YEARBOOK OF THE ALAMIRE FOUNDATION

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110 C. MATTHEW BALENSUELA and detailed discussions. I am not proposing that printing was the cause of this debate, but that the specificity printed examples afforded, along with the wide circulation of printed treatises, provided a rich environment for the debate to take place. Thus a work like Ludovico Foliani’s Musica theorica (1592) relies heavily on the exact representation of the monochord divisions it presents. 29 TOWARDS A CATALOGUE OF ILLUSTRATIONS IN WESTERN LATIN MEDIEVAL AND RENAISSANCE THEORY TREATISES, C. 1000-1600 This article has explored the conceptual issues involved in exemplarity in early music theory and presented a limited exploration of these issues as a prolegomena to the creation of a catalogue of illustrations in western Latin medieval and Renaissance theory treatises, c. 1000–1600. Figures should be seen as being of equal importance to the more commonly studied types of exemplarity seen in music theory treatises – quotations and musical excerpts. In proposing the study of figures and illustrations in music theory as a relatively unexplored field of research in our discipline, this article suggests that in addition to a catalogue of source materials, further work in this area would include the refinement of the theory of exemplarity as applied to music theory as well as the regular use of a critical apparatus to convey to the modern reader the variety of differences found in the sources. When scholars have a stronger sense of the range of examples in the corpus of early music theory, a consistent editorial apparatus to explain the variations in the figures to modern readers, as well as a broader theoretical framework to conceptualize these examples, then we will begin to understand more fully what the figures are teaching us. 29 L. FOLIANI, Musica theorica, Venice, 1529, repr. New York 1969 (Monuments of Music and Music Literature in Facsimile, 2/93); and L. FOLIANI, Musica theorica, Venice, 1529, repr. Bologna 1970 (Bibliotheca Musica Bonoiensis, Series 2, 1).
CHANGE AND CONTINUITY IN TWENTIETH-CENTURY TEXTBOOKS ON SIXTEENTH-CENTURY COUNTERPOINT * Thomas Holme Hansen University of Aarhus During the twentieth century an increasing number of textbooks on sixteenth-century counterpoint have been published, and recent debates on counterpoint taking place on international e-mail discussion-lists 1 indicate a continuous interest in the different problems related to these books. Among the issues under discussion are the adherence to traditional species counterpoint versus other didactic approaches, ‘abstract’ versus ‘stylistic’ counterpoint, Renaissance repertoire examples versus treatise rules, and so on. No doubt, one of the most important and best known textbooks is Knud Jeppesen’s landmark study, Kontrapunkt (Vokalpolyfoni). Since its first publication in 1930 Jeppesen’s book has served as a ‘classic’ manual in counterpoint teaching in many educational institutions throughout the world. Considering, though, that nearly every aspect of sixteenth-century music since then has been the subject of specialized research, it is interesting that Jeppesen’s work maintains an authoritative position and is still in use around the world. Taking Jeppesen’s textbook as a starting point, the present study will take a closer look at some of the other textbooks published since Jeppesen’s. It is obvious that a systematic and detailed rule-by-rule comparison on melody, dissonance-treatment, text-setting, and so forth, among a substantial number of textbooks would be an undertaking of vast dimensions clearly exceeding the scope of this short presentation. So, with the purpose of pointing to some of the most important changes and continuities in twentieth-century textbooks on sixteenth-century counterpoint, the following exa- * This work was supported by a grant from the Danish Research Council for the Humanities. Prior to the presentation at the 17th International Congress of the International Musicological Society, Leuven, August 2002, elements of the text were presented in two papers delivered: (1) at the 13th Nordic Musicological Congress, Aarhus, August 2000 (cf. T.H. HANSEN ed., 13th Nordic Musicological Congress – Aarhus 2000. Papers and Abstracts, University of Aarhus, 2002, p. 164); and (2) at the 1. Kongress der Deutschen Gesellschaft für Musiktheorie, Dresden, October 2001. Portions of the text have been translated and revised from T.H. HANSEN, Knud Jeppesens ‘Kontrapunkt’ – og de andres. Nogle observationer vedrørende kildegrundlaget for et udvalg af lærebøger i vokalkontrapunkt fra det 20. århundrede [Knud Jeppesen’s ‘Counterpoint’ – and that of others. Some Observations on the Sources for a Selection of 20th-Century Manuals on 16th-Century Vocal Polyphony], in Dansk Årbog for Musikforskning, 28 (2000), pp. 35–52. An investigation of half note dissonance in two-part counterpoint conducted on a similar selection of twentieth-century textbooks as in the present article, can be found in T.H. HANSEN, Die Satzlehre zur ‘klassischen’ Vokalpolyphonie. Satztechnische Realitäten zwischen deutschen und anglo-amerikanischen Forschungstraditionen?, in L. HOLT- MEIER, M. POLTH and F. DIERGARTEN eds., Musiktheorie zwischen Historie und Systematik. 1. Kongreß der Deutschen Gesellschaft für Musiktheorie, Dresden 2001, Augsburg, 2004, pp. 263–274. 1 For example, the list of the Society for Music Theory (during March 2001). 111
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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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Vir - - - go se - re - - FROM VARIE
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ANEW KIND OF PATRON FROM VARIETY TO
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THE ROLE OF ACOUSTICS IN THE PERFOR
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Figure 4. Plan of the Marienkirche
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160 RICHARD FREEDMAN Lasso’s chan
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162 RICHARD FREEDMAN prints, but by
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166 RICHARD FREEDMAN II, who ruled
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170 RICHARD FREEDMAN APPENDIX Docum
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172 RICHARD FREEDMAN Royaume que bo
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176 RICHARD FREEDMAN prejudice both
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178 BERNHOLD SCHMID Lassos vierundz
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180 BERNHOLD SCHMID cepta (quae nec
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182 BERNHOLD SCHMID sei senza parol
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184 BERNHOLD SCHMID Beispiel 1a: Ko
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186 BERNHOLD SCHMID Beispiel 3a: Nu
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188 BERNHOLD SCHMID Beispiel 5: Num
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192 BERNHOLD SCHMID Mensur in Numme
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MUSIQUE ET POLITIQUE À FLORENCE DA
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Corsini, n° 28 Deh perche si rebel
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226 SUSAN LEWIS HAMMOND Figure 1. M
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