This dissertation focuses on the medieval and Renaissance understandings of musica ficta with res... more This dissertation focuses on the medieval and Renaissance understandings of musica ficta with respect to considering its repertorial and theoretical contexts, from the ninth to the sixteenth century. Contrary to common understandings that musica ficta was linked primarily to the rules of counterpoint, and therefore to polyphony, the author argues that musica ficta was the product of earlier monophonic contexts that called for solutions mainly through solmization. The entire process of solmization is laid out, first regarding recta solmization and then moving to ficta solmization. The three main procedures for clarifying hexachords (mutation, permutation, and transmutation) are discussed. Each is addressed in detail; types and subtypes (such as 'explicit,' 'implicit,' and 'indirect' mutations), species (recta- and ficta-mutations), cases ('regular' and 'irregular' mutations, permutations by leap and stepwise, transmutations in upper- and subsemitone situations, as well as in propinquity) are identified and defined. The dissertation introduces to ficta scholarship notions of transmutation and of solmization by means of octave equivalence. In the latter, a momentary shift between two hexachords of the same kind (say, two C-hexachords in different octaves) may be solmized without an actual change between them (i.e., without mutation). 'Transmutation' is conceived as an umbrella term that encompasses other types short-range shifts between hexachords, in which one borrows a note from a different hexachord in order to permit the solmization of a transitional step that falls outside of its limits. This may happen, for example, when a note from an F-hexachord is solmized within a C-hexachordal gesture, in order to momentarily reach a b-flat above a. These concepts and terminology as promulgated in the language of medieval didactic writings are also considered in terms of contemporaneous rhetorical and philosophical practices, in an attempt to tease out the conceptual background that may have informed the approaches to solmization and the realization of musica ficta taken by theorists, pedagogues, and performers.
[ENGLISH — main text in Portuguese]
The solmization procedures applied in the Middle Ages and Ren... more [ENGLISH — main text in Portuguese] The solmization procedures applied in the Middle Ages and Renaissance, which produced the modern solfege, served not only as means for a first contact between the performer and the musical works, but also served for the understanding of melodic structures used in musical composition. As the diastematic musical notation became established, these procedures were also used as parameters (even paradigms) for composers, in order to produce their musical works from the standpoint of solmization, thus allowing the performer a more immediate access to the piece. In order to introduce concepts which composers and performers would use to approach the musical manuscripts (or even printed music) of that time, this essay will present procedures called mutatio, permutatio, and transmutatio (used for solmization in these epochs), in light of the evidence extant in historical texts.
[PORTUGUÊS] Os processos de solmização utilizados durante a Idade Média e Renascimento, que geraram o atual sofejo, serviram não apenas para viabilizar um primeiro contato do intérprete com as obras musicais, mas serviram também para entendimento das estruturas melódicas utilizadas na construção musical. A partir do estabelecimento da notação musical diastemática, esses processos também foram utilizados como parâmetro (ou mesmo paradigmas) para que compositores elaborassem obras em função da solmização, permitindo assim uma acessibilidade imediata aos intérpretes. A fim de introduzir conceitos que compositores e intérpretes teriam utilizado em seus contatos com as partituras da época, o presente artigo apresentará os procedimentos denominados mutatio, permutatio e transmutatio (utilizados na solmização desses períodos), de acordo com a evidência de presente nos textos históricos.
This dissertation focuses on the medieval and Renaissance understandings of musica ficta with res... more This dissertation focuses on the medieval and Renaissance understandings of musica ficta with respect to considering its repertorial and theoretical contexts, from the ninth to the sixteenth century. Contrary to common understandings that musica ficta was linked primarily to the rules of counterpoint, and therefore to polyphony, the author argues that musica ficta was the product of earlier monophonic contexts that called for solutions mainly through solmization. The entire process of solmization is laid out, first regarding recta solmization and then moving to ficta solmization. The three main procedures for clarifying hexachords (mutation, permutation, and transmutation) are discussed. Each is addressed in detail; types and subtypes (such as 'explicit,' 'implicit,' and 'indirect' mutations), species (recta- and ficta-mutations), cases ('regular' and 'irregular' mutations, permutations by leap and stepwise, transmutations in upper- and subsemitone situations, as well as in propinquity) are identified and defined. The dissertation introduces to ficta scholarship notions of transmutation and of solmization by means of octave equivalence. In the latter, a momentary shift between two hexachords of the same kind (say, two C-hexachords in different octaves) may be solmized without an actual change between them (i.e., without mutation). 'Transmutation' is conceived as an umbrella term that encompasses other types short-range shifts between hexachords, in which one borrows a note from a different hexachord in order to permit the solmization of a transitional step that falls outside of its limits. This may happen, for example, when a note from an F-hexachord is solmized within a C-hexachordal gesture, in order to momentarily reach a b-flat above a. These concepts and terminology as promulgated in the language of medieval didactic writings are also considered in terms of contemporaneous rhetorical and philosophical practices, in an attempt to tease out the conceptual background that may have informed the approaches to solmization and the realization of musica ficta taken by theorists, pedagogues, and performers.
[ENGLISH — main text in Portuguese]
The solmization procedures applied in the Middle Ages and Ren... more [ENGLISH — main text in Portuguese] The solmization procedures applied in the Middle Ages and Renaissance, which produced the modern solfege, served not only as means for a first contact between the performer and the musical works, but also served for the understanding of melodic structures used in musical composition. As the diastematic musical notation became established, these procedures were also used as parameters (even paradigms) for composers, in order to produce their musical works from the standpoint of solmization, thus allowing the performer a more immediate access to the piece. In order to introduce concepts which composers and performers would use to approach the musical manuscripts (or even printed music) of that time, this essay will present procedures called mutatio, permutatio, and transmutatio (used for solmization in these epochs), in light of the evidence extant in historical texts.
[PORTUGUÊS] Os processos de solmização utilizados durante a Idade Média e Renascimento, que geraram o atual sofejo, serviram não apenas para viabilizar um primeiro contato do intérprete com as obras musicais, mas serviram também para entendimento das estruturas melódicas utilizadas na construção musical. A partir do estabelecimento da notação musical diastemática, esses processos também foram utilizados como parâmetro (ou mesmo paradigmas) para que compositores elaborassem obras em função da solmização, permitindo assim uma acessibilidade imediata aos intérpretes. A fim de introduzir conceitos que compositores e intérpretes teriam utilizado em seus contatos com as partituras da época, o presente artigo apresentará os procedimentos denominados mutatio, permutatio e transmutatio (utilizados na solmização desses períodos), de acordo com a evidência de presente nos textos históricos.
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Papers by Clovis A de Andre
The entire process of solmization is laid out, first regarding recta solmization and then moving to ficta solmization. The three main procedures for clarifying hexachords (mutation, permutation, and transmutation) are discussed. Each is addressed in detail; types and subtypes (such as 'explicit,' 'implicit,' and 'indirect' mutations), species (recta- and ficta-mutations), cases ('regular' and 'irregular' mutations, permutations by leap and stepwise, transmutations in upper- and subsemitone situations, as well as in propinquity) are identified and defined. The dissertation introduces to ficta scholarship notions of transmutation and of solmization by means of octave equivalence. In the latter, a momentary shift between two hexachords of the same kind (say, two C-hexachords in different octaves) may be solmized without an actual change between them (i.e., without mutation). 'Transmutation' is conceived as an umbrella term that encompasses other types short-range shifts between hexachords, in which one borrows a note from a different hexachord in order to permit the solmization of a transitional step that falls outside of its limits. This may happen, for example, when a note from an F-hexachord is solmized within a C-hexachordal gesture, in order to momentarily reach a b-flat above a. These concepts and terminology as promulgated in the language of medieval didactic writings are also considered in terms of contemporaneous rhetorical and philosophical practices, in an attempt to tease out the conceptual background that may have informed the approaches to solmization and the realization of musica ficta taken by theorists, pedagogues, and performers.
The solmization procedures applied in the Middle Ages and Renaissance, which produced the modern solfege, served not only as means for a first contact between the performer and the musical works, but also served for the understanding of melodic structures used in musical composition. As the diastematic musical notation became established, these procedures were also used as parameters (even paradigms) for composers, in order to produce their musical works from the standpoint of solmization, thus allowing the performer a more immediate access to the piece. In order to introduce concepts which composers and performers would use to approach the musical manuscripts (or even printed music) of that time, this essay will present procedures called mutatio, permutatio, and transmutatio (used for solmization in these epochs), in light of the evidence extant in historical texts.
[PORTUGUÊS]
Os processos de solmização utilizados durante a Idade Média e Renascimento, que geraram o atual sofejo, serviram não apenas para viabilizar um primeiro contato do intérprete com as obras musicais, mas serviram também para entendimento das estruturas melódicas utilizadas na construção musical. A partir do estabelecimento da notação musical diastemática, esses processos também foram utilizados como parâmetro (ou mesmo paradigmas) para que compositores elaborassem obras em função da solmização, permitindo assim uma acessibilidade imediata aos intérpretes. A fim de introduzir conceitos que compositores e intérpretes teriam utilizado em seus contatos com as partituras da época, o presente artigo apresentará os procedimentos denominados mutatio, permutatio e transmutatio (utilizados na solmização desses períodos), de acordo com a evidência de presente nos textos históricos.
The entire process of solmization is laid out, first regarding recta solmization and then moving to ficta solmization. The three main procedures for clarifying hexachords (mutation, permutation, and transmutation) are discussed. Each is addressed in detail; types and subtypes (such as 'explicit,' 'implicit,' and 'indirect' mutations), species (recta- and ficta-mutations), cases ('regular' and 'irregular' mutations, permutations by leap and stepwise, transmutations in upper- and subsemitone situations, as well as in propinquity) are identified and defined. The dissertation introduces to ficta scholarship notions of transmutation and of solmization by means of octave equivalence. In the latter, a momentary shift between two hexachords of the same kind (say, two C-hexachords in different octaves) may be solmized without an actual change between them (i.e., without mutation). 'Transmutation' is conceived as an umbrella term that encompasses other types short-range shifts between hexachords, in which one borrows a note from a different hexachord in order to permit the solmization of a transitional step that falls outside of its limits. This may happen, for example, when a note from an F-hexachord is solmized within a C-hexachordal gesture, in order to momentarily reach a b-flat above a. These concepts and terminology as promulgated in the language of medieval didactic writings are also considered in terms of contemporaneous rhetorical and philosophical practices, in an attempt to tease out the conceptual background that may have informed the approaches to solmization and the realization of musica ficta taken by theorists, pedagogues, and performers.
The solmization procedures applied in the Middle Ages and Renaissance, which produced the modern solfege, served not only as means for a first contact between the performer and the musical works, but also served for the understanding of melodic structures used in musical composition. As the diastematic musical notation became established, these procedures were also used as parameters (even paradigms) for composers, in order to produce their musical works from the standpoint of solmization, thus allowing the performer a more immediate access to the piece. In order to introduce concepts which composers and performers would use to approach the musical manuscripts (or even printed music) of that time, this essay will present procedures called mutatio, permutatio, and transmutatio (used for solmization in these epochs), in light of the evidence extant in historical texts.
[PORTUGUÊS]
Os processos de solmização utilizados durante a Idade Média e Renascimento, que geraram o atual sofejo, serviram não apenas para viabilizar um primeiro contato do intérprete com as obras musicais, mas serviram também para entendimento das estruturas melódicas utilizadas na construção musical. A partir do estabelecimento da notação musical diastemática, esses processos também foram utilizados como parâmetro (ou mesmo paradigmas) para que compositores elaborassem obras em função da solmização, permitindo assim uma acessibilidade imediata aos intérpretes. A fim de introduzir conceitos que compositores e intérpretes teriam utilizado em seus contatos com as partituras da época, o presente artigo apresentará os procedimentos denominados mutatio, permutatio e transmutatio (utilizados na solmização desses períodos), de acordo com a evidência de presente nos textos históricos.