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Dear All,<br>
I think this conversation needs some clarification about precisely which repertory it is addressing. As I read 'clausulae', I though about C13th discant sections or conductus repertory – which is loosely when we can say the justification imperfect-perfect was
formulated. Professor Schubert's response, with its reference to Bach and perhaps a different set of theoretical objectives, appears to address a different repertory.<br>
Thomas Noll's second scenario – F-C – involves a falling fourth, or conceivably a rising fifth, not a falling fifth.
<br>
Though I can't substantiate it in a quick email response, I don't feel that I <i>
haven't</i> seen something like this in the C13th repertory; here's a parallel query: if there weren't something like this, why did the double-leading note cadence come in in the C14th?
<div>& if we are indeed talking about medieval repertory, wouldn't the discussions be easier to follow if we used the medieval gamut, because then
<span class="Apple-tab-span" style="white-space:pre"></span>B-c</div>
<div><span class="Apple-tab-span" style="white-space:pre"></span>D-C</div>
<div><span class="Apple-tab-span" style="white-space:pre"></span>G-C (or is that gamma-C?) </div>
<div>becomes self-evident.<br>
(Dr) Fiona McAlpine<br>
Honorary Research Fellow<br>
School of Music<br>
University of Auckland<br>
<br>
Secretary/Treasurer<br>
New Zealand Musicological Society<br>
<br>
Le Béguinage<br>
42 Horns Rd<br>
RD 1<br>
Oxford 7495<br>
North Canterbury<br>
NEW ZEALAND<br>
<br>
________________________________________<br>
From: smt-talk-bounces@lists.societymusictheory.org [smt-talk-bounces@lists.societymusictheory.org] on behalf of Peter Schubert, Prof. [peter.schubert@mcgill.ca]<br>
Sent: Thursday, 31 May 2012 03:00<br>
To: Thomas Noll; smt-talk@societymusictheory.org<br>
Cc: Julie Cumming, Prof.<br>
Subject: Re: [Smt-talk] Standard Configuration of Clausulae<br>
<br>
The notion of imperfect-to-perfect, I thought, was always associated with the stepwise "closest approach" (Herlinger, Cohen). So the imperfect consonance G/B doesn't participate in the same way. As for the example with F in the bass, I don't recall ever seeing
it, except in rare Bach recitatives where V4/2 goes to I5/3.<br>
<br>
Peter Schubert<br>
Schulich School of Music<br>
McGill University<br>
555 Sherbrooke St. W.<br>
Montreal, QC H3A 1E3<br>
(514) 398-4535 x00281<br>
<br>
<br>
From: Thomas Noll <noll@cs.tu-berlin.de<mailto:noll@cs.tu-berlin.de>><br>
Date: Sat, 26 May 2012 12:27:24 +0200<br>
To: "smt-talk@societymusictheory.org<mailto:smt-talk@societymusictheory.org> smt" <smt-talk@societymusictheory.org<mailto:smt-talk@societymusictheory.org>><br>
Subject: [Smt-talk] Standard Configuration of Clausulae<br>
<br>
Dear Collective Wisdom,<br>
<br>
in the standard configuration of the Tenor-, Discant- and Bass clauses one has a falling tone, rising semitone and a falling fifth all leading to the same finalis:<br>
Discant: B -> C<br>
Tenor: D -> C<br>
Bass: G -> C<br>
This configuration also has the property that imperfect consonances move towards the perfect octave/unison.<br>
<br>
The addition of a Bass with a falling-fifth - rather than a rising one - to the Tenor-Discant-Configuration seems to be crucial. There is an alternative, though, with an augmented fourth between Bass and Discant, which violates the rule to arrive at a perfect
consonance from an imperfect one.<br>
Discant: B -> C<br>
Tenor: D -> C<br>
Bass: F -> C<br>
We would be interested to know whether you know compositions in which this three-voice configuration has been used.<br>
<br>
Sincerely,<br>
<br>
Thomas Noll and Karst de Jong<br>
<br>
<br>
<br>
<br>
<br>
*********************************************************<br>
Thomas Noll<br>
http://user.cs.tu-berlin.de/~noll<br>
noll@cs.tu-berlin.de<mailto:noll@cs.tu-berlin.de><br>
Escola Superior de Musica de Catalunya, Barcelona<br>
Departament de Teoria i Composició<br>
<br>
*********************************************************<br>
<br>
<br>
<br>
<br>
<br>
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