Workbook/Anthology for Music Theory

Workbook/Anthology for Music Theory: Problems and Practices in the Middle Ages and Renaissance

lloyd ultan
Copyright Date: 1977
Edition: NED - New edition
Pages: 280
  • Cite this Item
  • Book Info
    Workbook/Anthology for Music Theory
    Book Description:

    This workbook contains 68 musical examples from the middle ages and the Renaissance. Specific assignments for students are designed to correlate with the material presented in Music Theory: Problems and Practices in the Middle Ages and Renaissance by Lloyd Ultan.

    eISBN: 978-0-8166-6478-8
    Subjects: Music

Table of Contents

  1. Front Matter
    (pp. i-iv)
  2. Preface
    (pp. v-vi)
  3. Table of Contents
    (pp. vii-2)
  4. Chapter 1 notation
    (pp. 3-30)

    1. Compose a short but musically complete plainsong passage to the text Kyrie eleison. The passage should be in the Dorian mode using at least five different multiple-pitch neumes in the context of two incises.

    2. Transcribe each of the following examples into modern notation and identify each of the multiple-pitch neumes by name. 3. Compose an Alleluia with a mensurated duplum and an unmensurated cantus. The should be taken from one of the Alleluia examples provided earlier in this chapter. Prepare this piece in both modal notation and modern transcription. Use two different of the plica in this example....

  5. chapter 2 plainsong
    (pp. 31-50)

    In the Dorian mode, compose a nine-part Kyrie eleison according to the following form:

    A B A

    Prepare comprehensive analyses of each of the following plainsong examples. Include in your analyses each of the following items plus any additional information you consider

    pertinent to an accurate description of the musical content of the examples.

    Identify the mode and explain your decision.

    Identify the sacred form the example might represent. Justify your choice.

    Identify all multiple-pitch neumes.

    Discuss: range; phrase structure; significant melodic patterns; any modal mutations that occur; melodic style.

    Identify all other symbols (other than neumes) by name and...

  6. chapter 3 monophonic forms
    (pp. 51-60)

    In outline form, compare the similarities and differences of sacred and secular monophonic literature. Consider such factors as: singing style; phrasing; linear construction; modal clarity; cadential patterns; and form. Be specific and comprehensive.


    Analyze in depth each of the examples that follow. Include in your analyses the points listed below and supplement these by comments you consider pertinent for a complete understanding of the compositions.

    Identify all multiple-pitch neumes.

    Define the musical form and indicate the factors that contributed to your decision.

    Describe the phrase structure and the factors that contribute to its delineation.

    Describe the contour...

  7. chapter 4 Early polyphony: Organum
    (pp. 61-84)

    1. Using the following example as the vox principalis, compose an example of diapente organum. Select the appropriate clef and compatible neumes for the vox organalis. 2. Set the above example in four-part, composite diapente organum. Compose an example of diatesseron organum toPrincipes sacerdotum, provided below. 4. Set the preceding example in four-part, composite diatesseron organum. 5. Compose an example of free organum, form one, at the interval of a fifth to theKyrie Salvethat follows. 6. Compose an example of free organum, form two, to a plainsong example of your choice. It should be a complete piece,...

  8. chaptec 5 Ars nova notation
    (pp. 85-98)

    All composition and transcription assignments for this chapter and those that follow be done on five-line staff paper, which is not provided in this workbook.

    1.Compose music for a monophonic rondeau (the use of a text is not necessary) in Ars notation using perfect tempus and minor prolation. Use the appropriate tempus and sign and submit it and a modern transcription.

    2.Compose music for a monophonic virelai (a text need not be used) in Ars Nova notation and include in the example punctus additionis and red notes. Use the appropriate prolation signature and submit it and a modern transcription.


  9. chapter 6 Eary contrapuntal concepts and devices
    (pp. 99-104)

    1.Compose a two-voice ballade using a text of your choice in an early contrapuntal Include at least two examples of Stimmtausch. Use Ars Nova notation and submit this with a modern transcription.

    2.Prepare a comprehensive analysis ofMa fin est mon commencement. Include consideration of all vertical relationships, linear construction, dissonance treatment, cadences, canonic treatment in your discussion.

    Prepare a modern transcription ofMa fin est mon commencement.4. Compose a Kyrie eleison section of a Mass in strict canon at the fifth below. The canon be broken at the end of each section to produce a good cadence. Use...

  10. chapter 7 late contrapuntal concepts and devices
    (pp. 105-114)

    1. Compose an isorhythmic composition (without text) consisting of nine taleae and three colores (three taleae to each color). The piece should be set in tempus perfectum and major prolation using Ars Nova notation. Submit a modern transcription with the original. The tenor may be selected from a plainsong source (which should be identified) or it may be original. The final cadence should be a double leading type.

    2. Prepare a comprehensive analysis of the Machaut motetMartyrum gemma— Diligenter — A Christowhich follows. After transcribing the motet into modern notation, include in your analysis each of the following:

    a. Linear...

  11. chapter 8 sacred polyphonic forms
    (pp. 115-126)

    1. Compose a three-voice conductus to a Latin text of your choice. Use Franconian notation and submit with a modern transcription of your piece.

    2. Compose a three-voice isorhythmic motet to texts of your choice. Use Stimmtausch between the upper voices at some point in the piece. Set the composition in Franconian notation and submit with a modern transcription.

    3. Prepare a comprehensive analysis of each of the following compositions, including in your analysis each of the following:

    a. Transcribe into or from modern notation;

    b. Define the form and support your decision;

    c. Linear conception and design;

    d. Treatment...

  12. chapter 9 Secular polyphonic forms
    (pp. 127-138)

    1. Compose a chanson balladees in the style of Machaut. Use a text of original text) and set in three voice parts. The piece should be in tempus minor prolation. Set the piece in Ars Nova notation and provide a modern.

    2. Prepare a comprehensive analysis of the Machaut balladeSanz cuer — Amis, Dame, par vouswhich follows. Consider in your analysis each of the items listed below:

    a. Linear concept and design;

    b. Vertical relationships and the use of dissonance;

    c. Use of musica ficta;

    d. Cadential treatment;

    e. Phrasing, both linear and the totality;

    f. Special compositional techniques;...

  13. Chapter 10 The late Fourteenth century
    (pp. 139-142)

    1. Compose a ballade in the style ofFuions de ci(Example 10.6 of the text). Use a text of your choice, setting it in three voice parts. Employ Ars Nova notation and submit with a modern transcription.

    2. Prepare a variable-meter version of the balladeFuions de ci(Example 10.6 of the text) in modern notation. Metrical changes should be made as deemed appropriate to the rhythmical demands of each line individually, but pitches should be aligned in score form to be read where they first sound in relationship to the other parts.

    3. Compose a bergerette in the style of...

  14. Chapter 11 Transition
    (pp. 143-144)

    1. Prepare an essay discussing in detail the evolution of notational practices from approximately 1000 to 1400. Cite or compose brief examples to support your discussion.

    2. Prepare an essay discussing in detail the evolution of polyphonic concepts and techniques from the period of strict organum to theMesse de Nostre Dame.Cite or compose brief examples to support your discussion.

    3. Discuss each of the following including in your discussion the nature, function, and importance of each in composition and in the analytical process.

    a. Motive

    b. Repetition

    c. Sequence

    d. Imitation

    e. Cross relation

    f. Musica ficta


  15. Chapter 12 Early Fifteenth Century ˜dufay
    (pp. 145-158)

    All assignments from this chapter to the end of the workbook should be done in modern notation only. They should be set in vocal score layout unless another format is specified.

    1. Select a cantus firmus from the monophonic literature. Using modern notation, arrange a score for four voice parts with the cantus firmus in the tenor having a three-to-one ratio metrically to the other three voice parts. Compose one-third of an Agnus Dei movement of a Mass using the final closing text:Agnus Dei, qui tollis peccata mundi: donna nobis pacem.

    2. Compose three short passages to the word...

  16. Chapter 13 middle and Late Fiftheenth Century ~ Johannes Ockeghem
    (pp. 159-182)

    1. Compose one-third of a Kyrie section of a Mass in the style of Ockeghem (using only the Kyrie eleison text). The piece should be approximately twenty to thirty measures, in four voice parts, and may or may not use a cantus firmus. Include a moderate amount of syncopation and close with an octave-leap cadence.

    2. Compose a three-voice canon to a text of your choice. At least two of the voices must be in canon at the interval of a fifth (the interval of the third voice is optional). The entries should be approximately two measures apart and should...

  17. Chapter 14 Late Fifteenth and Early Sixteenth Centuries ~ Josquin des Pres
    (pp. 183-192)

    1. Prepare a short essay that compares the compositional styles of at least two composers represented in the preceding two chapters with that of Josquin. Cite examples to support your contentions, or compose brief passages reflecting the techniques or attitudes revealed in your study of their compositions. Include in your discussion:

    a. Special compositional devices or unique treatment of compositional devices that characterize each;

    b. Consider their respective approaches to line, rhythm, form, vertical relationships, and cadences,

    c. Express your view of the differences and similarities of their works (limiting your discussion to those included herein) and the musical impact...

  18. chapter 15 sixteenth-centimy secular forms
    (pp. 193-224)

    prepare a brief (but complete) outline of the similarities and differences between the chanson and the madrigal of the sixteenth century. also, identify in this outline other forms that are similar to either the chanson or the madrigal.


    Prepare a detailed analysis of Le chant des oyseaux of Janequin which follows. Consider all factors that have been a part of analyses done to this point (e.g., rhythm, line, contrapuntal devices, form, and efforts at text painting). Also, consider the concept of linear and composite phrasing as reflected in this work. Note the abundance of repeated notes and...

  19. Chapter 16 Palestrina: Part One
    (pp. 225-236)

    1. Study the cantiones that follow and compare the two-voice style of Orlando di Lasso with the principles of Palestrina’s two-voice writing. Note similarities and differences, study the linear design, and consider the treatment of rhythm and of dissonances.

    2. Compose a two-voice piece about the length of one of the cantiones. Stay strictly within the compositional practices of Palestrina, but use a text of your choice (one of the Lasso texts would be perfectly acceptable). The piece should be composed for two male voices and should include a moderate amount of imitative writing.

    3. Analyze each of the lines...

  20. Chapter 17 Palestrina Part two
    (pp. 237-246)

    1.Analyze the motetVeni sponsa Christiwhich follows. Discuss in detail the form, treatment of lines, rhythm, dissonances, vertical relations, phrasing (both linear and composite), and text, comparing the actual compositional practices with the guidelines provided the text. Make special note of any departures from expected practice and consider what factors may have had some bearing on the composer’s decisions.

    2.Compose a motet in the style ofVeni sponsa Christi. Use a text of your choice (possibly that of the example). The piece need not be as long as the example, but it should contain the principal characteristics of that...

  21. Chapter 18 Sumnury, Conclusions, and new directions
    (pp. 247-266)

    1. Prepare an essay comparing the problems faced by composers during the musical evolution of the Middle Ages with those faced during the musical evolution of the Renaissance. In your discussion, take into consideration the fact that certain problems were peculiar to the first period and others to the second. Include in your discussion each of the following specific areas of interest as well as other general areas that you consider important in understanding these two historical periods.

    a. Notation;

    b. All matters related to line (e.g., range, contour, phrasing);

    c. Rhythm (of individual lines and of the composite effect...

  22. Sources
    (pp. 269-269)