Trope (music)

A trope or tropus may refer to a variety of different

concepts in medieval, 20th-, and 21st-century music.

The term trope derives from the Greek τρόπος

(tropos), "a turn, a change",[1] related to the root of the
verb τρέπειν (trepein), "to turn, to direct, to alter, to
change".[2] The Latinised form of the word is tropus.

In music, a trope is adding another section, or trope to

a plainchant or section of plainchant, thus making it
appropriate to a particular occasion or festival.

Contents
Medieval music
20th-century music
See also
References
Troparium (called as such because the
Further reading
tropes of the chant are written down) of St.
Michael, who is depicted fighting fantastic
birds, 11th century
Medieval music
From the 9th century onward, trope refers to additions of new music to pre-existing chants in
use in the Western Christian Church.[3]

Three types of addition are found in music manuscripts:

1. new melismas without text (mostly unlabelled or called "trope" in manuscripts)

2. addition of a new text to a pre-existing melisma (more often called prosula, prosa, verba or
versus)
3. new verse or verses, consisting of both text and music (mostly called trope, but also laudes
or versus in manuscripts).[3]. The new verses can appear preceding or following the original
material, or in between phrases.

In the Medieval era, troping was an important compositional technique where local composers
could add their own voice to the body of liturgical music. These added ideas are valuable tools to
examine compositional trends in the Middle Ages, and help modern scholars determine the
point of origin of the pieces, as they typically mention regional historical figures (St. Saturnin of
Toulouse, for example would appear in tropes composed in Southern France). Musical
collections of tropes are called tropers.
Tropes were a particular feature of the music and texts of the Sarum Use (the use of Salisbury,
the standard liturgical use of England until the Reformation), although they occurred widely in
the Latin church. Deus creator omnium, was widely used in the Sarum Use and is in the form of
a troped Kyrie:

Deus creator omnium, tu theos ymon nostri pie eleyson,

tibi laudes coniubilantes regum rex magne oramus te eleyson,
laus, virtus, pax et imperium cui est semper sine fine eleyson,
Christe, rex unice, patris almi nate coeterne eleyson,
qui perditum hominem salvasti, de morte reddens vite eleyson
ne pereant pascue oves tue Jesu, pastor bone, eleyson.
Consolator spiritus supplices ymas te exoramus eleyson.
Virtus nostra domine atque salus nostra in eternum eleyson,
summe deus et une, vite dona nobis tribue misertus nostrique tu digneris eleyson.[4]

O God creator of all things, thou our merciful God eleyson,

we pray to thee, O great king of kings, singing praises together to thee eleyson,
to whom be praise, power, peace and dominion for ever without end eleyson,
O Christ, sole king, O Son coeternal with the kind Father eleyson
who saved mankind, being lost, giving life for death eleyson
lest your pastured sheep should perish, O Jesus, good shepherd eleyson.
Consoler of suppliant spirits below, we beseech thee eleyson,
O Lord, our strength and our salvation for eternity eleyson,
O highest God, grant to us the gifts of eternal life and have mercy upon us eleyson.[5]

The standard Latin-rite ninefold Kyrie is the backbone of this trope. Although the supplicatory
format ('eleyson'/'have mercy') has been retained, the Kyrie in this troped format adopts a
distinctly Trinitarian cast with a tercet address to the Holy Spirit which is not present in the
standard Kyrie. Deus creator omnium is thus a fine example of the literary and doctrinal
sophistication of some of the tropes used in the Latin rite and its derived uses in the mediæval
period.

20th-century music
In certain types of atonal and serial music, a trope is an unordered collection of different
pitches, most often of cardinality six (now usually called an unordered hexachord, of which
there are two complementary ones in twelve-tone equal temperament).[6] Tropes in this sense
were devised and named by Josef Matthias Hauer in connection with his own twelve-tone
technique, developed simultaneously with but overshadowed by Arnold Schoenberg's.

Hauer discovered the 44 tropes, pairs of complementary hexachords, in 1921, allowing him to
classify any of the 479,001,600 twelve-tone melodies into one of 44 types.[7]

The primary purpose of the tropes is not analysis (although it can be used for it) but
composition. A trope is neither a hexatonic scale nor a chord. Likewise, it is neither a pitch-class
set nor an interval-class set. A trope is a framework of contextual interval relations. Therefore,
the key information a trope contains is not the set of intervals it consists of (and by no means
any set of pitch-classes), it is the relational structure of its intervals.[8]
Each trope contains different types of symmetries and significant structural intervallic relations
on varying levels, namely within its hexachords, between the two halves of an hexachord and
with relation to whole other tropes.

Based on the knowledge one has about the intervallic properties of a trope, one can make
precise statements about any twelve-tone row that can be created from it. A composer can
utilize this knowledge in many ways in order to gain full control over the musical material in
terms of form, harmony and melody.

The hexachords of trope no. 3 are related by

inversion. Trope 3 is therefore suitable for the
creation of inversional and retrograde
inversional structures. Moreover, its primary
formative intervals are the minor second and
the major third/minor sixth. This trope
contains [0,2,6] twice inside its first hexachord
(e.g. F–G–B and G ! –A ! –C and [0,4,6] in the
second one (e.g. A–C " –D " and B ! –D–E). Its
multiplications M5 and M7 will result in trope
30 (and vice versa). Trope 3 also allows the
creation of an intertwined retrograde
transposition by a major second and therefore Mirror canon based on an inversional twelve-tone
of trope 17 (e.g., G–A!!–C–B–F–F"–|–E–E!!– row (from trope 3)
C " –D–B ! –A → Bold pitches represent a
hexachord of trope 17).[9]

In general, familiarity with the tropes enables a composer to precisely predetermine a whole
composition according to almost any structural plan. For instance, an inversional twelve-tone
row from this trope 3 (such as G–A!–C–B–F–F"–D–C"–A–B!–E–D") that is harmonized by
the [3–3–3–3] method as suggested by Hauer, will result in an equally inversional sequence of
sonorities. This will enable the composer, for example, to write an inversional canon or a mirror
fugue easily (see example 1). The symmetry of a twelve-tone row can thus be transferred to a
whole composition likewise. Consequently, trope technique allows the integration of a formal
concept into both a twelve-tone row and a harmonic matrix—and therefore into a whole musical
piece.[10]

See also
Trope (cantillation), (Yiddish ‫)טראָפ‬, the notation for accentuation and musical reading of the
Bible in Jewish religious liturgy

References
1. Liddell and Scott 1889.
2. Anon. 2009.
3. Planchart 2001.
4. Sandon 1997, p. 8.
5. Page 1996.
6. Whittall 2008, 273.
7. Whittall 2008, 24.
 7. Whittall 2008, 24.
8. Sedivy 2011, 83.
9. Sedivy 2011, 83–90, 98, 116.
10. Sedivy 2011, 85.

Sources

Anon. 2009. "Trope", Merriam-Webster Online Dictionary (http://www.merriam-webster.com/

dictionary/trope), retrieved 16 October 2009
Liddell, Henry George, and Robert Scott. 1889. "τρόπος]". In An Intermediate Greek-
English Lexicon. Oxford. Clarendon Press. Online at Perseus (https://www.perseus.tufts.edu
/hopper/text?doc=Perseus%3Atext%3A1999.04.0058%3Aalphabetic+letter%3D*t%3Aentry
+group%3D23%3Aentry%3Dtro%2Fpos). (Accessed 22 December 2009).
Page, Christopher (1996). "Missa Caput (Kyrie 'Deus creator omnium'), notes" (https://www.
hyperion-records.co.uk/tw.asp?w=W11748&t=GBAJY9685702&al=W11748_66857).
Hyperion Records.
Planchart, Alejandro Enrique. 2001. "Trope (i)". The New Grove Dictionary of Music and
Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan
Publishers.
Sandon, Nick (6 January 1997). "5. Kyrie Deus Creator". CD1: Music for Henry VIII (https://
www.brilliantclassics.com/media/445994/94268-Tallis-Complete-Works-Notes-and-Sung-tex
ts-download.pdf) (PDF) (Program booklet). Thomas Tallis – The Complete Works. Brilliant
Classics.
Sedivy, Dominik. 2011. Serial Composition and Tonality. An Introduction to the Music of
Hauer and Steinbauer. Vienna: edition mono/monochrom. ISBN 978-3-902796-03-5.
Whittall, Arnold. 2008. The Cambridge Introduction to Serialism. Cambridge Introductions to
Music. New York: Cambridge University Press. ISBN 978-0-521-86341-4 (hardback)
ISBN 978-0-521-68200-8 (pbk).

Further reading
Dewhitt, Mitzi. 2010. The Meaning of the Musical Tree. [USA]: Xlibris Corp. ISBN 978-1-
4500-3070-0.
Hansen, Finn Egeland. 1990. "Tropering: Et kompositionsprincip". In Festskrift Søren
Sørensen: 1920. 29 September 1990, edited by Finn Egeland Hansen, Steen Pade,
Christian Thodberg, and Arthur Ilfeldt, 185–205. Copenhagen: Fog. ISBN 87-87099-32-2.
Hauer, Josef Matthias. 1948..
Knapp, Janet. 1990. "Which Came First, the Chicken or the Egg?: Some Reflections on the
Relationship between Conductus and Trope". In Essays in Musicology: A Tribute to Alvin
Johnson, edited by Lewis Lockwood and Edward Roesner. [Philadelphia?]: American
Musicological Society. ISBN 1-878528-00-9.
Perle, George. 1991. Serial Composition and Atonality: An Introduction to the Music of
Schoenberg, Berg, and Webern, sixth edition, revised. Berkeley: University of California
Press. ISBN 978-0-520-07430-9.
Sedivy, Dominik. 2012. Tropentechnik. Ihre Anwendung und ihre Möglichkeiten. Salzburger
Stier 5. Würzburg: Königshausen & Neumann. ISBN 978-3-8260-4682-7.
Sengstschmid, Johann. 1980. Zwischen Trope und Zwölftonspiel: J. M. Hauers
Zwölftontechnik in ausgewählten Beispielen. Forschungsbeiträge zur Musikwissenschaft 28.
Regensburg: G. Bosse. ISBN 3-7649-2219-2.
Summers, William John. 2007. "To Trope or Not to Trope?: or, How Was That English Gloria
Performed?" In Music in Medieval Europe: Studies in Honour of Bryan Gillingham, edited by
 Performed?" In Music in Medieval Europe: Studies in Honour of Bryan Gillingham, edited by
Terence Bailey and Alma Santosuosso. Aldershot, England; Burlington, Vermont: Ashgate
Publishers. ISBN 0-7546-5239-4, 978-0-7546-5239-7.

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