Counterpoint and Compositional Process in the Time of Dufay

by Moll,Kevin N.; Moll,Kevin N.

• ISBN13: 9780815323464
• ISBN10: 0815323468
• Format: Hardcover
• Copyright: 1997-10-01
• Publisher: Routledge

Summary

During the 1950s and 1960s, Austro-German scholars made decisive advances in developing concepts to account for "harmonic" processes in late medieval music. Despite the considerable potential these ideas hold for analysis and criticism of early music, they have hitherto exerted little influence outside their countries of origin. In order to render this valuable literature more immediately accessible to English-speaking students and scholars, this book presents translations of twelve seminal articles that originally appeared during the years 1948-1967, along with a comprehensive introductory chapter detailing the evolution of competing theories and terminology.

Table of Contents

SERIES EDITOR'S FOREWORD	ix	(2)
Jessie Ann Owens
FOREWORD	xi	(2)
Theodor Gollner
GENERAL PREFACE	xiii	(4)
ACKNOWLEDGMENTS	xvii
EDITOR'S INTRODUCTION Toward a Comprehensive View of Compositional Priorities in the Music of Dufay and his Contemporaries	3	(62)
Kevin N. Moll
I. Historiography of Literature to c. 1970	5	(20)
A. Early Studies: c. 1850-1930	5	(7)
B. Sharpening of Focus: c. 1930-1970	12	(13)
II. Evaluation of Concepts and Terminology	25	(40)
A. Roots of the Basic Conceptual Disagreement	25	(2)
B. Gerustsatz vs. Bourdon-Tiefstimme	27	(8)
C. Contrapuntal Referentiality as a Conceptual Key	35	(13)
D. Ernst Apfel's Basic Contrapuntal Types	48	(10)
E. Referentiality, Musical Texture, and Tonal Coherence	58	(7)
ESSAYS	65	(298)
1 Dufay--Creator of Fauxbourdon	65	(26)
Heinrich Besseler (1948)
2 Toward a History of the Genesis of Fauxbourdon	91	(38)
Rudolf von Ficker (1951)
3 Tonal Harmony and Full Sonority: A Reply to Rudolf von Ficker	129	(20)
Heinrich Besseler (1952)
I. Concerning the Essence of Linear Art	131	(3)
II. Concerning the Essence of Tonality	134	(4)
III. What Was "Bourdon"?	138	(5)
IV. Why "Fauxbourdon"?	143	(6)
4 Harmony in the Cantus-Firmus Compositions of the Fifteenth Century	149	(22)
Bernhard Meier (1952)
I. The Cadences	150	(9)
A. Leading-Tone Cadence	151	(1)
B. Second Main Form of Cadence	152	(1)
C. The Phrygian (Mi-) Cadence	153	(1)
D. Building the Superstructure of Cadences	154	(2)
E. The Compositional Application	156	(3)
II. The Passages Apart from the Cadences	159	(12)
5 The "Tonal Discant" and "Free Discant" Techniques of Composition in the Fifteenth Century	171	(22)
Ernst Apfel (1955)
6 The Cantus-Firmus Questions in the Fourteenth and Early Fifteenth Centuries	193	(26)
Gunther Schmidt (1958)
7 The Origin of True Four-Voice Counterpoint in England	219	(26)
Ernst Apfel (1960)
8 Four-Voice Counterpoint in the Fourteenth and Fifteenth Centuries	245	(24)
Ernst Apfel (1961)
9 The Harmonic Structure of Late Medieval Music as a Foundation of Major-Minor Tonality	269	(24)
Ernst Apfel (1962)
10 Late Medieval Harmonic Structure and Major-Minor Tonality	293	(8)
Ernst Apfel (1963)
11 Tonality and Harmony in the French Chanson between Machaut and Dufay	301	(26)
Wolfgang Marggraf (1966)
I. Guillaume de Machaut	305	(2)
II. French Late Period	307	(7)
III. Pre-Netherlandish Transition Period	314	(7)
IV. Guillaume Dufay	321	(6)
12 The Effect of Medieval English Polyphony upon the Development of Continental Cantus-Firmus Techniques and Tonal Structure	327	(36)
Ernest H. Sanders (1967)
APPENDIX Glossary and Concordance of Specialized Terms	363	(6)
BIBLIOGRAPHY List of Works Cited and Supplementary Modern Editions	369	(26)
GENERAL INDEX	395	(16)
COPYRIGHT PERMISSION	411