CHAPTER Retheorizing Music New Franxrsh Concepts or Musicat OrGanizaTIon AND Tuer Errecr on Composition hen musicians thought “theoretically” about music-—thar is, made system afc generalizations aboue it-—~ before the tenth century, they usually did so in terms of che quadrvium, che lace-cassical postgraduate curriculum, in ment. Whac was measurable was whae ied abstrace pitch ratios (we call chem intervals) and abstract durational ratios ilthem rhythms, organized into mecers). Reducing musie to abstract number was of emphasizing wha was truly. “real” about it, for late-classical philosophy was gi influenced by Plato's doctrine of forms, A Neoplatonise believed, fuse, char the ft perceived by our sense organs was only a grosser rellection ofa realer world, God's, (that we perceive with our God-given capacity for reasoning: and, second, that form of reasoning was numerical reasoning, because it was least limited to cation meane the development of one's capacity to transcend * purely rational, fave concepts unrouched by any “stain of the corporeal.” A medieval treatise “theory, chen, emphasized musica speculacon (we may call ie Musica for shox), tte had as lel co do as possible with actual “pieces of music,” or ways of making Bem for such music was merely music for the senses———unreal and (since real meant Junholy. The evo most-studied late-classical eexts on Musica were De musica jut Musica”) by none other than St, Augustine (Aurelius Augustinus, 354~430), est of the Fathers of che Christian Church, and De insttatione musica (On ization of rnusica”) by Anicius Manlius Severinus Bocthius (ca, 480~ca. 524), stavesman and educational reformer who first proposed the division of the iy the one by Boethius (which was virtually rediscovered by the Franks), were iinstays of the Carolingian academic curriculum instiraced by Alcuin. St Augustine's treatise, completed in 391, is the sole survivor from an enormous iberal arts curriculum. nothing but rhythmic proportions (quantitative metrics) and contains famous of music ——as bene modulandl scienti, “the art of measuring well—"—thatSe Augustine nan clovendh-centaty rench man depicted pe of his erea- tise "On Bapism’” dispucing in gar with Feb cianus of Ms, 4 Donate bi sented a schismare sect cat p op, who repre ed rebapist of the rghceous (emnparable co the ‘reise of Protestant fundamentals in te pero). tions for representing pitch intervals in ter more detail) for demonsteating number audibly, ruction of “laboratory instruments” called monochords was quoted as official doctrine by prag tically every later’ medieval writer. Th treatise ends with a medication, reminis 4 cent of Plato's dialogue Timacus, on eh theological significance of the harmonious proportions with which ie deals, and the way in which they reflect the essential nature of the universe. (The lated by Cicero, was the only Pharonie feat known to lite-asscal Lavin wrt ers) Boethius's creatise cavers much 2 grotind than Augustine's, I consists largely of translations from the Hellenisti wi ess Nicomachis and Ptolemy. (The tea Hellenistic” refers to the Greek influenced ‘culture that lotrished inthenon-Greekter: nd Ir thus became the sofe source of medieval knowledge of Greek music theory, which | induded the Greater Perfect System, 4 scale constructed our of four-note segments called teerachords:and also the Pythagorean classification of consonances (simiuleancous ritories onqueted by Alexander the Great) intervals). The treatise also contained direc: ms of spatial ratios, which made possible the (later to-be described in 2s sound, While Greele music cheory sill involved practical music for Nicomachus and Prolemy (who lived the time of Boethiuis the actual isi music bu abstract Boethias inhe: Musica mitrozed’ the encountered in Augustine); and, second, 4 decisive influence on hiiman of cos, from which the word “ethics” imusic such as instruments p anid “tealer" levels of M the top there was the harmony of the cosm position there was the harm: Diasca instromentals — depending uplift or pur awey. All of in the second century ed two transcendent ideas fr essential harmony of the cosnios (an i health and behavior. This was known as the derived. Auctible m: luce’) is thus only a gross metaphor for the ewo higher of the human constitution 8 in Arabia and Egypi, respectively), by practiced by the ancient Grecks had fallen ineo oblivion, along with its notation: Accordingly, Bocthius's trea otlcerns not practical Musica, asthe aithor declares quite explicily rom the Neoplatonists: first, that 7 already that owing ro this divine reflection ie had doctrine ie (sca insiramencaliy, ca, perhaps best translated in this context as “harmony.” At 195 (musica muondara), and in che inermediage (musica bur on its relasionship to musica mundana this is most effectively expressed notin words bu in a famous 4nuscripr illaminacion of the thirveench century, fully seven bundred.yeats after Jocehius (Pip. 4-2). In each of che chree panels of chis illumination, "Musica points to.a ron level of her manifestation. In the rop panel Musica points to a representation harmony.’ In the middle panel Musica points to four men repeesencing the four *Ysanors)”cempecaments, of basic personality types{ [em dash} shat is, ehe four types oF unas harmony.” The proportions of these humors wete thought to determine © aiperson’s physical and spiritual consticution: the “choleric’. temperament was ruled nby bile, the "sanguine" by blood, the "phlegmatic” by phlegm, and the “melancholic Black bile, ‘The four humors mirvor the four elemencs; thus, human harmony is a “faneton of the celestial, In dhe boream panel we Bnd musica instrumentalis, the muse © thas we actually hear. Musica is reluctant to, point: instead, she raises an admonishing “Finger x che file playes obviously no disciple of ers but 2 mere sensory ttlator Whatever its relarion to actual sounding music, the idea of Musica had remarkable “saying power. One who has mastered Masia; Boethius concluded, and only such a one, can waly. jadge the work of a. musician, whether composer or performer. The com “poser and performer are afer all concerned. “only with music, a subrational art, while the philosopher alone knows Musica, a “ational science, The stringent dilferentia- “on between music and Musica, and theie dative evaluation, were easily translatable | fon Platonise into. Christian rerms. and “fecuined standard in. music treatises until © the fourteenth century and even beyond. “The idea that music was ideally a repre- 1 sentation of Musica remained current in fettain ciccles of musicians, and in cersain | genues of musi, even longee chan chet Acthe height of che Carolingian renais- Dance, the liberal stuclicd at the [ea Beneicine abbeys, such ast, Gallen [where the Irish monk Moengal instructed “thelikes of Notker and Tuorilo), Se. Martin oan Tours. (where Alcuin. himself taught “beginning in 796), St. Amand, at Toar- Be (no inthe southern, Frenchspesking 5 pipe of 4 nibh cenaury sanuseript— Florence, Biblioteca Med cea Lautéazina, MS Pluteo 29.1—representing The libraries of all of these monasteries ye guise conmology decided by Boe i part of Belgium), and Reichenaw (on an snd in Lake Constance, Switzerland). Deinsincone mescHapreR 3 ‘music, and Neoplatonist ideas about Musica were incorporated as theological under: 1 pinning into licargical music study. At the samettime; however, the pressures ofliturgieal reorganization and chant reform created the need for a new kind of theoretical sind, cone thar served the purposes not of theological or ethical indoctrination but of practical music making and memorization, Beginning very modestly; this new theoretical enters ” prise, and the documents it generated, led to a complete rethinking of the principles nog : of Masica but of actual music, as we understand the term today. Tes repercussions weve nothing short of foundational to the ro define that slippery term, TONARIES Among the earliest documents we have for the Carolingian reoiganization of the ieurgy and the institutionalization of Gregorian chant ate the manuscripts, which begin (@ appear soon after Pepin's timo, char group aiitiphons (represented by theit incipes of opening words) according to the psalm tones with which they best accord melodicilly. These lists, which began to appear long before the Franks had invented any care of neumatic notation, at first took the form of prefaces and appendices vo the early 4 Frankish graduals and antiphoners thar contained the tests to be sung at Mass and Office. (The earliest appendix of this kind is found in a gradual dated 3 middle of the tenth century, these lies had grown large enough to fill se for which che term ronavis oF “tonary’ was coined. ‘These books served an eminently practical purpose, since in evel setvice newly teamed antiphons had so be attached appropriately t0 their fll cursive psalms (in the Office) of at least to selected stichs (in the Mass) as a matter of basic operatiag procedure. In the Vespers service, for example, here wete for any given diy of the week five unchanging “ordinary” psalms and literally hundéeds of ever-changing “prope antiphons that had to be matched up wih them in daily worship. ‘To achieve this practical goal, lange stylistic generalizations had to be made about the anciphons on the basis of observation. Classifying the Gregorian’ antiphons was thus the eathest European exercise in “musical analysis” analysis being (literally and erymologically)¢he breaking down of an observed whole (hete, a chane) into its Functionally signifeane parts. The generalizations thus produced constiruted a new branch of “music theory. The earliest analysts and theorists, like the earliest composers of iiediéval chat were Frankish monks. The most extensive early tonary wat the one compiled aod. | 90% by Regino of Prim, the abbor of the Benedictine monastery of St. Matin neat the | German town of Trier. It contains the ineipits of some thitteen hundred antiphons a wel as five hundred introits and affereoties (performed in those days wich psalm verses). all keyed to the ending formulas (differentiae) of the eight psalm tones. To achieve this. abscract classification of melody types, ehe compiler had v compare the beginnings and endings of the antiphons wich those of the psalm tones. 4 In effect, a compus of actual melodies inherited fiom one tradition (presumed to be that of Rome, the seat of Westen Christianity) was being compared with, and assimilated to, an abstract classification of melodic tens and functions imporeadresale was something neither Roman nor Gree but specifically Frankish and indously ferile, 1 eciumph of imaginative synthesis. What was actualy abstracted ugh this process of analysis by observation and assimilation was the intervallic and alae structure of the chant Specifically, antiphons were compared with psalm tones to see how the inte filed in between their ending: note (fia) and the pitch corresponding to the tobe's reciting tone (tuba), normally a fife above. (Since most often che last note regorian chant is the same asthe first, Regino actually classified anciphons—or four jpset arcangement of tones 1) and semitones (8). I the nde ofthe eonarie shee sere (3) TSTT, (2) STTT, (5) TTTS, and (4) TTST. Whacis identified in this way [gre scale degrees. The notion of scale degrees, and their identification; thus constitutes | bom the very beginning —and, oné is tempted co add, to the very end —the crucial Pbeorerieal’ generalization on which the concept of tonality in Westeen music ress. __ These inienslic“species"as they came 10 be called, could be demonstrated in d, the medieval theovis's urmounted by a single sing 1 indes -vhich there was a movable bridge. The urlace of thebox was alibated, show ing | Weidge placement vis-a-vis one end of the string othe other, bye rmieans of which one sate or discover 3 the ae sales segment Mlescending from A co D (or ascending from A to E) a with che frst species of fifth listed above; that the segment descending ropes the tcl peck shac he mre decd fom C ‘he ending noces of these fon species-detin D,B,Frand G—were “Abed "the four finals in Frankish conal theory and named (in keeping with the 1 Byzantioe derivation of che mode system) according to their Greek ordinal numbers: “fps (fe), deers (second), us (shied), and tears (four) respeeiely (The EPR AB as considered a doubling, or transposition, of the fret segment; hencechapter 5 white keys from D tw D, che Phrygian from & ro, and soon: Rather! the fo finals" and cheir concomitant scales represent nothing more than the most conven ‘way of notating incervallc pattems, relationships between pitches that can be rea at any actual pitch level, che way singers (unless cursed with “peefece pitch”) can ae sight-—or rather, by ear transpose the musicthey are reading, wherever it happens te) be notated, toa comfortable essituya oe “placement” within theie individual vocal ranges What we are now conditioned to regard as fxed pitch associations (eg, “A ar irst;no miore than notational conventions. : Jf hiss a hard idea co get used ro, imagine a situation in which all pes im the major were written “in Cand all pieces in’ the minor “in AL” regards less of the ley in which they would aceually be performed. Only instruments 5 shots Physical movements are coordinated with specific pitches. ot singers with pe fect pitch, whe have memorized and internalized the relationship berween specie 5 frequencies and the appearance of notated music, would be seriously discom | moded by such an arrangement. Stich musicians can only transpose by mentally 4 nging clefs and signatures, And as we shall see, it was the rise of an exten sive independent eepertory of inseramental music in the seventeenth centucy tha brought abour our modern: “key” system,” in which actual pitches were specified MMMM teby means by notation and in which key signatures mandated specific transpositions of the fhaaner chat standard scales | fed back co ANEW CONCEPT OF MODE TI ich ares Thanks to the work of the “conarisa" who coordinated the Roman antiphont wi the psalm tones, and the theorists who drew general conclusions from the tor : Practical observations, anew concept of mode arose. Instead of being a formula fash | 4 set of concrete, characteristic ruins and cadences arising out of long oral ceadition 9 amode was now conceived abstractly in terms ofa scale, and analytically in terms of functional relationships (chiefly zange and finishing note or final). We owe this cha cn which all our own theoretical notions of musical “structure” ultimately depe ad the classifications and terminology outlined above, primarily to the work of Pha Frankish theorists of the nineh eencury. 3 Aurelian of Réome, the catlier of them, was a member of the Ben St Jean de Rédme in whaeis now the Burgundy region of France, southeast of Pati, His eearise, Masta dsciplina ("The discipline of music’), was completed someti ound 843, Beginning with its eighth chapter, subtitled “De octo tonis” it conshe of the earliest description (or at least the earliest naming, for it is impressionist) and nontechnical) of the eight church miodes with theiepscudorGreeky teal aa. Arelin changed the order ofthe tones fon what it was in Byzantine dheory, Ine em with the four plog modes, Aurelian paiced authentic modes with plagal ones chat shared the same final thus enhancing the tole of what we now call the “tonic” in establishing « tonality of grouping the four authentic modes together and following ‘Aarclian’s chapter on psalm tecitation contains the oldest extant otations in carly Frankish neumes, ik© Huchald (d. 930), a monk from the abbey of St. Amand, was the real genius of feral modal theory. His treatise, De harmonica insttatione ("On the principles of chought to have been completed aroiind 889, isa far more original work tha ns and far less dependent on the received academic tradition: It was the earliest ‘Weatise co number the modes, following the ordes established. by: Aucelian, straight | through from one to eight. Ieis also the earliest creatise we have that replaces the relative Jy ot interval degree nomenclatave of ancient Greek music—the so-called Greater [ Pesfece System, tcansmitzed by Boethius—with the alphaber leter names still in use E Tlic name of the lowest note-of the Greek system, proslambanomenvs, was merc Abontened to A.” and the reat of the letters were assigned from there, Flucbald did not, “however, recognize what we now call “octave equivalency” but continued the series of ter through the ull ewo-octave compass afthe Greeks, all the way to P. Modern usage, Sawshich A recurs alter G and so on, was established by an anonymous Milanese treatise “fea 1900 called Dialogs de musica, once atributed erroneously to Abbor Odo of Ciny Hucbald sought to ground his theory as far as possible in the chant itself. He | grasped chat che “four finals” used in actual singing formed a reeeachord in their own | ght ([-S~T], and he showed how the seal of the firse mode could be built up from | by means of disunce replication: TST-(T)~TST. He defined the four finals in « “mance that resonates fully wth our modemn notion of a vonis “Every song” he wrote, be; however it may be ewisted ehis way and chat, necessarily may be a sung may take an ending in them.” By relocating the teteachord of the fou © finals (D-E-F—G) on its fourth note rather than is first (os, 0 speak technically, by shuncrly replicating iu, T-S~T/T -S~"T), he deduced the reteachord G- AB “precsa The Abbey of St Amand, where Huchald lived and worked, a it look! inthe eghewench teiuary This pinging as wade by J. Nes shorly before che abbey was destoyed, a cil casual of the French Revolson,cuapren 3 Thus he was able to tationalize within she new modal systeny she old singer's practice of adjusting the note B to avoid the eritone with F, In offecehe admirted two versions of B (che hard and che soft as they cameto be knows) into the system (Ex. $3) account) for the pitches actually called for by the Gregorian melodies, £X:3°3._ Disunetand conjincerpication ofthe T-S-T eeachond (he tecrachond ef che fou finals) slescrbed by Hucbald MODE CLASSIFICATION IN PRACTICE As continually emphasized in this discussion, modal theory sose out ofan temp | at classifying the existing Gregorian chant, particularly the antiphons, as an aid #9 mustering an enormous body of material that had somehow to be committed ¢ melodie miemory, Modal theory was thus one of the very many aspects of medieval rousicomaking hae originated, yery humbly, a8 vimemotebnics (memory aids), Etery chant was eventually assigned a modal classification ‘in the tonaries, aid eventually in the graduals and antiphoners themselves, including the miodern chane books fon which some of the examples in the previous chapters were taken, Let us now cast an peg back over some of those examples and see how modal classification worked in practice 4 Ex. 11 an actual pairing of aneiphion and psalm tone was given, Even though che Psalm fone covers no more than the modal pentachord (D descending to G, as ie wah fst cheortially abstracted), she use of Cas the cuba identifies the cone as plage nok” authentic (Ex, 41). The antiphon is even easier to identify as being in the eighth modo” the Hypomixolydian: is final is G, but the range extends down as far as che D below (and exactly as far up as the D above), establishing the octave species as D to D with cadence in the middle, on G. Approaching he snriphon in Ex. 1-2 with a vonarist’s eye, wenotice chai basically 4m outlines the pentachorel A-dows-to-D, and dips dawn one note below the final inea the M lower tetachord. We have no hesitation, therefore, in assigning ie to the second mode, the Fypedoran. And yet the Intoie aniphion in Ex. 1-9 is unequivocaly assignable modes the authentic Dorian, even though it, r00, Fequently makes use of the loner neighbor o the same final, Thar is because the melody extends above the limits of the modal pentachiord as well eeaching the C above. The final is thus clearly located hea the bottom of the coral range, ‘The psalm verse, chosen expressly to conform 10 the antiphon, coafitms the modal classification. Besides the tubs on A, note the simile approaches 10 the high C. Here we have a case of modal affinity of the older kind @ Govolving surns of actual phrase) working in harness with the newer classifications the very thing che tonarists and theorists sought ro ensure aaneye igh the sl, not mode, ssicily As a mateer of fact the compilers of the tonaries, and the theatists who followed 2, nade special allowance for the lower neighbor to the final (called suhronium: mes), [pe alp nthe proves ox Dovian ronaliey-As the anonymous autho of Ala muses pu “and ify note is added on to some song, above or below the species ofthe octave, i Syillinot be our of place to inclucle this a8 being in the rune, nor our of ie.” ‘Thus we are [rege che low C in Bx, 4 tobe a “note aided on below rather shan a full edged “muenber of the modal teweachord. This seeming exception to che rule about mede IMiasaication was based on the observed behavior of mode t antiphons, as they existed Pope Gregorys inspized (and herefore not-to-be-tampered-with) chant, Agai Gee the inlluence, even within the characteristically rationalistic Prankish mode theory, “blithe older concep of mode as formula-farmly. ©) The Offereory antiphon in Ex. 15 although it ends on B, is only arbitearly assigned i) composed with for its. range partakes of Binal, and it iting tones, Many of its J ghisses, moreover seem co belong toa ailleren octave species altogether, Consider the 7 Second (Cur palma floebi’), for example: i¢ begins and ends on, D, and ie introduces fiat 2s upper neighbor oA, emphasizing the A 28 an apparent upper limit to « Ipetachord, This phrase by itself would unequivocally be assigned co the frst mode where the Inteoit in Ex. 1-4 was a case of elose correspondence becween the ole Boras tclody and the new Frankish cory, Ex 1-5 shows a poor fr between the sw, Both hics nd misses are equally fortuitous, for the chant evolved long in advance of the ey and quite without premonition of i © Proof of thar forcuity comes in Ex. 1-6, the Alleluia. Phrases that closely resemble et second phrase of x, cad abound hee (lor example, the famous teins on eu) 4 there is no contradiction between the incernal phrases and the final cadence, itis fay assign the melody co mode ¢, (Here is che reasoning? the lower neighbor to the | gouines less as a representative of a complementary retrachord than does the upper geibor wo che filth aboves hence we may conceptualize che octave species with the pen “Pio below the strachord; and in additional confiemaion, the vast preponderance of Jy noteslie abovehe final, establishing the mode as authentic.) With the two Grad sin fax 1-7, we are back in ambiguous territory. The final; A; is accommodated to the ty ofthe Four finals by the back door, as we have seen, on the bass ofthe congruence icons moslal pentachord (TST) and that ofthe protus final, D. Its complemes- say cesrachord (ST) differs from thae of the prowus modes, however, sesembling the sitet instead, So the assignment of these melodies ro the second mode is more or Fasbirsaty, especially in view of thar pesky Beflat—over cedrus in Ex. 1-72, and over fey opening word, Hacc, in Ex. 1-7b— preceding acadenceon A thatwould seem to ke (ifanything) a transposed deutertis or Phrygian sce. There sa considerabli: really no surprise that its melody conforms so lice wich a body of genttaliationg 4 (chat is, theory) that arose many centuries lator—~the more so as Geaduals, not being aaciphons, were not much taken into accoune by the tonarists, The Frankish mods. theory did have a way of accounting for melodies tat were wayward bp its standardas they were classified as being of “mixed mode" (meds mists) meaning that some ofthe constituent phrases departed from the basic octave species of the melody ax a whole, Bar chat is just another effort co dispel an anomaly by giving it a name —something on, 4 the order of an exorcism, MODE AS A GUIDE TO COMPOSITION ‘What a difference we will observe when we look at melodies writeen after the Feanki chant theory lad been formulated! For thar theory, modest in its ineention, was huge in its effect. While ie may have begun as a way of impco “ing the efficiency with which #4 body of anciene music was mastered and memorized, it quickly metamorphosed inte a Buide t0 new composition, achieving a significance is caly exponents may eves hae fnvisioned fori, Frou a description of existing musi ic became a prescription for music ofthe farce, : The frst composer whom the chant theory “influenced” ma yy have been Huchad himself its chief casly exponent: His surviving compositions inclade set of anuiphong) for the Ollice of St. Peter, as well as the famous set of faudes or Gloria tropes. They ate all modaly systematic in a way that earlier chane had never been. The Office anviphong = for example, are arranged ina cyele progressing through the whole array of chunk | tnodet in numerical order—Hucbalds own numerical onder! The trope, Quem veil lus does not employ the common melodic formulae of the existing Gloria chants 4 other words, ic eschews the old concept of mode as a formnla: fainily —bur mscead 4 ‘exemplifies the more absceact feacures of scalar construction : Jn Th rs Hlucalds set of lautes is embedded in a Glia that shares is oe Lhe sath, oF Hypolydian) and seems, on che bass ofits sources as well a ia : date from within, or shorely after, Hucbald’s lifetime: In ‘bod, the ronal focus is shay With the final, lncated in the middle of the melody’ range, providing «cleat ne oh demarcation Between the modal pentachord and the plagal ettachord below. Fc pues three pitches t9 end the constinuent (and, remember, nonconsecutive) phrkers of bis laudes, Only the last ends, as mighe be expected, on the final, A plurality, hire end on the rectng tne: namely A. The other four, which end on G, sem to have piled a ‘he influence of some secular gentes, especially dance songs, which, as we will seein the § next chapter, frequently use the “supectonic” degree to create half oe open") cadences | to be Filly closed by the final ar the end ofthe next phrase of che original chane Th is what happens in Hucbald’s second, third, and fourth phrases, all of which end on ‘The second phrase is answered and “closed” by the full cadence on “Benedicimus te) the fourth by the close on ‘Glorificamus té.” The one in berween (Qui dominator. Ji) anwwrsed strategically by “Adoramus "with a cadence on D, so that a tonally dosed ABA pateern sets off the three parallel accamations from che rest of the Glovia, T Kind of tonally articulated formal structure was the great Frankish innovation,er the Frankish rion, was huge sy with which 4 sephiosed into a may never have siption forthe been Hacbald ct of antiphons opes. They are fice anviphons, reay of chusch || Quem ere pe ra chante-—ig —bur instead hares its mode Las its sty focus is sharp. -a cleat line of clow. Hucbald ity five endon nave picked np will seein the en") casdences alchane, That sichend on G. nedicimns rminator..)ig | tonaly closed e Gloria, This hesame regular feacures can be discerned in many ofthe teape melodies discussed pter 2. That is because the authors of tropes had to be music analysts as well as ich they were setting their prefaces and inerpolations, whether or noc they actaally ‘ded to initate the style of che earlier chant. (In practice, c seems, some did so Be rues teal Eeay ter-ey pus bocaicnl-bus bonue volun fi en 6 OV ior A6 27 glans ecb peopeer magma glove sam prcatn. Doomione Le un Res e-aiy“sei Fexbanc =| pe depresith-eonem ne ee as = seas Joa Chl wn © and psalm B the final x Dore dividi = The secon on the “no all however, understood the requtement of modal conformity.) Conse che pref to de EasteyIntroie in Ex. 2-82, The mode of the Ineroitansiphon itself is gen a the fourth (Deuterusplogulis or Hypophrygian), and one can immediate begins with D, a noe in the lower tetrad cadences there); che range phrase ret ly see whys E delincated hord (and the frst phrase, “Resureexi" acrualy Mee che prod will later touch bottom on the C below that. The highest note in the melody is A, which means that the full mod; expressed at al “it seems, w lal pentachord above E is never le literate trac IL Only the final cadence on E (something that could hardly be predicned 1e wor ar the outset) justifies the assignment of the melody to the Pheygian tribe, The oe berween the reality of the chant and the utopia of mode theory yawns. Psallice regi,” the litte prefatory crope shown in Ex. Ie begins on E, precisely so thatthe beginning of the newly augmen this C, bue conform to the end (and so that the end, so to speak, can’ now fuléll she implications (49 tationalizaei of the beginning). It sounds the B above the final so thatthe full modal pentachord of mode 4 is represented. It expressly avoids a modal cadence atthe end, ‘ofcourse, so that Pange tnodernity the final. 8a, resohutaly closes the gap. el antiphon wll P roe emph p mode (ratherll flow imperceptibly into the antiphon itis introducing, Buv i has very perceptibly Shanced the conformity of che actual Gregorian antiphon with the Erankish definition Bie mode, Pitooahich i shorter an she simple ofthe nto ropes for aster shown in dial in ts transformation ofthe melody ro To) iead of ike Be 280 omipeting the modal peotachond swith 3B, |The Quem quaerts trope (Ex. 2-9) is modslly whimsical. Ie actually rakes the intial eat to D at its word, so to speak, and: prepares it with an actual melody in mode a Dspedesan) Te is che descent to the he bottom of the lower tetrachord ar the very sponsararn” a bf the heen oie thats it ascends favo the upp | feteichiord (though notall the way tothe top oft). Melodies that encoinpase mote than | fvo primary scale seginents (or hat have ranges of more than an octave) exemplify what aredieval theorists called comimixtio, or modus commixtus. The term is often “translated ommixture” or “commixed mode;” In any case, it E recds to be distinguished from the modus mixtus defined above, "Mixed mode" denotes mixture of different octave species. "Cominixtute” refets to the extension of a melody The hymn melodies inv Ex.2-7 were chosen, among other reasons, to exemplify inodern Frankish melodies in various modes. Ave mori stella (Bx. 2-72) isa wonderfully | slear example of post-Gregorian Dorian melody. Ies composer most assuredly knew all aboue abstract modal syneax, and about the relationship between aintiphon modes and psalm tones'as laid out in the tonaries. Note how the first phrase leaps up fror the final co the upper eetrachord, which it fully describes, meanwhile empha: ote dividing the pentachord and tetrachord (the tuba, 80 to speak) with a earn figure | The second phrase completely describes the pentachord. The third phrase cadences {onthe “note added on below" introducing it with a veritable Hourish. And che fourth phrase cetumns to the uncluttered pentachord for the final cadence. This kind of clearly delineated structure can hardly be fourid in the original corpus of Gregorian chan. Ie fs the produce of “theory,” and ofa single composer's shaping hand. For the firs time, ir seems, we are looking at a piece not merely maintained but composed within the Iterate tradition —composed, that is, in the sense we usually have in mind when we tse the word. Pong lingua (Ex. 2-7b), in the third mode (authentic Phrygian), also gives its “modernity” away, chis time by giving cadential emphasis to the note C, high above the final, (Third mode melodies in: the original Gregorian corpus often emphasize this C, bue not as a cadence.) By the time Pange lingus was composed, theoretical rationalization had made such emphasis common. The same poine may be made, even snore emphatically, about Veni creator spirits (Ex: 2-70). Ie is assigned to the eighth mode (rather than the seventh), bur nor for any reason having to do with ies ambiews orcuarTeER 5 final. The final, G, is common to alletrardus melodies. The range could be describedis | frepericion the modal pentachord with a “nore added on’ either above or below, again suggesting ee the shape of that the authentic and the plagal scales have an equal claim on the tunes allegiance extual AB ‘Whar clinches things for the plagal is the cadential emphasis on C, the tuba of the fe the melisma. covtesporiding psalm cone, (The autheneic tuba, Dvalso gers a cadence; but gets ta). ee aliaton), are ‘Thus these hymn melodies graphically illustrate the synthesis of Roman and [the overall sl Byzantine elements thar made up Frankish mode theory and its perhaps unforeseen | Bix) A(x). S compositional influence. (The regularity of structure inthe hymns may of course alse f= Hppodorian seflecr the influence of popular genres that have left no written trace 2 Thefirse and are consequently beyond our historical ken.) The style and the effect ofthese tunes is aleogetherdifeseny feom hose ofthe true Gregorian corpus. Where the older melodies were discursive us an ir clusive and ecstatic, ches ate dynamic strongly etched, and thereforchighly memarale. 4 shape, the sh (as congregational songs need to be). The influence of “theory” on them wasn no way: ABA design nhibition. Quite che contrary: it seems to have been an enormou: © one playful d musical imagination, leading to a great burst of indigenous musical composition in the | 4g ytie s north of Europe, contributing a new (and lasting) kind of musical beauty The con ‘To savor this new Frankish style av its best and most charactes Fhe tubs of let us havea | this will be a look at 4 melody composed around t109, after mode theory had a century or more ia) Bling’ of che which to establish ieelf in singers’ consciousness: Kyrie IX, which bears the subtil a Gum jails (ith a'shou’)afeer its perbaps original texted form (Ex. 3-5). Never have we sees | fur the upper Inany cepecii a melody that, by so clearly parsing itself into the “principal pacts” of is tlassified as 2 rode, advertises the fact thar the mode, a6 a concept, preceded and conditioned de FF taviant of the «composition of the metody. [another play G that the “eles F etachable ref 6 Thelasrt aeslamation is S fitar Kyrie; but Es recapialare | enite subdy i % ‘Thas a soi Consider frst the opening threefold acclamation. ’The fist eight notes ofthe openiag. "Kyrie" exactly stake out che modal pentachord. ‘The test of the phrase decorates Gal withthe chatactevistic Dorian’ lower neighbor, The second aclamarien begs staking out the lower tetrachord just as the frst had staked our the pentachord. Ie be, roceeds like the first: The tied is. fal repetition of the frst. Summing up the parepetitions, we find thae the opening threefold litany mirrors in melodic microcosm shape of che entire ninefold texe: a melodic ABA or “sandwich” form nested within sgtual ABA (chreefold Kyrie/theeefold Christe/threefold Kyrie). Atthe same time, melisma on “e.” plus the “eleison’ (into which the melisma flows smoothly by vowel won), ate che same every time, reflecting the old practice of choral refrains, Hence, - overall shape of the opening threefold acclamation eould be represented as A\ <) A(o). So far the melody conforms elosely co the principal pates of mode 2, the spodorian (wich the refrain dwelling signifcancly on F, the rubs). ‘The fest “Christe,” consisting forthe most parr oftura fgares around A, substicures suba of the authentic Dorian for that of the plagal and similarly emphasizes i; this es us an inkling that the chant is going to encompass a mixed mode, As to overall ipe, the threefold Christe is also cast, like che previous threefold acclamation, in an SA design that mi e playful d he Kyrie sandwich, ‘The concluding threefold acclamation begins by confirming the impression that ‘ors in melodie microcosm the overall form of the text. But note : whae fills che Christe sandwich is a variant of what was the “bread” s will be a mixed-mode chane. Compare the new intonation on “Kyrie” with the ling” ofthe first Kyrie sandwich, It isthe same motive an octave higher, now staking «the upper tetrachord and completing the authientic Dorian scale. (Because of the ay repetitions this motive will receive in the higher octave, the complete melody is ssifed as a mode r chant.) And now notice th ‘ant of the continuations of the frst and last other playful switch of fanctions between “filling” 1 the “cleisor” phrases following the first and. eachable refrain, alte the continuation an “eleison’ is a gs about theiste” phrases. This be ind "brea ‘Christe” phrases v ing with the first. Wheels within wheels! ‘The last chteefold acclamation, ike the others, isa sandwich; its filing isthe same that of the second sandwich (namely a variant of the bread in che first). The final amation is augmented by an internal melisma that repeats che melody-of she entive and it also mea sr Kyrie: bur chen, in order 10 end on the inal rather than the aba, the second Kyrie -ecapitulaced, £00, $0 that the last word is sang to the original “eleison” refrain. The rire subtly inserwoven and integrated formal scheme looks like Table 3-2. Thus a sort of “tondo” scheme (AbAcAcdAdA) crosscuts the trio of sandwiches, d.a single dynamic pitch teajectory, from the bottom of the Hypodorian tetra ARLE S2 Stee re of Kyrie IX AL Kysoesison AbD Kyrie tcison B00 Kyra leon AG) 8 Chisteebson cK) = Chisteeleson A) Chiste eeson Cy). AL Kyte een Diy’) Kytieeleison AG) yr lesion Diy) ~ Dey) ~ AW‘0 the top of the authentic Dorian setrachord, seems ta describe a progression from datkness co light (or in terms of mood, from abjection to rejoicing) that ascot ‘ith the implied (or hoped-for) answer to che prayer, the mote $0 as the peak af che melonc range coincides with the peak of melismatic “jubilation” Finally, the melodys tonal regulary, wich ts alcernation of cadences on fina and caba a filth apart, wat 4 Permanene ‘Wester acquisition. Ir would outst che modal sytem that give rise oi Fora final inclcation of che Frankish passion for formal rounding and regularity Sompare the concluding item in the Ordinary formulary initiated by Kyeie 1X, the dismissal formula (Ex. 4-6). Ie is ser to the same melody as the ‘opening "Kyrie eleison? in Ess the phrase designated °A(2) in Table 32, which recurred throughout the lcany and came back our of retirement to conclude it. The whole Mass service thy fectively rounded off the same way che Kyrie was, witha significant melodie refiing The Frankish ambition ro use music as a shaping and a unifying force i exercised heve at the highest possible level BX. 3-6 le/d gin form Mass 1X Us he same urge to regularize tonally and formally, and to’ use the two stabilising