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Style And Process in the Magnificat Cycle of Nicolas Gombert.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Style And Process in the Magnificat Cycle of Nicolas Gombert./
Author:	Lorenz, Ian.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2024,
Description:	336 p.
Notes:	Source: Dissertations Abstracts International, Volume: 86-04, Section: A.
Contained By:	Dissertations Abstracts International86-04A.
Subject:	Composers. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31527252
ISBN:	9798342120654

Style And Process in the Magnificat Cycle of Nicolas Gombert.
Lorenz, Ian.

Style And Process in the Magnificat Cycle of Nicolas Gombert. - Ann Arbor : ProQuest Dissertations & Theses, 2024 - 336 p.

Source: Dissertations Abstracts International, Volume: 86-04, Section: A.

Thesis (Ph.D.)--McGill University (Canada), 2024.

This dissertation focusses on the eight-tone Magnificat cycle of Nicolas Gombert (ca. 1495-ca.1560), a prolific composer of sacred and secular music active in the first half of the sixteenth century. While the terms "pervasive imitation" and "dense counterpoint" often give a sufficient if facile impression of his music, the lack of stable analytical vocabulary appropriate to Gombert or his contemporaries results in difficulty addressing or analysing the music. Important studies of Gombert's music by Peter Urquhart, Anthony Newcomb, and Brandi Neal have included discussions about musica ficta,text-music relations, and the texture of his large multi-voice pieces; what has not yet been addressed in Gombert's music is the relationship between the composer's use of counterpoint and melodic entries. By applying an expanded version of Peter Schubert's presentation types-including vocabulary borrowed from John Milsom and created by myself-I offer a new way of approaching Gombert's rigorous contrapuntal approach to composition, one focussed on types of imitation standardised according to time and pitch intervals, the repetition of contrapuntal combinations or modules, and the composer's use of musical heightening.My analytical methodology combines Joel Lester's (emotional intensity) and Peter Schubert's (contrapuntal intensity) theories of heightening together. I go one step further than Lester and Schubert and codify a hierarchy of heightening based upon musical types: presentation types (free counterpoint, fuga with and without interlock, NIm, ID, PEn, and stretto complex); and parallel models (the Parallel-6th Model and the Parallel-10th Model). The hierarchy of heightening ranks musical types based on their melodic and contrapuntal constraints. I define melodic constraints as the presentation of a soggetto that does not result in a module, or in the repetition of the rhythm and pitches of the first appearance of the soggetto; contrapuntal constraints are concerned with modules, or repeated chunks of counterpoint. Musical types from most relaxed to most heightened (from lowest to greatest number of constraints) in order are free counterpoint, fugas (with and without interlocks), NIm, ID, PEn and stretto complex. Others, such as stretto fuga and parallel models, have their heightening determined by their location within a Magnificat verse in addition to their surrounding musical types. I find that Gombert's musical types, in combination with their level of heightening, start to create a form of their own, one directed by features both internal and external to the Magnificat; I call this approach "contrapuntal form."Gombert uses two different approaches to form within his eight-tone Magnificat cycle: verse form and Magnificat form. In verse form, Gombert repeats the same sequence of presentation types in each verse, in addition to coordinating musical types with heightening to create single and double arch forms. In Magnificat form, Gombert bifurcates the Magnificats into two sections, and he uses the same types of imitation in beginnings and climaxes. I also discuss forms of intensification Gombert uses in both verse and Magnificat forms, such as climactic, compound, and spatial. My analyses of three of Gombert's Magnificats (Tertii et octavi toni, Primi toni, and Sexti et primi toni), demonstrate that Gombert's use of contrapuntal form allows him to unify and vary multiple elements of the Magnificat, allowing him to play with, and shape, verses and whole Magnificats. Contrapuntal form creates a new method of analysis for the Magnificats of Gombert and his contemporaries, that provides new insight into style and process.

ISBN: 9798342120654Subjects--Topical Terms:

625471
Composers.

Style And Process in the Magnificat Cycle of Nicolas Gombert.
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100 1 $a Lorenz, Ian. $3 3774405
245 1 0 $a Style And Process in the Magnificat Cycle of Nicolas Gombert.
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300 $a 336 p.
500 $a Source: Dissertations Abstracts International, Volume: 86-04, Section: A.
500 $a Advisor: Cumming, Julie.
502 $a Thesis (Ph.D.)--McGill University (Canada), 2024.
520 $a This dissertation focusses on the eight-tone Magnificat cycle of Nicolas Gombert (ca. 1495-ca.1560), a prolific composer of sacred and secular music active in the first half of the sixteenth century. While the terms "pervasive imitation" and "dense counterpoint" often give a sufficient if facile impression of his music, the lack of stable analytical vocabulary appropriate to Gombert or his contemporaries results in difficulty addressing or analysing the music. Important studies of Gombert's music by Peter Urquhart, Anthony Newcomb, and Brandi Neal have included discussions about musica ficta,text-music relations, and the texture of his large multi-voice pieces; what has not yet been addressed in Gombert's music is the relationship between the composer's use of counterpoint and melodic entries. By applying an expanded version of Peter Schubert's presentation types-including vocabulary borrowed from John Milsom and created by myself-I offer a new way of approaching Gombert's rigorous contrapuntal approach to composition, one focussed on types of imitation standardised according to time and pitch intervals, the repetition of contrapuntal combinations or modules, and the composer's use of musical heightening.My analytical methodology combines Joel Lester's (emotional intensity) and Peter Schubert's (contrapuntal intensity) theories of heightening together. I go one step further than Lester and Schubert and codify a hierarchy of heightening based upon musical types: presentation types (free counterpoint, fuga with and without interlock, NIm, ID, PEn, and stretto complex); and parallel models (the Parallel-6th Model and the Parallel-10th Model). The hierarchy of heightening ranks musical types based on their melodic and contrapuntal constraints. I define melodic constraints as the presentation of a soggetto that does not result in a module, or in the repetition of the rhythm and pitches of the first appearance of the soggetto; contrapuntal constraints are concerned with modules, or repeated chunks of counterpoint. Musical types from most relaxed to most heightened (from lowest to greatest number of constraints) in order are free counterpoint, fugas (with and without interlocks), NIm, ID, PEn and stretto complex. Others, such as stretto fuga and parallel models, have their heightening determined by their location within a Magnificat verse in addition to their surrounding musical types. I find that Gombert's musical types, in combination with their level of heightening, start to create a form of their own, one directed by features both internal and external to the Magnificat; I call this approach "contrapuntal form."Gombert uses two different approaches to form within his eight-tone Magnificat cycle: verse form and Magnificat form. In verse form, Gombert repeats the same sequence of presentation types in each verse, in addition to coordinating musical types with heightening to create single and double arch forms. In Magnificat form, Gombert bifurcates the Magnificats into two sections, and he uses the same types of imitation in beginnings and climaxes. I also discuss forms of intensification Gombert uses in both verse and Magnificat forms, such as climactic, compound, and spatial. My analyses of three of Gombert's Magnificats (Tertii et octavi toni, Primi toni, and Sexti et primi toni), demonstrate that Gombert's use of contrapuntal form allows him to unify and vary multiple elements of the Magnificat, allowing him to play with, and shape, verses and whole Magnificats. Contrapuntal form creates a new method of analysis for the Magnificats of Gombert and his contemporaries, that provides new insight into style and process.
520 $a Cette these porte sur le cycle Magnificat (Mag.) a huit tons de Nicolas Gombert (vers 1495-vers 1560), compositeur prolifique de musique sacree et profane actif pendant la premiere moitie du XVIe siecle. Alors que les termes « imitation omnipresente » et « contrepoint dense » donnent souvent une impression acceptable quoique facile de sa musique, le manque de vocabulaire analytique stable approprie a Gombert ou a ses contemporains entraine des difficultes a aborder ou a analyser sa musique. D'importantes etudes sur la musique de Gombert par Urquhart, Newcomb et Neal ont inclus des discussions sur la musica ficta,les relations entre texte et musique et la texture de ses grandes pieces a plusieurs voix ; ce qui n'a pas encore ete aborde dans la musique de Gombert est la relation entre l'utilisation du contrepoint par le compositeur et les entrees melodiques. En appliquant une version elargie des types de presentation de Peter Schubert - y compris un vocabulaire emprunte a John Milsom et cree par moi-meme - j'offre une nouvelle facon d'aborder l'approche contrapuntique rigoureuse de Gombert en matiere de composition, centree sur des types d'imitation standardises selon des intervalles de temps et de hauteur, la repetition de combinaisons ou de modules contrapuntiques et l'utilisation par le compositeur de l'elevation musicale.Ma methodologie analytique combine les theories de Joel Lester (intensite emotionnelle) et de Peter Schubert (intensite contrapuntique) sur l'elevation. Je vais un peu plus loin que Lester et Schubert et codifie une hierarchie d'elevation basee sur des types musicaux : y compris des types de presentation (contrepoint libre, fuga avec et sans enchainement, NIm, ID, PEn et complexe stretto) et des modeles paralleles (le modele des sixtes paralleles et le modele des dixiemes paralleles). La hierarchie de l'elevation classe les types musicaux en fonction de leurs contraintes melodiques et contrapuntiques. Je definis contraintes melodiques comme la presentation d'un soggetto qui ne se traduit pas par un module, ou par la repetition du rythme et des hauteurs de la premiere apparition du soggetto ; les contraintes contrapuntiques concernent les modules ou les morceaux repetes de contrepoint. Les types musicaux du plus detendu au plus exacerbe (du plus petit au plus grand nombre de contraintes) sont dans l'ordre : contrepoint libre, fugas (avec et sans enchainements), NIm, ID, PEn et complexe stretto. D'autres, comme stretto fugaet modeles paralleles, ont leur accentuation determinee par leur emplacement dans un vers de Mag. en plus de leurs types musicaux environnants. Je trouve que les types musicaux de Gombert, en combinaison avec leur niveau d'elevation, commencent a creer une forme qui leur est propre, dirigee par des traits a la fois internes et externes au Mag. ; J'appelle cette approche « forme contrapuntique.Gombert utilise deux approches differentes a la forme dans son cycle Mag. a huit tons : la forme verset et la forme Mag. Sous la forme verset, Gombert repete la meme sequence de types de presentation dans chaque couplet, en plus de coordonner les types musicaux avec d'elevation pour creer des formes de climax simples et doubles. Sous la forme Mag., Gombert divise les Mag. en deux sections, et il utilise les memes types d'imitation dans les debuts et les apogees. Je discute egalement des formes d'intensification que Gombert utilise a la fois dans les formes en vers et dans le Mag., telles que les formes climatiques, composees et spatiales. Mes analyses de trois Mag. de Gombert (Tertii et octavi toni, Primi toni, et Sexti et primi toni)demontrent que l'utilisation par Gombert de la forme contrapuntique lui permet d'unifier et de varier plusieurs elements du Mag., lui permettant de jouer avec et former des vers et des Mag. entiers. La forme contrapuntique cree une nouvelle methode d'analyse pour les Mag. de Gombert et ses contemporains, qui fournit un nouvel apercu du style et du processus.
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