YEARBOOK OF THE ALAMIRE FOUNDATION

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108 C. MATTHEW BALENSUELA Franchino Gaffurio’s Theoria musice, first printed in Milan in 1492, may serve as an example of a printed treatise to use in contrast with de Muris’s work. 27 While there are, of course, tremendous differences between the two, both are speculative treatises that borrow heavily from Boethius and both lack examples of printed music. Gaffurio’s figures of the perfect consonances (which are slightly different from the figure in de Muris) appear in Book 4, chapter 2 (Figure 4). What is striking in terms of the exemplarity of the chapter is the specificity of Gaffurio’s text in its description of the figure. In place of de Muris’s general description of a circular figure of some sort, Gaffurio’s descriptions of his examples are precise and exact. The examples appear close to the text they are describing. Thus, when Gaffurio employs the rhetorical exemplary phrase, hec omnia presens figura apertissime demonstrat, to introduce the second example in the chapter, the reader knows exactly what to look for in the figure, and how it relates to the narrative. In comparing the figures on consonance in both the de Muris and Gaffurio treatises, I do not mean to suggest that all examples in all manuscript-transmitted treatises are as ambiguous as the figure related to the fourth proposition of Book 1 in the Musica speculativa. The exemplary ambiguity in this passage rests as much in the abstract nature of what de Muris is trying to express as it does in the versions of the figures as they appear in individual sources. Nevertheless, while providing only one example each from a written and printed tradition, I would like to suggest that a possible further area for study is the way in which the technology of printing changed the content of music theory texts. Such studies have proven fruitful in a wide range of areas in music and may prove useful as well in the matter of exemplarity in music theory. 28 With the advent of printing, it is possible to propose that theorists would begin to write theory in a different manner from their manuscript-bound predecessors. Knowing that their figures would appear clearly in a specific relation to the text may have changed the way writers in a print culture wrote about their figures and diagrams and integrated the two narratives in new ways, just as theorists in a print culture began to use musical examples in different ways from their manuscript-based predecessors. Investigating such suggestions would surely be possible with further research in the field of figures and theory texts. One example of the changes brought about by printing may be seen in the renewed interest in tuning and temperament that took place in the late-fifteenth and sixteenth centuries. The exactness of figures and diagrams which printing brought was excellently suited for these highly technical 27 F. GAFFURIO, Theoria musice, Milan, 1492, repr. New York 1967. English trans. by W. KREYSZIG, The Theory of Music by Franchino Gaffurio, (C. PALISCAed., Music Theory Translation), New Haven – London, 1993. 28 In addition to JUDD, Reading Renaissance Music Theory, see K. VAN ORDEN ed., Music and the Cultures of Print, (Critical and Cultural Musicology, 1; Garland Reference Library of the Humanities, 2027), New York – London, 2000.
THE TRANSFORMATION OF MUSIC THEORY ILLUSTRATIONS FROM MANUSCRIPTS TO PRINT* Figure 4. Franchino Gaffurio, Theoria musice, Book 4, chapter 2, Milan, 1492, repr. New York, 1967. 109
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YEARBOOK OF THE ALAMIRE FOUNDATION
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Yearbook of the Alamire Foundation
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... NEC NON TYRONIBUS QUÀM EIUS AR
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DRINKING MOTETS IN MEDIEVAL ARTOIS
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TRIPLUM (TRANSLATION) Hare hare hye
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TRIPLUM (TRANSLATION) Domine ainz q
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TENOR (TRANSLATION) Domine tant ai
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FROM VARIETY TO REPETITION: THE BIR
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Figure 4. Plan of the Marienkirche
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160 RICHARD FREEDMAN Lasso’s chan
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166 RICHARD FREEDMAN II, who ruled
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176 RICHARD FREEDMAN prejudice both
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178 BERNHOLD SCHMID Lassos vierundz
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186 BERNHOLD SCHMID Beispiel 3a: Nu
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Corsini, n° 28 Deh perche si rebel
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252 SUSAN LEWIS HAMMOND 1 The listi
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