuro in other compositions “Consequently the unit in ths case fs the semibreve, Tn the mass, “homme atmé" (P XI, 92, 1, + 3}, inthe following passoge there cannot possitly be any doubt thet we would give the composition Iwrice es slow a tempo intended, if the same duration is given to the minims here asi teuallyellowed in compositions with 4 minims tothe measure, and which employ the alla breve sig: ‘We se this painest inthe dissonance treatment. To istrate this point is nacessary to touch here upon sme subjects which will later be tated in dela 1 must be noted, that In 15 and 16h century musi it happens not infrequently in tpl for ex.) time that shor ly before the conchuing phrates, we ind three measures of */, time inserted stad of two */, measures, This occurs also In the above- ‘ted examples, writen inthe black meneual notation, (Whe socalled ‘emia forthe diasonence which falls vpon the frst beat, (a breach ofthe Fronconian Ine plainly shoves that the placing ofthe barline between tho 2nd and 3d measures is quite without raison tre. If Wwe remove tis disturbing line, and divide the long measure formed by Gis elimination into 3 bars of */ time, we shall observe that the 2nd minim in the second of these measures of the upper volce ds- Senats with the 1s enor. Such » weatmest of minims, however, & breach of the most elementary laws of Palestrnas style, When used with crochet, on the contrary, i constitutes, under exactly thse ac- Cessory circumstances, one of the favourite and best established ef fects of this style* So itis unquestionable that the unit here Is the semibreve, and that this passage, giving the minims “integer valor nota", should be welten thsm4 ‘A very interesting instance of semibreve time is frthermore to be found inthe second Volume of Palstia's part Lamentations, which ras scored by Heber! from Palestina’seutograph composition, (Codex ‘in th Lateran archives) and i published in Vo. XXV. of the com- plete Collection. “That in which the oterest centres is not immeditely apparent in beets edition, but i plainly evident if we correct this to conform ‘wih the information which Canis gives In his meritorious work, “in cocce 59” sroady mentioned. In this book Casini again brought to ight the valuable manuscript, which reems to have daappeared for ft numberof yea, and has substantiated mumerobe divergences be- ‘heoen the original and Haber edition "He remarks thatthe passage P. XV, 54 3, + 2 ot wrt, a6 “Haber gives it with two samibreves, (C and D), bat with one breve {the next to the upper voic, and should therefore appear: So we find here two pasing dlssonances In the second measure ‘pon the third minim, which would be absurd in Palestina syle, we conceive the passage as boing executed wih the minim asthe uni Tf, on the contrary, we adopt the semibreve as the Bearer ofthe “integer valor notarum", thee te nothing asking in the passage qoted for im hat case the mime are to be considered the equ ‘ants ofertehes, and when 2 crotchets succeed an accented ini, {al 3 notes, as her, descending in conjnet movement), and with the ‘inion asthe wait ti quite im order that the ist ofthese crolehete 15 dissonant, fompare p. 125) This in connection with th ercumstance thal the passage quoted ‘employs no notes of smaller valve than the minim while the move ‘ment is essentially one of semibeeves, ives added force tothe 3 Sumption that the later functions ae the unit” Lt ths established that in Palestrina style the minim represents the longest duration ofthe passing dissonance, it seems odd that Vi entno should declare atthe ume when Palestrina had jst published hls fst work, thet minim dissonance wes antiquated: “uslamo nelle conposiions far solamente le semiminine et erome cate”, It did not ‘agree with practice, at any rate; and other contemporary theorists ‘with Zarino as thelr leader, held a different opinion Zaslio's view is expressed brety inthe form which Tgrnt gives ‘in his "Compendio della musica", (a succesful attempt to popularize “Listation! harmoniche'}:"...- quando le Dissonanza era posta nel movimento conglunto nella seconda parte della Batata, nella Seconda Minina non apportera diagust alcno alforechie.”™ 1m this the minim is accorded the right 10 dssonate upon the n= accented bea, BY the “movimento congiunto™ he quite certainly means ‘hdis there she of fe te mani he ten tyme hd exerted in inn tine A atmo, kee eg oat of aon, ght ‘ein be scold Yor wt aia compa, bat eacly te eo Pale i coment dl Manes 18, p. 2‘onjunct movement ap well n the approach asin quiting the diason- ‘Shen. of which relation Zalino sey “ima debbono procedere vers i trae, 8 verso Taculo per molt radi coninuati seas” alcun salt {fs tepronente essentially what the teri of he 0th century, (ad, for that meter, ofthe immediately succeeding centuries) bave to sy pon the aubjet of dissonance treatment. Stila few additonal ob ‘servations should be made. ‘Wen Zain and other theolsts of this period speak of minis they always say the same thing, vir: that against 1 semibreve may be placed 2 mining, the second of which may dissonate, The only zhyt>= ‘Bic ponility mentioned ie that the disonant minim cen be itro= ‘ced after a preceding consonant note of the same valve —ell other Contingencies were laf tof consideration. "The name i he case with Fax’ treatment of the question and the representations of the newer text-books based upon the Gradus ed “The sell is thet, having fitflly followed In the textbooks! wel defied pathway, and having finally reached fee elds, we real- Ty encounter here some possiblities thet the previously given rules not eover, Tor example, we know from the exercise ofthe 2nd species that the ‘asionant minim must succeed an immediatly preceding consonant ‘att, it not perhaps posible that the last of these minis alo ean Giawnate when the fst note 8 not sounded, but tied over from the precoding measare, (and ls thor @ pat of a targer note value)? This ‘ase belongs aelther to the 2od species strict minim movement) oF to the th species (let syncopation), but isa result of « mixture of the (ro, and ist therefore cortecly be clasiled under the 5th Species But to my knowledge neither Fax, Bellermann, nor eny later Aster eats this Teltion, either In the rules ofthis species or else “There. Als its occurrence musical examples, which ae often more oguent than the acompanying text, rare ton Humane (0) 92 1 inane spe cum fund Pa, (Sado 172 To. XXKV. Fe 8 coup sins bourne "Dut Cong eon 1, p10, te ol sone loves on PE thas full vty, however, in practice, quote trom Palestin's tote, “Congratslemini” (PV, 5, 4 3 In tie instance the value ofa dotted semibeve precedes the dls- fonant minim. It makes no difference, of course, if the semibreve be- fins on 1 of the measure, as Inthe following example P.V, 62, 1 3. Motet:Salvtor mand, a =a nor if the preceding semibreve isnot dete:————= (On the other hand, a notewvalue modiatly precede a Gstonant min in Pasting style "The movement itself may cccir, bat always in consonant minis only for instance yak 1 Mat: Quam asa than & nim may not a Uitinoely It must be remarked with respect to dissonant minis that they are encountered most Hroquetly descending —not 30 often ts ink in progreaions inthe opposte direction? ‘With eotehots we entra field of gueat intrest, The sorter dare tion ofthis note may weil render a freer treatment posble—and does ment occurs forming the most enigmatical and atractve clement of 5 that of four crotchets placed in salesike pro aression against a semibreve, the fist and third must be concord ‘while the other two unaccented crotchets may be dissonant In this way Pux explains this relation, though he adde that once In a while the third crotchet may be a discord, bul (be I noted) only ‘when the second and fourth nots ere consonant, and the disonasl tone fils out the interval of a third (The meaning of this is probably that the dissonance, (presuming a shifting of tho accent, would be correctly treated inthis wey, whlch would not be the case if another isconance either preceded or succeeded i). "To this role both Bellermann? and Halle? subscribe, the later, however, without mentioning the requirement with gard to the flank {ng concords. Franz Nekes, In his reviews of Hallers “Kompostions- lehre”, was theft to malatain in convincing manner thatthe rule of Fox was by no means the guiding one in Palestuina's tine. The third ofthe 4 crotchets it is tre, may Be also wed here ot discord, but Unde quite other conditions. Ite examine, for inlance, @ case ke the following (coma nats t'h Gans) aon cnt ne seme Ie * Seopa, Heese 10 pak9 wo shall notice thatthe note upon the second as well asthe third CGolchet of the second bar sands in dissonant relation to both of the Tower voices, Ae this i not any rere exception, but on the contrary ‘qlteatypicel mode of expression, it may be taken for granted that the exaction of concords on each side ofthe discord isnot historically founded “What then ao the ules, Pus statements do not agree with the fectst ‘Nekes gives his opinion on the subject as follows: ‘on vier stlenveie abwiregehenden Viertelnoten, deren estes ar auf dem Auluchlag des gerade Taktes stoht, dar die dite in folgender Weise als durchgehonde Dissonanz gesetst werden: Gees “We wir sehen, berste le eine Stimme eine Dissonanz Yor, nd ‘der Voobeteltungmotebiléet die dite Note der anderen Stinme ei- hen Sekunden- oder Septimendurehgang. Es sl ausérickich bemetkt, faa in unserem Falle das zwelte Viera nicht notwendg konsonieren fmus.... Abweichungen von der obigen Rege! finden sich selten und ‘nfen dem Scher es Kontrapunktes2ur Nackahmung nicht empfob Jen werden.” ‘According to thls the standard should, consequently, be that the Aisionance upon the relatively unaccentd third ezotcet can only be fenployed when all four crotchets move in seale-like descending pro- fression, end moreover one of the olher voles forms « syncopated fisonance withthe later. To Nokes’ (exceptions? the following examples are ade: Spd int PAV O34 782 +2 RAWAL +H LIM A 92,8 Mn SSS O22.9V.10,3442 Mi Dia got1.069498 Ma: 0 ve sit ee, ‘com me She 13 (PAK, 18,44 Min: 0 mera comin Nokes considers suapension the essential condition for the em ployment of dissonance upon the rd rotchet. In eal it represents (quite a constant proportion, more than 90 out of a hundred cases ‘where Palestina employs tis form of dissonance being in conjunction with suspension). OF the examples given by Nekes, PX, 18,1, + 2 tnd P. XV, 67, 3, 4 end ofthe ones cited here, 8c, and © might reasonably be reckoned ab suspensions, latont even if undeveloped, and at any rate consolidating the situation. The possiblity of lengthen Ing the stationary note, (meaning the note with which the tid cot chet distonetes, and which a ell events i elaine daring the ed end 4 crotchets, exists theoretialy forthe stationary not is followed hte by ite second below, and in case of syncopation woud he correct Iy resolved" (eter to page 227), ‘Tis isnot applicable to P. XV, B41, 3 and 105,23 and + 2 quoted by Nekes, where the stationary note afer the collision makes leap of ‘fourth upward, nor tothe Instance in P. XVIL, 78, 2, + 3, where the stalonary note in the upper voice (alter atest) is followed by It fourth below. Nether does it apply to the quoations @ and d, where the syncoption would give poor suspensions, (@ fourth in the lower1 soice, and a second which resolves into the unlsn), nor tothe ex lnplef where the satlonary note (already being a syncope) doesnot ‘admit of a further postponement of ts resolution ‘However, theve i inthis connection, «certain factor which i even ‘more conto than that of supension. I we go through the examples fiven here, wo shall observe that the disaonant crotchets in every Fastance, also in thor given by Nels, whic are not printed in notes fete for want of spac), ate introduced as part ofa figure written has: Alter a descending progresslon of 4 notes, the volco moves up & second. At itis a universally acknowledged role tha whatever is ‘Common to dllerent variants of ene and the same form is regarded as the exten fetre ofthe form, in which tho peychologica founda- fom isto be found, i likely that the way tothe Inner eauses of the phenomenon Teade not so mich through suspension, ab through the iit mentioned meloaieprae “The thread is hard t tng, however, end we must seck assistance ‘where it may presumably best be found, [ti quite natural to turn to ‘eu aoe oo WIG ony eased Te flowing eromple ow Ny common sd alngto ute lena pee Petia te Plate Iver vc, whe ely he ote in oper Ye reine Henry tt feos sop Bt ole wet vce Hogan tangent 125 the theorists of Palestrina style, and hear their opinions on this aub- As always when we desire an explanation concering 1th century musical conceptions i Zarino to whom we 10k fst of all. in this Instance, however, wo shall be disappointed for while he treats ero chet dissonance rather exhaustively, he does not mention the special Instances where the tid crotchet i ditsonat. ln reality he says no ‘more than Vicentino, who expresses himell les crcunetentially in these words "Ct he siamo nelle composition fr solamente Ie semiminime, st crome cave, (fecendo port In 1 baona, «la 2. catia, ele 2 toon, 124 eattiva battendo a ragione di quatto semininine pet battua, che le boone saranno ne attere & nel leere, seguendo qt: leo semiminime, uno dopp6 Yalta; et quando sone die, apreseo un semibreve sncopata, oro un minima, & che disendino: la seconda deve esser buona & non In prima; & per Hl contrario quando saranno ascendent la prima sara buona, & la seconda cata" Billy, this sialies that when 4 exotchels (of which the fist is accented) immediately succeed each other, the role already quoted from “Tisittioni” holds good I; onthe contrary, 2 erotehets succeed ‘preceding minim, whether ted over from the preceding messure or ‘ot, the fist of these rotcets can, (“deus isnot to be taken t00 ‘ategorically, as is practically evident), be dissonant in conjunc de ending movement; but if the progression ascends, only the second txotchet may eventually be dissonant, thus ==6 “Soplone questi practic faze che per rao due semiminime siano ssonant & fe molto buono effet” Cee nd Tigrint remarks "Sogloao ancora | Musici quando vogliono venir & qualche caden- 2a col mezo di gutlo semiminime, porte in questo mode, cok, che la {Tena semiminina sa dissonant” adding an example similar to ‘Avis “Thus we get but lite infoumation from these observation, merely ‘that phrases of thls Kind were commonly used, and that Arts looked ‘upon the occrzence ofthe two adjacent disonances as the noticeable feature of the relation, Tigrintferthermore gives th interesting in formation that this form of testment of disonant cotchets i em- ployed piacpaly n conclding plrass. "The Danish tuscal theorist, Hane Mikkelson Ravn (Corvinus) seems rather to agree with Arti "Ex Semiminimishune in mod Dprogredientibus prime st lina plerumg; consonent.” (The musi illustrations added agree exactly with Aras, but more probably are {aken from the trealie “Compostionsregeln Her M, Joban Petersen Swing”, in which the same examples are accompanied by the fol Towing restark; "Also mag mon die 2 mittelsten Semiminimen beyde ‘bbs machen, aber die eite und lette mass gut seya.” Probably the ‘aucune sate na” (WLW, p28 pce tins tn nena ery ei Fede bat (Capernogen 102) p14 "fro! Swank Waren Deel Xap, p27, Sweie (8— @ roots of this formulation, which apparently rests upon rather super- Feil reason, are tobe found as far back as Peto Aron's “Toseanello ‘in musica, 1523, he relation between consonance and ditonance wen etermined herein the queer manner, thatthe fiat and lst of the 4 notes into which a breve or semibreve could be resolved thould be oncords, while the intermediate notes might be diacords' The quote: tions given up to this pont have really not thrown much light pon the subject, excep in establishing the fet thatthe theorist seem 10 have agreed thatthe thied (accented) crotchet could occasionally be employed at a dissonance in cadences; but otherwise they have not devoted much thought to the Toles governing the conditions ofthis relation. Ishere that Corone's quick eye for details agein manifest, He wales in ie “Metopeo” (p. 850) “Solamente quando el canto sbaxa con quatro Semimininas de rado, con las quales va a formar Clausula, se siele hazer que la ‘Primera y quarta sean Consonants, y la segunda ytercera Distonan tes ———Aduertiendo queen temelante octsion es ecessaio que Jag diehas Semiminimas absxen gradatim; de mas dest, conuiene que despues de la porters figura de Semiminina, Ia primera que sigue subs, sogun podemos ver en estos exemple; de otra manera el dicho asso no s@ concede" 1) war at any ate nat th op Dio, Conpenaret e rvcnl Vek, 0p: “aati dnt ce sage os ‘Sens cou une some case vtec gel pret Compare ph‘Their hat can be sid, rom a practical standpoint, on the subs Jct: descending conjunc movement ofall 4 crotcets, after which the last crotehet moves up a degree. Oa the other hand, Corone seems fol to hold the syncopated dissonance to be an integral part of the whol, Like Tigi he merely says thatthe wid disonance form with roehet is oaly employed in cadences the first of his examples shows plainty enough that he was not thinking expressly of suspension alone fara meant of conclusion. As willbe evident, all that Cerone writes ‘grees exacly withthe observations regarding the practice of Paes trina previously given in tis tease, However, the problem isnot yet slved, bit entre ie mot interesting phaso Justa this pint. The {uaston now is: why can the diaronance on the 3rd crotchet, (which ‘we wil term inthe ture the relatively accented pasing dissonance), Only be used in connection with these stereotyped melodic figures? ‘The purely musio-technicelsde ofthe problm Is hereby transformed Into 8 musicoypsychologic one: the question as to how these phases ‘were understood by the listener, go that their employment was ac- coptble, while in olher—seemingly similar—cass it was considered nsultable ‘Why could not Palestrina write lke this, for instance? ‘And why ist hat any one who is conversant with the apr of the Plestrna style, and who to a certain degtee hat made the ancient ‘mode of listening hie own, is immediately aware thet someting is ‘ot quite right heret This feling ie juried by a closer examination ofthe place, for the erotchet FE, (the sth note inthe bas, 2nd measure, ‘which follows the relatively accented passing. dasonance, mover farther down to, instead of going up to F. To modern ears, 90 lite sensitive towards dissonance, such a progression sounds uit probab- feven if we adjust our manner of hearing to the stricter, older {ashlon; but in Palestina’ time these distances seemed unduly hats. tis aot surprising therefore that comparison withthe orginal ‘ton fom 160, reveal tat thie place iv the result of «misprint, ‘and thet according to this eton it should be weten: [And we ave just as litle reason to wonder atthe instance P. XV, 21, 3, + 3, whieh Franz Nekes Enew and took quteserously, (eo sidering it Uustative ofthe motto: "One swellow docs not make & summer), 5it als i ve to amisintrprtation on the part of Haber, who renders it in the complete edition as:‘The time here Is "therefore the minims must be undersood as being equivalent to crotch in normal time, [p. 112), which makes the last erotehe aftr the relatively accented passing dissonance coatiaue downwards, like the former example) isteed of moving upwards [According lo the elon of 1506, the ext to the upper voice should be corrected as follows 1m whlch form the relatively accented posing dissonance Is replaced by a consonance. The last two examples ae the ony instances, to my nowledge, in Palestine’ authentic works, which confit with the requirement of moving upwards after the 4th rotchet, and both are ue to faulty enderings in the later edions” ‘The rule seems valid fo an unusual extent. The problem ofthe un entying motives herewith becomes acute—yet how solve this quee- When we encounter 9 similar diticty of Linguiaticpeychologc nature, t generally repays the trouble to delve into history en, seek Ing here anterior forms ofthe linguistic feature im which we are espe iy interested o work our way through is genetic couse into the cenre of vitality. The result hee, however, is rather negative If ego back as far asthe east time in which the phrase ap oars ints classic form, we sll notice that fee, co-odlnate form fare encountered simuitancousty with other strc tested ones; these lat that time were considered equally legitimste, though later it wes eemed expedient to root out the freer forms entirely Here there is ro question of « gradual development,—he diferent forms existed simultaneously in the notation of the perio, and only gradually have ‘he conditions underiyng the sole recognition of the clasical fort evolved. We mect with the earliest examples of “correctly” treated relatively accented posing dissonance in works of the composers of tha socalled Second Netherland School; for instance in Okeghem, 1485) sa, te RL 3, ht a in vey ta Tver tock bin ha Sse tr dted mini, whic ello by he esthet Df mea ‘le poy bat aot nt Cte etme. ping cance fen, Fv 11 1 tr mip payer Te hee Sh Stone chnged oat he Sad cthe In Cots Is cated ad he neat (oben aca he mast pad by 4 iif se pthSimilar instances are Obr. f 8,2, + 2. Obe Mh, 5, 2 +2; 64, $1712, + 1,79, 63,8, 8, 126,22; 19,41) 10,1, W142, 25158, 4, + Hh 1543, 15156 6 2,162.2, 3 Ober I 21, 33, 80,1, + 2)174.3, + 1-Obe 1V, 201,31 te From Heinrich Isaac, I, 113, 5,3, 88 & + 25 152 1, 4 199,42 1s. 1,10, 1, + ete Sosguin des Prés, Ambe.V, 101,21; 108, + 1; 190, 2,2 ate, Howover, as Just mentioned, we find that synchronously with forms comecty eonatucted according to Paesiria's standard there were otter forms which later period would not tolerate, For istance, there was nothing objectionable, according to the opinion of the Netherland School in allowing the th crochet succeeding the rel act passing dssonance to continue the descent in conjuncl movement a1 1.2 Alea: Magus Donne, Refer aio to the fllowing Tis example mut be eden big Omid in smbaren 13 (br, 1, 2,8, 4,1 Obe 12,2, + 2 160, 2,2 186, 4, 3214 11 Obe TV, 10, 4, 119, 4, ¥ 1) 124, A 3 Obe. 2 A 2562, 2,4 2 ee LL, 1 4 05,3, + 3) 218, 1, F 15200, 31 Be M53, + 1) 0,5, 4+ 310,41, 4 39,3, 2 33,4, $25 7.22 12H, at dete Compare furthermore: Abr. V, 168, 2, + 2 and 178, 1,1 (Brumel), ‘as walla Joequin des Pes, Miza Thome armé set onl Et esur- rexit bar 16 ‘This movement may aso ascend e128 4-3 Me dame, (Cs smugne de Basa Pee te) = = ‘he Ord tery of Mane VI. 8,2, +2 Rae Whyte. 10-164) ‘ahem’ © pes Ga a shales Si «nua epi vm ‘ung sean Eng! enon Gemony, tc poe wee 20 mea reece teen eee rl lesser dy sino frm, sod war eed bet oly i the pte4 (Const also Obr 1, 5,9, 3, 12,2, + 2. Ob. 70,3, 2: 81 4,1 (Obs. 1, 96,2, 2; 90,3, 1B, 1, 3. 25,9, 4 0, 1b 1,75, 6,4 4,97, 3,4 103 1, © 1, 102 4, + 5,403 3+ 1, 19,444, 12D, 14.2120, 65120, §, + 1,128, 6, § ete Jouuin des Pres Miss: Una rmusque de Biscay, Benedlctus (5th measure rom the end), and Misa Da pacem, Credo, bar 12 has previously been mentioned (p. 125) thet when two crtchets 4 descending conjunct movement sicceed an accented minim, the fiat crotch may be dissonant in Palestrina style In older musi this frequently occurs, also when the movement ofan ascending charee- Joven es Pi: Mia Maite C,H (Cpr Ob 1h Smd Bee de noe; nud cr ade Tr eon a, Soe also Ambr, V, 15,1. + 2:16, 21 (Okeghem). Ob. 1 13,1 13.224 2.0 321+ 97,2 A HH THA +2 B22, 90,8, 2,1, 4 Hy 12,42 1544, 10104 4,1. Ode, 13,33 72.3, 15 00,2, 15 1062, 2155, 3, +2168, 21:28, 9,4 1 et a 1152, 4,2 186, 2,2 159, 4, + 9: 16,1, 3, 10,5, 4 4 285, 1 45.1 S,2.2.6 4.2 28,1, 15 96,3,35 117 6,51 2,5, 5, 38,22, 72,4, 4 4,104 2,3, 1245, + 9:73, 43; 20,2, + 1 donguin ds Pres, Mite: Una musque de Biscaya, Christe, bar 2. Misa super: Lam Brudicbon, Agnus, bar 15, Misa: Malheur ie bat, Gra, bar 14 (towed many oe ayo pte wl ne agony, ong coe Seti 2 ‘ Missa: Dida, Kyrle bar 2; Missa: Ad fogam, Christe, bar 0; Ree ‘lem Sec, pars, bar 6, Flt Homo, bar OB ete. (On the whole great uncertainty prevaled with regard to this rear tion throughout the eta of the Second Netherland School. That the allan had not bean able to put an end to this arbitrariness ina short tine fe obvious, for Instance, from the following phrares in compor- tions by Costanzo Festa (2. 1549, the greatest of Palestrina’ Ralian predeceasons age scans. Toi: Li mae oH, 832. However, Palestina, in contrast to hie predecenors, conformed ‘most seetly tothe rules. Now the problem isto account cleasly for ‘The form of disonance treatment in Palestrina which most nearly resembles the relatively accented pating disonance, 6 the figure tlready mentloned—the accent minim suceseded by 2 eotchets (in Geacending conjunet movement), of which the first is disonant, The ‘Similarity ofthese forms is smmediately apparent, both having the ds fonance wpon the Jré crotch, both inroducing the dissonance bygrees from above, and then moving down tothe second. I is not ‘nll the note whieh succeeds the dissonance Is considered with re- ‘81d tte further progression that the dssimlailes become evident! ‘While this ote am aleady stated, must necessarily move upwards by degrees on account ofthe relatively accented passing dissonance, the forresponding note of the anslogous form has greater freedom of ‘movement. Itmay, ad often does, move upward by steps. PN, 26 Met isnt oe ‘But just a offen it may move downward in conjunc! movement ‘esc hat ah conor a ar That Mey 15716, ‘outs his orm a inosnce etme war Patt by the avers ‘tthe “pret” Pelesng nis ha wots "A Fine sod Ene tata fo Prt Suche" 17H 982 impotent ent ‘we coats to qanver at bon tte Thongs Mey eran eam ‘Sie pt tna he is by no meas oreremine wth pect hee enue mrwore he act ery canst ang the sve ran athe Sd ‘edema, oe petal eranpies hi boa (e189) 90,14 2.8 Ma: Repl o mem ae Furthermore it may leap upward the interval of thtd of fourth, for instance ——— Eee138 2243.42, Masse os ‘Also i posible to leap upward the interval of a fith under these circumstances: and even up to the octave in rae instances: PAA, 2% Ml eC Spt (Alo PX 1, 3,2. ‘The reason why the further progress of the last ofthe four crot ches in connection withthe rol. ac. passing dissonance is based upon this ste condition, may therefore be found inthe fact that 2 crotchets, {and not a minim) precede the dlsonance. If now we seek the inner causes of this, trying to find is psychological reason, the best pro ‘cedure would be to choose forthe list examination the form with @ receding minia,—this being the splet and most usual ofthe to forms. The placing ofthe dissonance depends mainly upon the percep ton ofthe time anit “ust as tray as the following would not be written in Palestrina ——— 0 also t may not (wnconitionaly) be used thus:0 [Nor is thi fore alowes while strangely enough the following ‘Tae reason why the analogy doesnot hold good her, is doubtless thatthe last instance is perceived ax minim tempo, whereby the di ‘sonance falls onthe unaccentod part ofthe measure. In the case where the dissonance follows 2 preceding crotcets, it i usally perceived ts crotchet tempo, whereby dissonance and accent fal together. Hows fever iti By no teans Our Intention to sey here that a dissonance succeeding an accent minim i solely tobe understood asa posing fissonance. On the contrary, it will more probably be perceived as a elatively accented ornamentation of a succeeding principal nots For when the dissonance i introduced in conjunct movement ater a preceeding accented mini, i is naturally expectod thatthe dissonant ote, fnalogously to the preceding fslanc), should be equivalent fo the minim in value, But i i be resolved into concord ater the uration of only a eotche, it makes such a rking effet that the fenton Is especially concentrated on the 2 crotchets, and the dis fonance thereby enters info a more marked accentual relationship to the succeeding etchets than to the preceding minim. The effect proved i similar in character to wat Ie called i recent muslco- {heretical terms, a disonant "Gracenote". By this as is generally known, ls meant a dissonant note ineoduced upon the accented beat ‘whichis explained by Its relation as second tothe folowing con- sonance, the relation to which becomes clear only when considered ‘te an omamentation or an immaterial embellishment of the principal ‘Behind these notes ‘That the character of this relatlon is not perceptible to modern fears alone, is apparent ftom the wage in Various editions and manu rips of the same compositions from the begining ofthe 16th ent ‘ry, where the two phrases are alleratsy subaitated foreach other 1 we compare, or instance, “Petrucc, Missa Obrecht, 1508, with the ‘Mus. Ma 3154 in the State Library at Munich, we shall find, (ceord- ing to the revision by Johannes Wolf of “Obrechts Werkea") the fl lowing characteristic discrepancies between the two! = e=‘Ano 9 comparison between Egenol' edition of Joaquin des Ps “im meinem Sinn hab ich mir ausrkoren", (1558) and the form of the same composition in the Ma, 12, in the City Library at Augsburg {leds information of value with respect to vaslanls of this order! ‘That the discord is accidentally used in tls manner, suggest that twas considered something inesentia, wile the suceading consonance was looked pon the exons feature of the relation. Another fact which alan goes t0 prove tht in the 16th century this Kind of die fonance was used more hike Grace-notes than a Teal desonance, it {hat the Palestrina style wae not afraid to give emphasis to thi de- Sonance through its employment in note-aganst-ncte. Moreover it ‘coms to altain ite clearest and most characteristic form inthis mode of treatment, for example: P06 8.42. Maa Pa bom Its therefore principally employed in this manner, while note- aguinstnote is seldom used in conjunction wilh the passing dissom- bce the very estence of which e obscurity. However, it war only to & carta dogre found appropriate to give prominence to the dissonance just mentioned, as 1s manifest by is being employed solely upon the place of the unaccented minim in Palestrina music. While i i considered quite proper to emphasize the disonance in relation tothe succeeding consonance, (whereby the "Grace-note” character becomes ‘even more evident) itis desirable to secure atthe same time the pore Siblity of the perception of i in a larger context ax unaccented for by this means its nonessential character Becomes most pronounce, Palestina style therefore docs not sanction th dissonance on ie Ist, and Srdminims, while the Second Netherland School les coef is oy Ss atte in thi regard, though mainly where the diaronance ie of ogi et Pt Ma: Une mug Bey Cr, bar aa ee Instances of this kind, though rare, may all be encountered a works of somewhat later composer, for example in motets of Richa- fort (a pupil of owguin, ied about 1550) Mase Ter ma 18,82 Mat aot —[A similar figure accurs ina composition by Ladwig Seal, ebout 1555, and may be observed in "Seni Werke” I, 58, 3,3 (Denbnater Geuischer Toskunst aweite Folge, 3. Jahre. BA, Lipeig 190). For ‘completeness’ sake, we mention tht the ony instance in Palestrina’ swore ofthis Kind isthe following which must be corectd to agroe with the orginal edition ofthe 3 ‘Volume of masses (Dorieus, Rome 1570) in the following manner. snd consequesty is not to be taken seriously in Habers editon, Phrases like the folowing are, however, trustworthy: FIL Ma ie nt Pd ‘hie might seem tobe an example shoving that the e- ce pasting ‘lssonance may, as an exception, bo placed upon the accented minim. But in really the dissonance here must be otherwise understood, be- ‘couse the lit 3 noles inthe frat measure ofthe upper voice may be Teplaced by a semibreve on A witout al all altering the signlicnce ofthe passage Ia like svbtition were undertaken withthe rl. ace. passing dasonance in {ts usual positon, the phrase would thereby ‘nly appear sil les regular than belore, The present instance there- fore ony represents quite a normal treatment of surpension, (eer 10 227), wherein one ofthe ? notes tht ix disonant with the ayScope ‘embellished by aeturing-nte ofan altogether unimportant natare tis not necesary thatthe pret, (a in the above example, should sesume the same melodic form at the phase invoducing the vl. ace. passing dlssonance, which i lotrated by the following: 1,31. Mi Vi Ganae ee ani Pewee ‘These 2 examples plainly show that the ornamentation is not ‘bound by any decided melodie conditions, but on general principles Is allowed wherever the corretty treated tied dissonance occurs. Pas- ies like P. V, 28, 1, + 1, and others similar, have nothing to do with the rel ce. passing dissonance, nce inthe instances itis not really the eroteet, But the syncope, (as always where there is syncopated lssonance), whlch Is distonant and must be resolved, Before proceeding lo a mote direct consideration of the rel. ace passing dissonance, there is one pericular relation whieh must be fentioned briefly, This dissonance form, besides the kinds already treated, hes another celated form which Is very contmonly employed tm Palestrina syle as terminal phrase: P84 6h Ma Decent gt As will bo observed, the melodie contents ofboth forms are ident ea, the sole ference being ofa ytunie nature. The dissonance in the last quot example is removed from the rd to the 4th crotch ‘whereby itis moreover reduced toa quaver. With this reservation the foro forme exactly agiee—in both, the syncope disonance and the turning tothe upper second are observe. In the lart mentioned for, however, nether of these two fetures ie a condo sine qua non, ‘though both are most often present. The absence of suspension i com: paratively fequent for instance P.M 1,2, 4 Male: Ha Bahar 1 may also happen thet the requirement of the upper second to he lest ofthe two quavers isnot taken into account for instance PX 105 1, in it on“These examples seem to prove that the exaction concerning the ‘upper second, depends greatly upon the rd crotchet being ¢ veritable "Acsuing now that the dissonant crotcet following the orcented ‘minim functions a8 kind of dasonant Grace-not, (a previously fated), ads loglimate as sic, iis natura to inquire why the cor- Tesponding dissonance following @ cfotcel mey not be explained in the same way. “The answer to this query mst be that while the dissonance tn the frat caso i to be understood as unaccentod in relation to the pre- ‘ceiling minim and atthe seme tine as accented in relation to the ‘succeeding crotchot, such a two-fold peseepion Isnt applicable to the ‘second case, where cretcet accentsation predominates; consequently the dissonance is exclusively perceived as accented. ‘But apon unequivocal accented beats we generally only encounter (excepting suspension dissonance) notes which exist Independently ‘nd need no explanation through & wucceding consonance. Therefore in caves of this Kind there isan inclination, when no other actor Introd, to apprehend the dissonance as an independent feature, end conzequentiy 8 breach of style, instead of considering Ita Grace-ote Delo the next succeeding crotchet, ‘Yet the moment tht the figure ends with an ascending second ‘move its considered appropriate. Why? "The anawer most ely ie thatthe fgur, thor enlarged, is under stood as cambiata phrase which s fled out: ess a ‘The camblata! which has previously heon briefly mentioned her, ‘an best be defined as a melodic phrase which in ts cassie form ‘ually appears inthe following sbythmic figure: lis characteristic function & o divide the descending interval of the A into two Intervals of a 2nd and a Sr respectively. It may be ‘employed either as consonance or dssonance, which inthe laller ease ‘would allow the 20d note tobe dissonant ad the violates the rule concerning quiting the dstonance by conjunet movernent. That the cambiata notwithstanding s acceptable in this stye, is due to the fact thatthe violation of this rales only an oxtenble one, since the 4h note of the figure was understood asa zesolulion of the disso ance, which—though belated finally appears and clears up the sta tion. The cambiata, as well ab the relatively accented pasting die: sonance, is fist encountered in works (ie, in compotion tom the Fist Netherland Schoo) where its lascal form occurs simultaneously with ter forms. has, conrequently, not Been gratally developed and refined; but afer the establishment ofthe rule about conjunct movement in dissonance realmen, the clasica form was the only one ‘ut of many sila types, which conformed tothe requtements of the znew era. The same holde good with reference to the rel. ae: posing Aistonance, The melodic form in whic i is aormally introduce sign fies, ike the cambiat,a standardized phe ured both in consonance and dissonance. The fact that thie figire may also be employed dis: sonantly in Palestrina, is explained by the following circumstances, ‘An extremely poplar conclosion about the year 1500 was However it was qulle customary to embellish tis figure by iter: posing a tid eztehe after the two crotehets in the tenor, A cate of {his kind may be observed in Heltrich Iaaes Chanson, “Helogerons nous", where, according to Johantes Wolf's report ia the "Denkmaler der Tonkunst in Ostereeh", XIV, 1, some sources give bar 4 ths‘while in other places (or example én Petrucel's Odhecaton 180) it ‘The fale form yeas consoquentiy considered en embelihment of te simpler. Both were accepted in Palestrina —the simpler, because ‘only spparenily conflicted with the rule concerning conjanct die fonsnt progreston the more elaborate, Because ofits faiianty as a Variant of the simpler form. But rogarding it as such, one found it natural to count It im minims ike the primary form, and consequently {he dissonance attuned the charecer of a Grace-note of ormament— in brie, became dependent. The phrase: vos ths heard 181 oe understood ‘We now clearly seo why the rel ace. passing dissonance Is always ‘employed in connection with the second above the fourth crotch for it isnot until the appearance ofthis nol, which corerponds 10 the most important of the cambieta's note the note of resolution — tat the phrase fe comprehended af the filing ovt ofthe cambiata figure, and is thereby Included under the form: “erotehotdisaonance succeeding a minim". For the same reasons, both come within the legitimate eld of the aye sll zemeins to explain the typical occurence of syncopated Aisonance im connection withthe re. ace. passing dissonance. Yet this relation is amply accounted fr in the eitcumstance that syncope dissonance seeming imparts @ welcome underining of the minim lume, and thereby ofthe dependent charter ofthe rel. acc, passing dissonance. “Apart fom the exceptional cass jst mentioned, the rues for the lweatmest of disonant crotchets correspond exactly to thove govern Ing the employment of minim. What hasbeen sb (page 118294) with respect to minims, applies equally with respect to cotchets. They too ‘may ot be introduced dlssneslly after smaller note-values, while fon the other hand crotch, free or ted, of @ gretor note-vale, (provided the sual rhythmic requirements are otherwise complied ith may quite well precede the crotchet dissonance. With regardto the relationship of mining and cotehes is noticeable that mini. Aissonance ie rarely employed in Palestrina style when another voice tlmultaneoosly is moving with crolchets, Rare exceptions are places like ae ‘Compare also: P. VI, $0 1, + 1. P. Xt, 120, 1,2 PM, 38,2. + 2 PLAY, 60,1, $4. PIX, 206, 3, + 3D, XXUL 22, 2, + 3 P. XXIV, 4, ata “Thal such cases are encountered 0 Feldom ie doubles: due to the confusion arising out ofthe simultaneous occrreneo of crotchet and fainim time accentuation. n order to perceive the iim a5 pasing dlasonance, it ls necessary that an accented crotcet should not be heard upon the same beat where the minim ie unaceested. When ths happens, it renders the relationship vague and incomprehensible. On the other and, another voice may employ 2 crotchets preceding the Aisonance, (oat only sehen 9 rotehet does not fll upon the ltr, Yor example: ‘Sedo, may praca dance 199 and itis nol uncommon fortwo croteets to occur simultaneously with the dissonance if the dissonance 8 not preceded in another volce by ‘rote; for instance: P71, 2,4 Mn: Ane Dos Which goes to show that phases like a ee har mining, wile on contr plc ex ‘vig etcetera prevelant oper Wh he uever we aly each mal teva eloped ln pasinon nua ough tne mg of ee aver 6h noe) enploye,Ceprsesting gues her com154 povalivly rare that more than 2 quavers in succesion are encount fred; however, once in a while ar many as 4 are ured in a series. 18 {he latter ease they fll under th ste role athe minim and exotcet, fand natances may occur where the rd quaver is teated asa rel. ace Dssng disonancey for example: P.M 9,2, a a an (Cong also PIV, 9, 3,2 and PIX, 138,23 Instances ofthis kin, bot without the suspension also occu I, 3 1 Mya at rte ‘on the whole, quavers are treated more freely than greater note- values, on account of thei shorter duration. Crotehts, for Instance, ‘could not be used in the fllowing connection: 135 AAU, 15 9, Mags Ne vn and aio this form of dasoance treatment, . od ‘while quite common with quavers, Is Inconcelvable with crotehets, ‘where anything similar could only be employed in descending move rent, Ths isthe git of what there is to say about ditonance teat tment from © quantitative point of view: ‘There sl remains the question of the employment of dissonance in note-aguinst-not, The attude ofthe theorists was quit simple most without exception, fram the ine of “Ars nova” upto Fux and Bellermann, they forbade every form of diesonance this order of counterpoint! The practical musicians, hough well understanding the necessity of discretion here, generally are hardy so strict; consequent- Iy ii rather suprising that an excellent practician like Cerone here Joins his theoretical colleagues. ‘With egard to minim dissonance in note-agalat-noe, he writes “Dine qe una parle ha de estar lime y ain tocar atevo, panto,‘aunque sea la misma posicio, porque tocando dos vezes 1a nota que feclbe el golpe dele disonancia,olfende mucho el oyto, por esto fo se pemite no en la composiciones duras, esperasy Tamentab- io 7 PY 1, B-8, Mot: Ven pone Cr (Geen pae sl aE SS Cerone gives his opinion that sts best to avold minim dis sonance in note-agoina-note, even if teaed in the cautious way that ‘one voice in conjunct movement progresses towards the point of di ‘onance wile the other repeals ils preceding note, thus causing the issonant elation, This ir the only possiblity mentioned here, and fven this said to be employed aoely in compositions of asad and plaintive character ‘This grees, on the whole, withthe custom ofthe late pat ofthe ‘Wi century. However, there was not sch arent feeling eoneer- ng the effect of disonance inthe beglaning of the cinquecento, a consequently at that period we may relaively ften encounter such Ihre phrases athe following (br 19 41 Min: Sae ea pet Ao OBI 1K 2 ad ee A significant light town upon Palestrina’ attitude in this re spect through the following paste, taken fom the fist volume of the pat motets (1569) aps” How very urgently he felt the necesiy of shunning dissonant role-againetnte heres shown by the cicumsance that he does ot even finch froma break inthe imitation when needed to avoid thal “ndeirable elect. In this instance he therefore alters the 2nd note of the 3rd measure in the soprano, (which really shouldbe D), to an F, fn order to avoid the collision with a the tenor. This is all the more slgntlant since the theme is Hturicl being borrowed fom the Gre- forian melody, "Vent sponsa" in which the coresponding passage, (Watcas edition ofthe Antiphonal, 1912) reads SSS SSS [Nor do we infact anywhere in Palestine's works meet ith such an unmitigated case of roleagainatnote treatment as would have Fesulled here fom a trict exection of the imation. The few instan- ce ofthis kind in Paestine'scompostons are ofa decidedly milder ‘Guracter, for example0,941 Mats Qe at PAV, 1,342 PALI 8, 19142 vomkee 148 worthy of notice that i every one of these instances a very snd dissonance fused, namely the diminished ft, which vibrates between consonance and distonanco this intervals also used in otber instances where, according to stil rules, only consonance was al- lowed a8 for example: ‘The fourth inthe lower voce ts reslved here into the diminished ft, thus moving from one dasonance to another, which would on fc with the most fundamental role for the teatment of suspension, CL Vice: Open. 153, 1 ad 2 ‘This we is conceivable only because the diminshod fifth was per- rived as hallway a consonance. Ouside ofthese instances, in which the less pronounced character ofthe dissonance makes the freer treat- ment of it possible, I know of only very few passages in Palestrina’ ‘works which might Be mentioned in his connection 42,2. Mala 0 aint comme eo PRK 1, 2,2) “These are both ofa les striking kin, Being phrases of such com- mon oceutence in Palestrina syle as to pass estly unnoticed tis scarcely noticed therefore, whether the satlonary note as here) is Aivided into smaller notes or remains otal as in the great majority of cases, (compare P. V 63,1, 5 cited in the foregoing, p. 117). Also the disonanterofehet in note-ageast-aote di not find favour inthe ‘eyes of Cerone, who declared ite ute atin the following example in- ‘xinisbie'160 | 161 Nevertheless, «similar employment occurs comperatvely often in e306 2,42 Mm: Fate pet Ptetina’s works compa :.%16 23,95 41.0, het THA TAA 4 Guna rv a mca vil ed bo ee ‘havi however mt dazat texte ih that ey he et Jat mene he ah Woe tect aft den ean yt ty moe ‘Shelton bend moe et aa Way Be ‘stcte ice ren veh At wrt meet Site mtoate oud ly be ne ot mtn “zu amps lane pr weet we pte ce le ea Mag 8 tou acniedniatettesdomers spisurscamane — | encom con eatin doa pre dcr. | fice ut coat honey emcee ch cy omtny wa me | | sages like the following, without bothering about what the theorists thought * svat onan 8.Coa Fes, Me Quam pu M1 PM, 814-2 My: Lad sl 163 1m all the dissonance forms bitherlo mentioned in the teati ‘mere was no doubt about whieh note was the dissonance, The die: tonance was always placed agansta greater note value, the shortest, fof the notes which met In thls dissonant relation was always nde Sood as the dissonance, and It lay with the voice inuoducing the te lo provide for its correct continuation. Alo in that pat of the noteagaint note examples piven inthe foregoing. in which only one atonary, there can eno doubt about the position of the dissonance, But here i i iferet—for which note should be considered the Aisonance inthe last cited example rom Palestina, the D inthe alto, for the C i the tenor? Or ate they both to be regarded as such, with he consequent obligtion? ‘The later supposition is plainly contradicted by the casein ques tion; for while the tenor’ atte is correct with respect to this a simption the allo would bave a dissonance upon the 2rd crotchet {a facending progression, which (or we know) i foreign to Palestrina ‘yle: Meanwhile it wll be observed that the iregelaity of the pare liseppeaa a soon a4 the allo and tenor are not compared with each ‘other, but each is considered in zlation to the bass. In tis way the fiszonance in the tenor sill conform to the rues, andthe dissonance fon the Sid crotcet in the ato is eliminated. Was the truth, perhaps, {hatin note-againtnote with erteets It made not the slightest dt ference about the relations between the crotchets, which could be ‘consonant or daronant at pleasure, provided thet elation to the bass ‘was night? Much eonduces tothe belie that this assumption i correct, “Thre are first ofall the circumstances concerning the perfec fourth, and the diminished and augmented fifth and fourth. We are aware that in the 16th andthe greater part ofthe 15th centuries, mucins ‘considered the fourth a8 a dissonance. While the musico-theoreical ‘world waged a bitter fight for and against this “inelcssima cons ‘ntiorum omniun’— a¢ Descartes called itwhether it should be reckoned ar consonance of slisonance, practical musicians were ‘Almost unanimous in considering it solely at a dissonance, This was ‘also Paleaina's standpoint. However, it must not be supposed that fourths were treated wih the same seventy asthe harsher dissonantseconds and sevenths For instance, he perfect fourth could be treated ‘quite ike consonance, (which epplis also to the lest aggresive di Sonances, the diminished and augmented Sth and fourth), though ly ‘when ie notes pertained to intermediate and upper parts, and not the bass In 16th century theory T have found nothing that indicates {reason for this fet; however, Fox ives the following opinion about ‘he appended musical example’ — “Wer slehet niet, dass in diesem Exempe Keineswogs die Quate, sondern die Quinte und ie Octave secket? denn de Infervalln sind ach them Grundton, nicht each siren miter Thelen abauessen.” “Thus the consonant employment of the fourth, in the example cite, Is explained by Fux here ox being die tothe fat that neither fof the notes that form the fourth dssontes with the bass, The free employment ofthe diminished and augmented fhe and fourths be teen upper and intermediate voices in Palestine music i explained in the same way. The use of the augmented fith makes possible the ‘Chord called ip modern terms “the abgmentod triad inf ft sve Slon". As the occurrence of this chord in pure style i seldom men tioned and as itis ther commonly suppored that it soddenly des: ‘conded from the shies expressly for Wagner's “Tristan” examples are fppended here, taken from Palestina’s works, showing thatthe 6th ‘hor, (fo continue in moders terms), was understood a fll congo- * crate en mm "i eanot te det at «wind “peep pecan” tok 165, PX 8 85 Mia: Sam Further examples: PX, 101,21. P14 2,6. XI, 45,4, + 2, 60.2, #1 60,3 + 4 PV 8 4 + 2 BLM, 9,1, ty 82, P. XVII, 0, 9,2; 06, 2, + 9. B. XXL, 48, 3,2 50, + 1s 98 2. P.XKY, 26,2, + 1648, P. XXVIL 25,5, + 3,38, 4,4 2B. XV, 40,2, 2-P XVM 13 1 1B. XXIX, 1021, 3, 168, 2 + 2 te Now, Rowever, it might perhaps be supposed that Palestrina style, ‘notwithstanding allthis discourse upon polyphony aad tone combine’ ‘ons as functions ofthe simullancous linear progressions, nevertheless ‘nd certain perceptions of chords in the sate signification as later period also that the triad in ts root position end ils ist inversion were Detceved as consonant units, and not a the sumn of consonance, hile with the chord this standpoint was not aliined, for reasons rather dificult 19 explain, This meso, in other words, thet the th imight very well pas as consonant wien it was a ink in one of the sbove-mentioned accord forms, but only as uch it shold consequent ly be teated asa dlssonance in case it had other noes Below it than Its deepest notes fifth or third. However, this supposition seems to be contradicted by examples like the following166 PX 18), Mo Oat ranean (On that account there reaton to presume that dissonances relly, ‘as Fux says, were an role expecially noticed with respect to thelr felations towards the bass and, reciprocally, the weaker dissonances were disregarded, provided they were not iseonant with this part Tei possibly the correct elation to this volee which explains and ex. ‘uses the disonant colsion of the short notes In crochet note- Spire rae however, ih alton whl ew ouey we BY Ina alot ante he arse 8 pect th ermal eS te Ambre V, 382 21 [Arolés van Brock 16 against note? Ax previously sated, Ihave found nothing a the theore- ‘eal literatare ofthe 16th center, which was accesible tome, fom ‘which sure conclusions concerning these matters may be drawn Et forts to find information pertinent to this subjet in more recent Ii ature were also unavailing. The only author who, to my knowledge, Seems to have woighed these problems more seriously, is W. 8. Rock Str who in his tetise, "The Rules of Counterpoint", (London 1882, 102, remarks with regard to some Palestrina example, fone of hic is the fllowing) L136: Papu Mare These notes (crotchets) most always be lerepoachable, in heir relation to tho Bass; but notwithstanding this, they frequently make {nightul collisions with each other. Nove ofthese collisions, the peat ft ofthe Great Masters tok no notice whatever, Provided their Ferd Parts moved well withthe Bass they cared nothing forthe crashes whlch took place between the.” ‘Whence Rockstro had his rule ie unknown to me, perhaps he made Wt himself but, sie speaking, it need not be the consequence of passages like the above or others simla, cited by Rocksto. Ifthe ole had becn worded thus “In erotehet noteagenat-note the dix sonance may be employed, provided the colliding part considered Individually, are each correctly treated’, then it would have met the requirements of Rockstr's given instances. Thus in P. XI, 148, 3, ‘the dissonant B in the upper Voice (econd note) ie fll legitimate 4 pessng note, whl the cotehet Cin the lower voice, regarded under the view pont of cambieta, i likewise unrestictedy joritied. Both voices are quite correct if we concave the dissonance as introduced ‘vera stationary note. Peshap i might be presimed al it was not considered necesary then, inthe cate of auch short notes, to make &Aitference between this manner of ueatment and noteagsins-note, tnd that it was only exacted that each ofthe Umplicated parts should Keep striely to the syle with reference to dissonance treatment, That this presumption doesnot hold true allgethr, is shown in places ike the following P85 1,2 Mots Quam pou Weta: Ope i we examine the above example from Palestrina, we shall ‘observe that while the upper voice is correc, the lower voice, when ‘also is called to acount for ie dissonance, could not fulfil the re ‘quirements of Palestrina style, for, when considered in this way Iti Tesponsible for an escending dissonant progression on the third ‘rotcet It eth same thing with regard to the example from Victoria the upper voce ls gute correct, yet if we consider the second not in the lower voice esa dissonance, there appears a thoroughly regular lueatment of the cambita, which is not native to tho ecclesiastical susial at ofthe latter part ofthe 16th century. All hese ficulties fieppear it we conader (with Rockatro) that ony the upper volce ‘in dissonant, and accept everyting ese, provide tat this part be cor rectly treated. However, examples ofthis kad are 30 rare, that it ems father hazardous to form any theory bared upon them. Even the ‘Greatest of the Great may sometines express himself lees clearly and 160 ‘completely, and we ought not to put more into these expressions than feally Hea in them, The fact of the extremely rare occurrence of Dizases of this kind~except when the note-aganst-note parts ate uted {in comection with one of more statonary noteyaeems to indicate that place Uke thoe cited were felt ax being uncle, and were pe- ferabiy avoided. Oa the other hand, when greater note-values in other ‘voices were employed simitancously with eroteet note-ageinet note, Dil incatincness disappeared ‘This relation may be observed in example like the folowingIn Be the upper partis correctly treated with respect to the dis sonance: But if we cotsider the second note th the next tothe Upper Dart as a dasonance, we should find, on the contrary, thatthe dis- onance treatment in his pat, with a leap ofa third to the dissonance ‘whieh is then gutted by a sath), is quite impossible In Palestina Style. The consonant relation ofthe 2nd note in this part towards both the deeper parte ives preponderance, however, to the conception of tis note as disonance, and maker i clearly understood that not Dut the 20d note ofthe upperparts the real bearer of the dsonence Something lke this apples, with reference to the conception of the Alssonanee, to mot ofthe otter examples ofthis kind” Of especial fnterest here is Ex b in which the Sed note of the alto, if considered {ts aisonance, would represent an allogeerfaeely placed camblata ‘ssonance, Ite velaton to the extreme pars, however, characterizes 1 suongly enough as a consonance, atthe same time as the real lasonance—the 2nd ote in the tenor is unveiled. therefore we would ty to reconstruct the rule which was valid —conaciously of unconsciousy-for the composers af the 16th century rth respect to these mater, would Be about as follows: Dissonance Im noteagainst-note—provided the notes that stand in mutually dis sonant relaionship have the same value, and none ofthese are re peltons of immediately preceding notes—may only occur when the ‘otes in question are crohets. In cafes where note agaist-note parts ‘occur coincidentally with grater note-valesin other vices, the parts that progress in crotcels can elther be consonant oF dissonant a8 it may chance, provided each of these parts (when compared with each {nvidual part that has gresternote-vaes than crotchety, e correct: ly treated with regard to dissonance, I all the pats ata given musical moment are uted ip noleagaiastnote, each and every single pat rust progres rightly with respect to every other part, so far asthe Aisonance is concerned. That the practical consequences of the bast. Inypotesis which Rocksto incdentlly advances, was not sufie.ent to insure agaist breaches of style ie shown in the following phrase, ‘which though agreing with Rocksto's rule, yot is inconceivable in Palestina must: tn oth of these example ll the parts are correct in zlation tothe bass The cigcumstances thatthe upper vole In Ex. ais incorrect when ‘compared with the middle voice, and thatthe result of a comparison ofthe intermediate voices in Ex, b exposes quite an imposible ds Senance tcatmont, sutice to exclude these examples from Palestrina fyle For the exaction here is a8 stated Before, tat each individual partis “correct”, not alone in relation tothe bass But also to every ‘other par. The only exception ig found where note-aganst-note pats, ‘rough mutual comparison, show a free treatment ofthe dissonance, but thei elation tothe stationary notes atthe same time i zeproach- able, Compare the fllowing places, which farther illsrate the a tite of Palestine towards ditonance in note-aganst-not: P, X, 22, 2,3, 243, # ty A, 2, 3 65, 5, 4 1568 1,3, 73,2, + 45125, + 2 125,21, 15,23, 125,24 .V, 5,9, + 2, 48,1, 1579, 4.2 P-XL, 2,4, 150,22, PX, 69,2, 78,9, bP, 4, 3,2. XXIK BL, . XIN, 1,44 PIV, 18,2, + 2.P. VI, 196, 9,1 165,2. + 2.2. XIV, 141.4, BK 115,25 91172, + 15,3, 45. BX, 16,1 + 1, 4,4 3. PLXVE, 6,9, 2.P XVI 29,4, + 2 PK 41, 1 2,5 495,41 61,2, +2 90,4, 11,1 + 9 PAL, 40,2, 67,3, 17,3, 1 196,12, PKL, 127, +hm tis evident thatthe treatment of noteagainst-note in Paestenas| music denoted an extraordinary advance with respect to the sub- thal of the dissonance. For instance, i le not wnarul to encounter Ciaponance In minim aginst minim sil n comportions from Joequi's ‘a4 8,2, Mi at mi Se O52 2 Lan Tn == eed Also jn crotchet note Iarshness that is foreign to Palestrina syle: 173 be 4 64. Mie ders. Compare be 25 642) pocees {A characteristic circumstance about note-agenst-note stati wa permissible for a voice to continue its course, even though it treated 5s diaonance freely with regerd to a certain other vice, provided its more prominent coincident relations to other voices were correct. ‘Akln to this phenomenon is one which has nol yel been obwerved in cent esearch, which might vary reasonably be called “parasite dis “score, through is correct (or more fequenty, denticl relation to'a more prominent voice and under cover of the latter, may be tolerated To my knowledge, Cerone is the only musial theorist who wan clear about thea relations. He expres himait thu "Advierto mas que en Composicon de cinco bozes, se suelehazer COnzens al alzr del Compas con la parte mas alta 6 con otra de medio,subintrando & cantar despues de paus: verdad es que esta Onzena (@ Quarta) ha de ser Unisomis con una de Ias partes, 1a qual ha de spire precepto musical, sequn ls rglas decaradas In both ofthese examples it will be noticed that a fourth in elation to the base is feey introduced; but as they are each in unison with, (oF at the interval of an octave from, the correty tested fourth In ‘one ofthe other voices! they are thus covered 20. 5 Exactly simile relations are not to be found in Paleszina’s works, ‘0 fares I know altogether they are not of very frequent occurence, bot may occasionally be met with as in ‘M.D. 1-48 Anis Gabi: Mot Seo poten, ‘This cease 6, however not restricted tothe one situation which ‘Cerone points ou, but seems to have been based upon a principe of ‘eeeral vality ier, Open 1, 2 4 Mat Se param 1m this example, the 4th tone, 8, inthe tenor, collides harshly with ‘Ain the upper voice; asi is both introduced and continued by laps, Its employment here would be out of the question were It not fr its ‘octave relation to the B inthe bass which, omits part—belng quite correctly related to the upper voiee—covers the illegitimacy of the tenor’ progression. .tn the preceding example it the upper voice which undertakes to palate the very ireglary ated dissonance in the bass a ec inthe ts tenor the realy Sncoroct leap from D (ssonating ‘with Cin the upper voice) to G x mede possible by the ereumstance That the G ofthe tenor iin snison withthe G ofthe bess, which latter ole ie quite correct im zlation to the upper voce ‘Conpaze, with respect to this, the following PAZ +2 105,5, + 25151, 1, + 30. mL, 160, 2,4 PV, 80, 3. $40 Pt, M0,2, + 3,198 1,5, a7, 1 + 2 PMOL 18S, 3, FL P. XI 45, 9,5, 69,3, + 2 P.XV, 86,2, + 2; 105, 3, + 2.P. XVIL 67, 1,2 PHL, 44,2, AP. XXIM, 95,1, +3. PIOMV, Ba 2 + 3) 116, 3.4, 18% 1,2, 04, 9, FP IOKV, 18S, 2 PIOM, 19, 3, + 2B (d) 194 4-2). PX, 20,2, +4 20,1, 4D. XXEX, 112, 1, 1125 3,2 181, 2,2. P.XXXD, 76,1, 2 87,2, 1 68,1, + 4 PK, 16, 1+ 2. XXXIN 89,1, 3. "A couple of intances may be added PV, 124.2. Ma: sda Comme. P31 Mla: Oatve Examples Uke that last cited are extremely rere fo 16 century rosie, while on the otber hand they belonged tothe ordinary musica Yemacular of he BachHindel period. It should be noted thatthe ‘amples latterly cited here al Belong to the category, "paraie die fonance’, Whether this is accidental, or whether similer conditions fate posible, of Dellermana’ seemed to think, also without the com Selidtinginvence of the stationary note, ie a problem that T mart, leave unanewered, owing tothe small emoust of material at my dis- oa in the few instances with which Tam acquainted. “The betes that have been pointed out with reference to ds- sonance in noteagaintaote, as well as the idea: "parasitic dix Sonanes", afford interesting evidence ofthe predominantly horizon ‘ection of voition inthe 16th century. Although the harmonic cle ‘ment alo claimed its rights, which were often grated to a remarkable degree the chief alm wa the melodie besty ofthe incviduat parts. In situations where the vertical contol of th horiootal caused t+ ficlies, the occasion was often unscrupulousy utlzed t promote the feet possible development of melody. ', Ornamental Dissonance easy allied to passing dissonance are numerous forms of dls- sonance teatinent which ate attebutable to the mode of ringing end fo ormamentaion, These forms, as well as the pasingdisonance, are due exclusively to horizontal motives—the melodic form being of primary importance, and the Incidental consonance or dissonance of Teas significance, Ornamental dasonance may be divided into two soups: 1. The desonantauxlary-n0te, 2 Dissonance due to more developed forms of ornamentation. We understand by the first group a dissonance which 16 toll placed pon en enaccented Best, ad which is eelated as a second to fan accented consonant note, either precoding or racceeding, oF preced {ng as walla succeeding. The most ommonly employed form ofthis, family is tho dissonant rotuning note, Palestina’ works teem with ‘examples ofthis kind—wo may open them anywhere and find numbers ‘Linstances. Theories ofthe classical vocal polyphonic school didnot ‘write much concerning this dissonance form, seldom honouring it to {he extent of a bare mention—and even then most frequently merely to forbid its employment, ‘Aras says concering the following example: Sas] _——— that its est that the highest and lowest notes should be in accord and not, as many think proper, dissonant Iti also noticeable that Bellernann's attitude Is one of rejection: “Die Kemponaten des 16 JohehundertsKannten zwar diese Art der Disonans auch, wate sle Indes nur bel schneleren Notengattungen, Vierteln und Aebala, und fete Bier mor slten an"? Bat “elt” ls certainly notte fiting expression inthis connec: From a profusion of example, I chooee indicrinis aly, P.M, Ml: Nat ‘tecten we only conatactons. sconvapeit” 4‘The retuming-ote descends heze—a5 most fen in this form, Ascending isles frequent, tough by no means rae, PX 0,34 Min: Ad pam 4, 3, Mis Bev Compare with thet, als: P.X, 9 3, M4 2.4 927. 8 4s 32,2 $ BRA 1 126, 3 1s 1M, 5,3 145, 2 + 1; 10, 1, 1 1, AE APY, 15,3, 1,28, 3, 4 2 and + 1) 34,2, 4 10, 2,1) 1441, S se PX, 3 + Aand +P. 10,1, 4696, 3, +2171, 2 P.XI, 39,3, 3,71 1,74 1, + 2 7, 21s 7, Hy A (eoneientaly ascending and descending returing-aote = 71, 2. 2). P. XI, 48, 12:00, 1+ 11, +4 ‘The reason why the ascending dissonance {like the minim di sonance) mst be fed with greater dgerevon than the descending fom, is probably thatthe effect ofthe higher note Is more steking than the lower, fee . 52), and that contequently the dissonance i troduced ater a preciding lowe note ls more obvious than when the Introduction comes from above. 181 ‘The retuming-note fe wed almost exclusively with extehets or queves in Palestrina. Instance with minis are very ree 1h 442 Hyman: Do trom at, Examples lke the lst quoted occur, according to my observation, aly in coneung adences, Se P VIL 32,4, + 2) 172.1, +2. PX. 13,4 2, Casimir: “Codie $0", Musical Supplement 10, 4 + 2 P.XVIM, 19, 1 + 1, P.XOKV, 208, 1, + 3 PL XXX, P41, + 2 Ud) 17,3, +2 (4), P, XXL 08,4 + 2 127,32, 190, 2, However, they te sll oftener found inthis form:PU 1,442 Mie Ave rept ora, ‘The minim dissonance is replaced here by a crochet. Compare furthermore: ll 62,3 + 2, 04,2, + 2, 08,4, +2; 11,1, +2. P.M 33, + 1 Xl 54,1, + 2,198, 3,4 2. P.XMV, 3, 4 2,18, 9,78 4D Vit, 100,2, +2. XIX, 116, 2, + 2 181 3, -F 2 PEXXL 0,9, +2 POXKV, 11, 3,4 4 PHO, §,2, + 29,3, 42 In all these instances the retarnng-note i introduced asa link of the same melodie phrase: the ordinary, omameated, concluding fons ‘la ith suspension before the 3rd of the dominant triad, whichis further embellished by an ascending rtuaing-note. The conditions {or the employment ofthe returing-note ae, ax eleeedy mentioned, ‘hat H must come from a consonant note and return to the same, ia conjunction withthe stipulation that it ean only be placed upon ‘une Accented bests. These conditions were metstaned almost without ex- ‘ception by Palestrina. I know of but two places where he hes dis- sopance aa both the returning-ote andthe preceding cotchets PX 4 dob Mi: Ba cn maga P84 2 Min: spe 1s surely not by chance that both these instances are found in the Int volume of master, Pulestring’s Opus L) in which there is @ ety of things which, judged fom his ater standpoint in style soem ‘antiquated. ‘The accented retuningnote i only encountered in Palestrina’ ‘works in quovers, (in time also in crotehets, ofcourse, whieh cor ‘respond to quavers in normal notation)" We further find the erotebet, retuming-note accented in compositions from the Second Netherland ‘Sehool, though as a rule it is only placed upen the unaccented minim: Inga des Pret: Mant Lie a st Toe utes P+. ty apereny et secordg to he gal won ct th Slane CE mee fn 1), gave