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24 JULIE E. CUMMING Example 1. Josquin Desprez, Ave Maria, bb. 1–35, Motetti A numero trentatre A, Petrucci, Venice (RISM 1502 1 ), fol. 2v–3. Material in boxes is the only music not repeated.
FROM VARIETY TO REPETITION: THE BIRTH OF IMITATIVE POLYPHONY poser to conceal or avoid imitation; most mid-fifteenth-century sacred music contains imitation only in certain limited contexts. Let us look, for example, at Flos de spina, a motet by Johannes Pullois, probably composed in the 1450s (Example 2). 7 The imitative passages are enclosed in boxes. Imitation in mid-fifteenth-century sacred music serves as an ornamental addition to a fundamentally non-imitative texture. It rarely corresponds in a noticeable way with units of text, due in part to the highly melismatic style, and the fact that it emerges in the middle or at the end of a phrase, rather than at the beginning, without being preceded by rests. It usually occurs: (1) in two voices only, either in duet sections (Example 2, bb. 19–21) 8 or over a pedal tone in one voice (Example 2, bb. 6, 11–12, 18–19, contratenors over held cadential pitches in the tenor); (2) the second voice often follows very closely, after only one beat or half a beat (short time interval of imitation, as in Example 2, b. 20 ff.); 9 (3) rhythmic values between the two parts are different, resulting in shifting time intervals of imitation (Example 2, bb. 19–21); (4) the time interval of imitation often conflicts with the mensural structure (one minim, as in bar 20; three minims as in bar 12). This mid-fifteenth-century use of imitation is clearly very different from the pervasive imitation found in Josquin. So how did we get from Flos de spina to Ave Maria? What allowed pervasive imitation to emerge? I suggest that the late fifteenth century saw a radical shift from an aesthetic that valued ‘variety’ to one that valued ‘repetition’ as an organizing force. 7 J. CUMMING, The Motet in the Age of Du Fay, Cambridge, 1999, pp. 239–253, esp. pp. 245–246. 8 Thomas Brothers suggests that imitation in duet sections is a “vestige of the introitus sections of isorhythmic motets of old”. See T. BROTHERS, Vestiges of the Isorhythmic Tradition in Mass and Motet, ca. 1450–1475, in Journal of the American Musicological Society, 44 (1991), p. 38. 9 Ludwig Finscher calls this fuga ad minimam, in L. FINSCHER, Loyset Compère (c. 1540–1518): Life and Work, (Musicological Studies and Documents, 12), 1964, p. 136. 25
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