<html><body><div style="color:#000; background-color:#fff; font-family:arial, helvetica, sans-serif;font-size:12pt"><div><font class="Apple-style-span" size="4"><span><font class="Apple-style-span" face="'times new roman', 'new york', times, serif">Tinctoris's third definition, </font>'</span><span class="Apple-style-span" style="font-family: 'times new roman', 'new york', times, serif; ">the immediate joining of one note after another,' corresponds to Marchetto's usage throughout the Lucidarium: e.g., 'dispositio sive ordinatio sonorum sive vocum *ad invicem* in sillabis et dictionibus' (my emphasis: Luc. 9.1.2). </span></font></div><div><span class="Apple-style-span" style="font-family: 'times new roman', 'new york', times, serif; "><font class="Apple-style-span" size="4"><br></font></span></div><div><span class="Apple-style-span" style="font-family: 'times new roman', 'new york', times, serif; "><font class="Apple-style-span" size="4">The passage
that follows this definition identifies 3 classes: those that span:</font></span></div><div><span class="Apple-style-span" style="font-family: 'times new roman', 'new york', times, serif; "><font class="Apple-style-span" size="4">a) an interval smaller than a perfect 4th (termed 'conjunctions and syllables'); </font></span></div><div><span class="Apple-style-span" style="font-family: 'times new roman', 'new york', times, serif; "><font class="Apple-style-span" size="4">b) a perfect interval (in particular, 4th, 5th, 8ve, 11th, 12th, and 15th: termed 'conjunctions and species'); </font></span></div><div><span class="Apple-style-span" style="font-family: 'times new roman', 'new york', times, serif; "><font class="Apple-style-span" size="4">c) a non-perfect interval between a 4th and 8ve (in modern terms, a dim 5, aug 4, m6, M6, m7, M7, and dim 8ve: termed simply 'conjunctions'). </font></span></div><div><span class="Apple-style-span"
style="font-family: 'times new roman', 'new york', times, serif; "><font class="Apple-style-span" size="4"><br></font></span></div><div><span class="Apple-style-span" style="font-family: 'times new roman', 'new york', times, serif; "><font class="Apple-style-span" size="4">Thereupon, he assigns romanized versions of ancient Greek names to particular 'genera' of the 2nd, 3rd, and perfect 4th conjunctions: diatonic, enharmonic and chromatic, as well as combinations of these (e.g., diatonic-chromatic). After this discussion, he discusses perfect 4th and 5th species that are a basis for his discussion of the 8 modes.</font></span></div><div><span class="Apple-style-span" style="font-family: 'times new roman', 'new york', times, serif; "><font class="Apple-style-span" size="4"><br></font></span></div><div><font class="Apple-style-span" size="4"><span class="Apple-style-span" style="font-family: 'times new roman', 'new york', times, serif; ">Particular
realizations of perfect 4th and 5th species (initial, terminal etc.) are considered after his discussion of the 8 modes and later still he discusses interruptions of the 1st species of perfect 5th (plausibly taking a passage in Guido as his point of departure). </span><br></font></div><div><span class="Apple-style-span" style="font-family: 'times new roman', 'new york', times, serif; "><font class="Apple-style-span" size="4"><br></font></span></div><div><span class="Apple-style-span" style="font-family: 'times new roman', 'new york', times, serif; "><font class="Apple-style-span" size="4">Not included are what in modern terms would be called augmented primes. These figure elsewhere in the treatise, where he considers chromaticism that would occur in discant rather than chant (e.g., c-c#, c#-c). <br></font></span></div><div><span class="Apple-style-span" style="font-family: 'times new roman', 'new york', times, serif; "><font
class="Apple-style-span" size="4"><br></font></span></div><div><span class="Apple-style-span" style="font-family: 'times new roman', 'new york', times, serif; "><font class="Apple-style-span" size="4">Jay Rahn, York University (Toronto)</font></span></div><div style="font-size: 12pt; font-family: arial, helvetica, sans-serif; "><br><blockquote style="border-left: 2px solid rgb(16, 16, 255); margin-left: 5px; padding-left: 5px;"><div style="font-size: 12pt; font-family: arial, helvetica, sans-serif; "><div style="font-size: 12pt; font-family: 'times new roman', 'new york', times, serif; "><font size="2" face="Arial"><hr size="1"><b><span style="font-weight:bold;">From:</span></b> Massimiliano Guido <guido.massimiliano@gmail.com><br><b><span style="font-weight: bold;">To:</span></b> smt-talk@lists.societymusictheory.org<br><b><span style="font-weight: bold;">Sent:</span></b> Tuesday, November 1, 2011 10:12:48 AM<br><b><span style="font-weight:
bold;">Subject:</span></b> [Smt-talk] Coniuncta<br></font><br>Dear list,<br>does anybody know about late (i.e. sixteenth century) occurrences of the term coniuncta in treatises? I'm referring specifically to what Tinctoris defined in Terminorum musicae diffinitorium, as ‘the making of an irregular tone where a semitone should be, or vice versa; the placing of a flat or natural sign in an irregular place; the immediate joining of one note after another.’<br>Thanks for help and best wishes!<br>Max<br><br>Dr. Massimiliano Guido<br>Post Doctoral Fellow<br><br>Music Research Department<br>Schulich School of Music<br>McGill University<br>555 Sherbrooke St. West<br>Montreal, Quebec H3A 1E3 Canada<br><br>+1 (514) 398-4535 x00290<br>Office New Music Building A633<br>_______________________________________________<br>Smt-talk mailing list<br><a ymailto="mailto:Smt-talk@lists.societymusictheory.org"
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