Scribd Logo
Unggah

Selamat datang di Scribd!

  • Meier - The Modes of Classical Vocal Polyphony

    Diunggah oleh

    Jaime
    482 tayangan7 halaman
    Modos de Polifonía Clásica Vocal.

    Hak Cipta

    © © All Rights Reserved

    Format Tersedia

    PDF atau baca online dari Scribd

    Apakah menurut Anda dokumen ini bermanfaat?

    Apakah konten ini tidak pantas?

    Laporkan Dokumen Ini
    Modos de Polifonía Clásica Vocal.

    Hak Cipta:

    © All Rights Reserved
    Unduh sebagai PDF atau baca online dari Scribd
    Tandai sebagai konten tidak pantas
    482 tayangan7 halaman

    Meier - The Modes of Classical Vocal Polyphony

    Diunggah oleh

    Jaime
    Modos de Polifonía Clásica Vocal.

    Hak Cipta:

    © All Rights Reserved
    Unduh sebagai PDF atau baca online dari Scribd
    Tandai sebagai konten tidak pantas
    dari 7
    88 Part 1 “The “pravca” of recognizing « mode from Neely nen in conngton wth fe oul fo inal cadene tenor, then ehose ofthe basso the regulary transposed modes. The formulas for Modes 1 and selected for purposes of illustration. They are: Tenor (bk. 3, ch)30): Mode 1 transposed Mode 2 transposed Ss) [== Bass (bk. 3, ch. 31) Mode 1 transposed 7 Mode 2 transposed = \ SS revealing, renée whether the series of said about the bass here\s especial ‘of our harmony it would rake he final cadence were te lly “ruling” voices and two efofe our eyes as something familiar, even thebas cance it ay have hed ic and polyphonic ected only relationships lity of one pair of the other pair. The ayy/Subordinated to the “ruling” modality features to which our study will apply are yes specific principles for inventing motives for imitation, and fase of cadences, which likewise is modally specific. To: h the easier thing, let us turn first to the second set of featured, Let us aytempt to define what a cadence sand the modal ranking of cadences, again ly on the bass ofthe evidence of contemporary musi theory. Chapter 4 Cadences: Stylistic Analysis and Modal Rank the improvisato cadence in the ‘Two aystems of terminology develop with respect to cadences, corre- sponding to this two-fold manner of looking at cadences; we mn ising heir tee and conten. The ed unfamiliar to today’ swhat they encompa 90 Pare 1 A—Stylistc Principles of the Cadence We find that thetigun “cadence>is used mast frequently init alan form, is found in this and the (possibly later} Latnized form cadentia ) by the early sixteenth century, in works by Halian authors lke Piet ‘Aron and Stefano Vanneo.? Among synonymous teme—Vanneo mentions and explains no fewer the phrase clausula refers unequivocally to closing musical phrases, clausula and cadenza reflecta double mea entire cadence a its parts; the stereotypical melodic ‘which the individual voices ofthe composition cadence are also cal or caderie. This strange way of speaking shows us something that we can also learn from the detailed explamations of cadences given by sixteenth-century authors: even these musical phrases for constructing caesuras, endings in which we can recognize the earliest suggest - gression, are not yet viewed primarily as chordal structures, but primarily as contrapuntal; and itis only by taking thecontrapuntal origimpf the cadence as ‘of departure that we will again be able of sixteenth-century cadences—especally those that seem not to lead to the ‘expected conclusion. | Even in the sixteenth century, progressing from an imperfect to a per consonance is the basic process in a cadence ideally. For examy _-- fourteen words that Vanneo lists forthe phenomenon cadence (caden excepted) ae explained with respect this process. AGwo-voice compo ‘ramework is the core of al eade their common characteristic. Howeve made up ‘two voices that we expect t be primary, soprano and bass (with a V- chord Chapter 2 correspond [tothe voices in which they usually occur], clausula cantizans (second upward) and clausula {fenarizans (second downward). They can also be exchanged with each other ‘easly, s0 that the two voices move together from a third ro However; in practice the lausula cantizans usually appears in richer fit. ‘ornamented by a suspensioa: In this form, the cadence encompassexie# id antepentultimat, penul- : pees the order of all three tones is 92 Part __Cadences ofthis arl kn, in which the cantzas formula an be i= ientedeven more highly are often called clusulac forme st {othe basic “simple” form without suspension (clqusula simp A farther cadence types, the “cadenza maggiore” ino, fol. 57: “cadenze maggion aon moderne sm by masters of the second half of the cent movingby eorrary marion hove tis canvizans Pr right more rec In the second main class of cadence structures for three or more voices ' however, @ new cadential form dl izan®) proper to the clausula tenorizans, The penultimate w the way itis described by sixteenth- AIVERSIDED DE SRARLDA Chapter 3 Be discussed). The later form ofthe causulabasizan Sausth.or a fifth present in a cadence with the chord Ve familiar to us. However, the situation already mentioned above on p. 88 shows just how litle this “harmonic” process is considered something in- us displays the leap ofa sequence. Below are shown first wi sulae cantizans, tenorizans, and basizans ences for four voices, with the second basic form of the clausula altizans added From the early fifteenth century on, illustrated above—cadences with “claust cadences in which the clausula basizans is the However, during the fifteenth fandamento”—irst in the form with an ocave leap Dressler calls Burm interv and cl Jn ay 0 cadence. For Dre tenorizans as the lowest ‘wice, by contrast, represent somethi”onl¥”semi sable only, within works or atthe end of a mere prima pars. And cadences of three voices, 94 Pare without a third, which we described first—are used to make a phrase sound otshe d equently intended, well known. By the early sixteenth century, such sharping was required by Italian theorists ike Aron and Vanneo and by the Spaniard Francisco Tovar. Zarlino and Seth Calvisius (who depended on Zarlino in many ways) agree “with this opinion, as does Vicentino; for, in Vicentino's opinion, the lack of Chapter 4 95 [sounds better} than a cadence that has only a minor sixth (between cantus and tenor at the penultimate note). On the o author as open to what is new in his time as Joachim Bui made." A look at practice shows around t ore precisely, until (end including) masters ofthe stylistic period of Gombert entury— and Clemens non Papa {the masters of the moter collections published at “Antwerp around 1550), bat even longer among their stylistic descendants (fr the work of Lasso’s contemporary Jaebus Vaet, who died young, and in England even until William Byrd (1543-1623))—there are sion—is doubled by an ent part-books,, a5 was usual compositional sketches or cantizans would be “warned! justin the penultimate note in the case mer singer undertook the usual “st procedure ofthe other vice have eoineided. Such from every “sustentatio” inthe clausula can sixteenth-century instrumental arrangemen people did not consider such dissonances and in vocal performance they go by alm ly if one refrained ins. However, examples of and_compositions show chat lerable in instrumental music; 3 unnoticed in 2 work for several ss disturbing in every cas “italianized”_Jate Netherlands_style—that among others—these “doubtful cases, ment, are essentially eliminated."® Cadences in which sharping the pent 96 Part ‘timate note of the clausula cantizans is at all questionable or in which such sharping is prevented by the voice leading (except cadences formed simply as “cadence fuggite” in the clausula cantizans) now appear only as “arch “aly sriten” phrases-something ineentionallysgaint the rules, aed for word expression. sportance of such questions about acci- “refinement” of the cadence suggests a ifental”-sighificance in determining the mode, A composition does. not ‘become modal’) only because its cadences lack‘leading toned, and accidental es" before every single cadence in a work sill dom ‘modal nature of the whole; for this rests on deeper principles, as has already been shown at least in general and as will be demonstrated in detail Now the structare ofthe four-voieeGlausula infor, as Dresser cll he eile mols) ust fe css luna sriperes,” thas, one in which hate s formula is the lowest voice, it offers no special problems. Constructed in this ‘way, it appears in the following forms, for example: st 4 SSS aor dope vdament,” the voice leading formulas inother cadences; 11's penultimate note, but In each case, the alts is added wherever i finds room within the three-voice thout causing errors in voce leading ‘words, in our customary way of hear bass, we would be inclined prior to consider or aimed toward (A ming®)” Butsixteenth-centu ictheory calls bot of cadence, [a] aswell as [b, by the name “clausula in mi"; moreover, the typeof cadence-in-which the bass stands a fifth (or twelfth) below the cantus-tenor octave first—or even alone—among the types of cadences on mi ®®Not a word suggests that a comy aasadence; gat even musical exampl 98 Part i Chapter 4 cy of the cadence iord progression from penl- leading—the relationship rsizans replaces the relationship interest. ‘) na ee od la a sound tne acter ofa final cadence. Consequenth 12, cadences ofthis sort are used very frequently, and they often seem in every case the bass must proceed further, to final cadences in mi, while See ‘cadences —note wel, even in th voz cth-to-octave cadence in tenor and cantus; the tenor formula fa However, cadences are not always brought to the end thatthe listener ex pects when they begin. Rather, the fiteenth century, and the sixteenth cen- tury even more, knows many skillful techniques for allowing cadences to be perceived as articulating caesuras, but for weakening their conclusive effect 10 a greater or lesser degree. This Tfugair la cadenza)” wed rarely and in rela~ ike the strengehening of the bass in general, the disappearance of this practice may well be considered a sign of how, precisely because cadences are hee Taert’sstuden fal A normal cadence can be weakened toa “cadenza fuga several voices begin thei stead of sounding the! Of course, the expected last note often appears after this rest, but now For more dion his se Mee, "Worausteatungd Tensei rand Lan,” Klb ee becomes the beginnirig of a new phrase of text and melody. | i 100 Pare 1 1 © ee rier — 44 2 aly bg atts An evaded cadence can also be broug ¢ on the penultimate note of a caden voice resting until now enters. To besure, considered purely in mt tive” of this newly-entering voice corresponds to one of the the cadence its perceived asthe beginningof head mie [cl Furthermore, a conclusive cadence is avoid resting until now, enters with a consonance othe below the last note ofa “semiperfea” cadence beg 4 a a= Write = 11) ie ‘wo or three voices Which form of the above type of cadenza fugaita is selected is up to the ‘composer. Both of them are established and explained by the rule of compo- sition that permits ithe third or a filth (reckoned from the cadential ‘octave or unison) bel rule thet is common t ‘octave consonance between soprano and tenor—a iteenth-

    Anda mungkin juga menyukai