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<font face="Calibri">There are many references to <i>coninuncta </i>in
Bermudo (especially <i>Declaracion</i>, cap. XX), which do
reflect the multiple senses of the term:<br>
– tetrachords or hexachords added to the normal system, on the
model of the <i>synemmenon</i> tetrachord of the Ancients;<br>
– <i>ficta</i> notes resulting from these additions, producing
irregular intervals;<br>
– sharp and flat signs denoting the irregular notes delimiting
these intervals.<br>
<br>
There are also references to the <i>coniuncta</i> in Ramos, at
about the same time as Tinctoris, and I think these have been
misunderstood. Machabey states that Ramos has the same definition
as Tinctoris, but the truth is that Ramos quotes Tinctoris in
order to refute his definition (<i>Semotus a vera cognitione
Johannes Tinctoris sic ait: Coniuncta est positio </i> </font>
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<![endif]--><i style="mso-bidi-font-style:normal"><span
style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:"Book
Antiqua";
mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:"Times New Roman";
mso-ansi-language:FR;mso-fareast-language:FR-BE;mso-bidi-language:AR-SA"
lang="FR">Semotus
a vera cognitione Johannes Tinctoris sic ait : Coniuncta est
positio </span><span
style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Bach;
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Antiqua";mso-fareast-font-family:"Times New
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mso-ansi-language:FR;mso-fareast-language:FR-BE;mso-bidi-language:AR-SA;
mso-char-type:symbol;mso-symbol-font-family:Bach" lang="FR"><span
style="mso-char-type:
symbol;mso-symbol-font-family:Bach">@</span></span><span
style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:"Book
Antiqua";
mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:"Times New Roman";
mso-ansi-language:FR;mso-fareast-language:FR-BE;mso-bidi-language:AR-SA"
lang="FR"> aut </span><span
style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Bach;
mso-ascii-font-family:"Book
Antiqua";mso-fareast-font-family:"Times New
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mso-hansi-font-family:"Book
Antiqua";mso-bidi-font-family:"Times New Roman";
mso-ansi-language:FR;mso-fareast-language:FR-BE;mso-bidi-language:AR-SA;
mso-char-type:symbol;mso-symbol-font-family:Bach" lang="FR"><span
style="mso-char-type:
symbol;mso-symbol-font-family:Bach">$</span></span><span
style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:"Book
Antiqua";
mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:"Times New Roman";
mso-ansi-language:FR;mso-fareast-language:FR-BE;mso-bidi-language:AR-SA"
lang="FR"> in
loco irregulari.</span></i><font face="Calibri">: for Tinctoris,
the <i>coniuncta</i> is a <i>ficta</i> note, while for Ramos it
is an additional hexachord, producing one or more <i>ficta</i>
notes.<br>
It has also been thought that when Ramos said that Spanish
keyboard instruments had no <i>coniuncta</i> below A, he meant
that they had no black keys there. My conviction, however, is that
what he truly meant is that whatever keys would be available below
A, they did not belong to the hexachordal system.<br>
There also is an implicit confusion, in Ramos, between <i>coninuncta
</i>(a <i>ficta</i> hexachord) and <i>coniunctio</i>, the fact
that different notes belong to the same hexachord. It seems to me
that the comments of Jay Rahn in a previous message reflect the
same confusion: they concern <i>coniunctio</i>, not <i>coniuncta.</i><br>
<br>
A few bibliographical references in French:<br>
</font><font face="Calibri">– N. Meeùs, </font>
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"<span lang="FR">Bartolomeo Ramos de Pareia
et la tessiture des instruments à clavier
entre 1450 et 1550", <i>Revue des Archéologues et Historiens
d'Art de Louvain</i> V (1972), pp. 148-172.<br>
– P. Otaola, "</span>Les <i>coniunctae</i> dans la théorie
musicale au Moyen Âge et à la Renaissance (1375-1555)", <i>Musurgia</i>
V/1 (1998).<br>
<br>
Yours,<br>
<br>
Nicolas Meeùs<br>
Université Paris-Sorbonne<br>
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"Times New Roman";mso-bidi-font-family:"Times New
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FR;mso-fareast-language:FR-BE;mso-bidi-language:AR-SA" lang="FR"></span><font
face="Calibri"><br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
</font><br>
Le 1/11/2011 15:12, Massimiliano Guido a écrit :
<blockquote
cite="mid:8915E75B-15C7-4B3F-8964-25AD396169DE@gmail.com"
type="cite">
<pre wrap="">Dear list,
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.’
Thanks for help and best wishes!
Max
Dr. Massimiliano Guido
Post Doctoral Fellow
Music Research Department
Schulich School of Music
McGill University
555 Sherbrooke St. West
Montreal, Quebec H3A 1E3 Canada
+1 (514) 398-4535 x00290
Office New Music Building A633
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