Metri Causa: Rhythmic Well-formedness in Latin Elegy

1996

Table 1. Theorists Consulted Regarding Composition of Cadence and Ordering of Cadence Tones (arranged chronologically) 56 2. Theorists Using Semibreve Pulse Exclusively in Cadence Examples 3. Theorists Exhibiting a Distinction Between "Simple" and "Diminished" Cadences 4. Theorists Representing Cadences as Exclusively Containing a Syncopation Figure and Dissonance 5. Comparison of the Three Approaches to Cadence-Tone Theory 6. Theorists Supporting the Initium-Derived Cadence-Tone Theory 7. Comparison of Cadence-Tone Lists in 1523 and 1529 editions of Pietro Aron's Thoscanello de la musica 8. Initium List in Tinctoris's De natura et proprietate tonorum 9. Theorists Listing Initiae Without Reference to Cadence 10. Theorists Supporting the Kepercussae-Derived Cadence-Tone Theory 11. Cadence-Tone List from Johannes Cochlaeus's Exercitium cantus choralis (1511) 12. Cadence-Tone List from Gallus Dressier's Praecepta musicae poeticae (1563) 79 13. Theorists Supporting the Zarlinian Cadence-Tone Theory 83 IV 33. Cadences in Jacobus Clemens' "Exaltabo te Domino" 151 34. Cadences in Jacobus Clemens' "In te Domine speravi" 35. Cadences in Thomas Crequillon's "Adjuva nos Deus" 36. Cadences in Thomas Crequillon's "Domine, da nobis auxilium" 154 37. Cadences in Thomas Crequillon's "Invocabo nomen tuum Domine" 38. Cadences in Thomas Crequillon's "Venite et videte opera Domini" 39. Cadences in Nicolas Gombert's "In te Domine speravi" 40. Cadences in Nicolas Gombert's "Laqueus contritus est" 41. Josquin des Pres' "Domine, ne in furore tuo argas me" 42. Cadences in Josquin des Pres' "Mirabilia testimonia tua, Domine" 43. Cadences in Josquin des Pres' "Usquequo, Domine" 44. Cadences in Elzear Genet's "Legem pone mihi Domine" 163 45. Cadences in Nicolas Gombert's "Salvum me fac" 164 46. Cadences in Maistre Gosse's "Laudate Dominum" 165 47. Cadences in Jean Guyon's "Fundamenta ejus in montibus" 166 48. Cadences in Jachet de Mantua's "Salvum me fac" 167 49. Cadences in Francesco Layolle's "Memor est verbi tui" 168 vx 50. Cadences in Cristobal de Morales' "Inclina me, Domine, aurem tuam" 51. Cadences in Adrian Willaert's "Qui habitat in adjutorio" 52. Cadences in Claudin de Sermisy's "Domini est terra" 53. Cadences in Jacobus Clemens' "Aperio Domine" ... 54. Cadences in Jacobus Clemens's "Servus tuus ego sum" 55. Cadences in Jean Conseil's "Adjuva me, Domine" 56. Cadences in Thomas Crequillon's "Dirige gressus meus" 57. Cadences in Thomas Crequillon's "Hei mihi Domine" 58. Cadences in Mathieu Gascongne's "Quare tristis es anima mea" 59. Cadences in Nicolas Gombert's "Confitebimur tibi Deus" 60. Cadences in Nicolas Gombert's "Peccata mea sicut sagitae" 61. Cadences in Jacotin's "Credidi, propter quod locutus sum" 62. Cadences in Josquin des Pres' "Cantate Domino canticum novum" 63. Cadences in Cipriano de Rore's "In convertendo Dominus" 64. Cadences in Claudin de Sermisy's "Beatus vir qui non abiit" 65. Cadences in Thomas Crequillon's "Cor mundum crea in me" 66. Cadences in Thomas Crequillon's "Erravi sicut ovis" 67. Cadences in Josquin des Pres' "Beati quorum" ... VI1 68. Cadences in Josquin des Pres' "Caeli enarrant gloriam Dei" 69. Cadences in Josquin des Pres' "Domine Dominus noster" 70. Cadences in Josquin des Pres' "Domine, ne in furore tuo argas me" 71. Cadences in Jean Richafort's "Exaudiat te Dominus" 72. Cadences in Thomas Stoltzer's "Saepe expugnaverunt me" 73. Cadences in Jacobus Clemens' "Domine clamavi" .. 74. Cadences in Josquin des Pres' "Deus in nomine tuo salvum me fac" 75. Cadences in Josquin des Pres' "Domine, exaudi orationem meum" 76. Cadences in Josquin des Pres' "Domine, ne projicias me" 77. Cadences in Josquin des Pres' "Qui regis Israel, intende" 78. Cadences in Mathieu Lasson's "In manibus tuis sortes meae" 79. Cadences in Pierre de Manchicourt's "Paratum cor meum" 80. Cadences in Dominique Phinot's "Exaudiat te Domine" 81. Cadences in Claudin de Sermisy's "Benedic anima mea Domino" 82. Cadences in Claudin de Sermisy's "Deus, in adjutorium meum intende" 83. Cadences in Jacobus Clemens' "Confundantur omnes" 84. Cadences in Thomas Crequillon's "Deus virtutem convertere" 85. Cadences in Nicolas Gombert's "Inclina, Domine, aurem tuam" 202 viii 86. Cadences in Josquin des Pres' "Benedicite omnia opera Domini Domino" 87. Cadences in Josquin des Pres' "Dominus regnavit" 88. Cadences in Josquin des Pres' "In Domini confido" 89. Cadences in Josquin des Pres' "Laudate pueri Dominum" .90. Cadences in Ludwig Senfl's "Deus in adjutorium" 91. Cadences in Jacobus Clemens' "Dominus qui habitabit" 92. Cadences in Jacobus Clemens' "Levavi oculos meos" 93. Cadences in Nicolas Gombert's "Ad te levavi oculos" 94. Cadences in Nicolas Gombert's "Deus ultionum Dominum" 95. Cadences in Cristobal de Morales' "Beatus omnes qui timent Dominum" .96. Cadences in Adrian Willaert's "Dominus regit me-Parasti" 97. Cadences in Antoine Brumel's "Laudate Dominum de caelis" 98. Cadences in Jacobus Clemens' "Fac mecum signum" 213 99. Cadences in Claudin de Sermisy's "Deus misereatur nostri" 214 100. Cadences in Claudin de Sermisy's "Quare tremuerunt gentes" 215 102. Cadences in Jean Mouton's "Confitemini Domino" 217 IX PART ONE: APPROACHES TO ANALYSIS OF RENAISSANCE POLYPHONY CHAPTER I 2. This school of thought relies heavily on Bernhard Meier's Die Tonarten der klassische Vokalpolyphonie (Utrecht: Oosthoek, Scheltema, and Holkema, 1974). 3. Exemplified by Harold Powers's "Tonal Types and Modal Categories," Journal of the American Musicological Society XXXIV/3 (Fall 1981), 428-470, which deconstructs the historicist concept of modality, and Peter Schubert's "Authentic Analysis," The Journal of Musicology XII/l (Winter 1994), 3-18, a rigorous examination modern interpretation of sixteenth-century theory documents. necessary precompositional assumption for Medieval and Renaissance polyphony in the way that tonality is 5. Wilhelm Luther, Gallus Dressier: ein Beitrag zur Geschichte des Schulkantorats im 16. Jahrhundert (Kassel: Barenreiter, 1941), 17. precompositional for 18th-19th-century art music." 6 In a later study, he asserts that while "tonal types" (sketchily defined as combinations of clefs, finals, and key signatures) existed as necessary precompositional phenomena, the modes were an expression of an ideal through melody and ambitus characteristics. 7 More recently, he described mode expression as an artifice introduced by composers of the sixteenth century, who attempted to impose the only system of pitch organization they knew, the modality of plainsong, on a highly developed tradition of polyphonic composition. 8 He summarizes this as "a conscious use of tonal types in an orderly way, to represent the members of the modal system." He claims that "the hidden fallacy behind notions of modality. .. turns on the familiar confounding of theory with practice, with the curious wrinkle that the theory in question [plainsong modality] antedates rather than postdates the practice. .. " 9 Peter Schubert provocatively questions the assumption that a unified "theory of everything" for Renaissance 6. Harold Powers, "The Modality of Vestiva i colli,"

Exemplaria classica: journal of classical philology, 2017

Brill's Encyclopaedia of the Neo-Latin World. Vol. 1: Macropaedia, ed. by J. Bloemendal, C. Fantazzi and P. Ford (Leiden and Boston), 387-398, 2014

This essay is concerned with all Neo-Latin poetry in the elegiac couplet. It is thus not confined to the modern sense of the (English) word ‘elegy’, which is usually employed only for poetry of mourning. Though this type of elegy is strongly related to the origins of the classical genre and constitutes an important category within Latin elegiac poetry, it is certainly not the only type. Epigrammatic poetry, however, will be excluded from this essay, though much of it is composed in the elegiac couplet. On the basis of a number of characteristics, conciseness and shortness being the most important, it is generally perceived as a genre of its own. This is not to suggest, though, that the distinction between elegiac and epigrammatic poetry would be an easy one, and it is important to note here that there are many influences from epigram in elegy and vice versa, and that many similar subjects were treated by both. This is true for antiquity, but even more so for the early modern period. Neo-Latin elegiac poetry is for a considerable part, based on classical, mostly Latin models. These models include the Latin love elegies by Tibullus, Propertius, and Ovid (including his Tristia and Epistulae ex Ponto), and the elegiac poems of late antique poets such as Ausonius and Claudian. Because of the great variety of themes treated in elegiac poetry in antiquity and later ages, the variety in Neo-Latin elegiacs is likewise enormous. Moreover, the range of Neo-Latin elegiac poetry is much broader than earlier models might suggest. This range results substantially from the basic openness that the genre displayed in antiquity, which inspired many Neo-Latin poets to broaden the scope of the elegiac genre and also to incorporate themes not treated in classical elegiac poetry. In order to arrive at an understanding of this wide-ranging Neo-Latin elegiac practice, this essay will distinguish between various subgenres or ‘types’. It will first discuss a number of categories that display a close and recognizable relationship with specific classical elegiac model(s). Subsequently, it will discuss the ways in which the genre was further broadened to include several new themes and functions. This overview and discussion of examples will obviously be neither exhaustive nor representative of all Neo-Latin elegies that have been written. Nonetheless, it aims to give an impression of the most common Neo-Latin elegiac (sub)genres, explain the ways in which they developed from certain classical models, and present the new forms that were invented while accounting for their foundations.

2007

The abbreviations of principal reference works and journals, as well as the names of Greek and Latin authors follow the practice of l'Année Philologique and Liddell-Scott-Jones, A Greek-English Lexicon. The references to the analysis of Gorgias' Helen are given according to the parsing presented in Part III (and Appendix I) of this dissertation. ABBREVIATIONS AND CRITICAL SYMBOLS I. Abbreviations used in the description of prose rhythm 1 ABS.COP-missing copula ACC-accent, accentual rhythm AC.RI-accentual rhythm index ADD-addition ALL-alliteration ANA-anaphora ANAPHR-anaphoric pronoun ANT-antithesis ARF, AUTOREF-auto-reference ASY-asyndeton BEG-beginning B, BO-boundary CATAPHR-cataphoric pronoun CEW-content words and emphatic function words CH-change CHI-chiasmus CLA-clausula CLO-closure COL-colon CONN-connection COP-copula CTR-contrast CW-content word EFW-emphatic function word EL-element EPAN-epanaphora EPIPH-epiphora EX-example FOLL-following FW-function word GRA-gradation H, HIAT-hiatus HOM-homoeoteleuton HYP-hyperbaton IMPS-impersonal verb 13 INT-internal (period-or colon-internal) ISOC-isocolon ISOS-isosyllabic rhythm LIT-litotes PAR-parallelism PARIS-parison PER-period PIV-pivot PLPT-polyptoton POS-position PT-part (e.g. in word-part repetition) QU-quantitative rhythm QU.RI-quantitative rhythm index QUANT-quantity word REF-keywords occurring elsewhere REP-repetition RH-rhythm RI-rhythm index RING-circular structure RP-repetition SL.RI-syllabic rhythm index SO.PL-sound play (parechesis) SY-syntax SYL-syllable SYM-symmetrical pattern or even distribution VE-verb; verbal syntax WD-word WTDI-word type distribution index II. Abbreviations used in the analysis adv.-adverb alt.-alternating art.-article C-consonant Cl, Col.-colon Cm-comma cmpl-complex (cola) comp.-complement conn.-connector cont.-continuation el.-elementary (cola and commata) gnom.-gnomic (syntax) inf.-infinitive int.-interlocked (word order) I.O.-indirect object Ma-main (clause) Niv-accentual rhythm with licence of suppression O, Obj.-grammatical object P.-period part.-participle Per.-period pred., Pd., P-predicate, predicative prep.-preposition Par.-paragraph Rel.-relative (clause) S., Subj.-grammatical subject Ŭ-short vowel V-vowel or a verb III. Other abbreviations and signs Ø-absence of (certain) figure x-indifferent syllable (short or long) or secondary accent .-syllable without accent /-gravis accents 7-syllable with acute and circumflex accents M-mobile word M a-preferential word p-prepositive word or introductory pivot q-postpositive word or closural pivot #-boundary ⎪-group boundary '-slight boundary ∪-short syllable ⎯-long syllable mcl-muta cum liquida suggestions for further research. Finally, I thank my colleagues, family and friends, including all members of DAMON, who have created the atmosphere of friendly interest and debate which makes the research worth the effort. Tartu, 30 august 2007 Janika Päll To the memory of my grandmother, Ester Petlem 42 This discussion appears in late antiquity by Ps-Castor from Rhodos and a Byzantine rhetor and philosopher Joseph Pinaros Racendytes (Steinrück 2004a: 142-143). 43 See Devine-Stephens 1994: 430-1 for more examples from Delphic hymns. 44 In the first colon and (maybe not as a hazard) co-occurring with a heavy syncopation (in an iambic dimetre with a scheme of analysis: ∪ ⎯. ⎯. ⎯ .⎯). 45 'Temps' in Mouraviev 2002: 230. These can be understood as primary elements, the notion prîtoj crÒnoj occurs in Greek musical theory for elementary unit (cf. n. 9 above). 46 He discusses separately only the combinations from 1 to 3, although he does not fail to note other cases during his analyses (Mouraviev 2002: 266 and following).

RMN Newsletter 8: 68-70., 2014

A first exploration of acceptable and unacceptable discrepancies between linguistic and musical rhythm in Italian songs has uncovered two kinds of discrepancies which do not have counterparts in literary verse: durational discrepancies between adjacent syllables and stress-beat misalignments that involve nonadjacent syllables. The latter type is explored in greater detail than the former. Our survey suggests that analogous misalignments are in principle impossible in literary verse composed in accentual or accentual-syllabic meters, because, on the one hand, the abstract metrical templates that characterize such meters are not anchored in measured time, and, on the other hand, they do not recognize more than two degrees of metrical prominence.

Tartu 2007 : Tartu University Press, 2007

2017

The goal of this paper is to show that (some) Ancient Greek hexametric poets were not indifferent to the quantity of the final syllable of the verse, by studying the correlation between that quantity and the different possible word ends in the fourth foot of the verse. The results of the study suggest that in some poets there was a certain preference for " rhythmic coherence " within the second colon, which indicates that, even if there was " compositional indifference " regarding the quantity of the last syllable, there was not " actual indifference ". El objetivo de este artículo es mostrar que (algunos) poetas hexamétricos de la Grecia Antigua no eran indiferentes a la cantidad de la sílaba final del verso, estudiando la correlación entre esa cantidad y los diferentes finales de palabra posibles en el cuarto pie del verso. Los resultados del estudio sugieren que en algunos poetas había una cierta preferencia por la " coherencia rítmica " en el segundo colon, lo que indica que, incluso si había una " indiferencia composicional " respecto a la cantidad de la última sílaba, no había " indiferencia efectiva ".

Classical Review 69.2, 455-57, 2019

The admiration many readers feel for Virgil's word order was expressed by J. Dryden in the preface of his translation of C.-A. du Fresnoy's work on the art of painting: 'Virgil is so exact in every word, that none can be changed but for a worse; nor any one removed from its place, but the harmony will be altered' (The Art of Painting [1695], p. xlix). D.'s work is the first book-length study of word order in Virgil, and of any Latin poet since H.D. Naylor's Horace Odes and Epodes: a Study in Poetic Word-Order (1922). It is a revised and expanded version of D.'s doctoral thesis (Università degli Studi di Salerno, 2012), produced partly under the guidance of G.B. Conte, and it has been translated into English by A. Campbell. Its focus is on the Aeneid, though quotations from other Virgilian works are abundant and helpful, and it concentrates particularly on aesthetic phenomena, especially that work mimetically or rather, in D.'s more precise Peircean terminology, iconically. Surprisingly perhaps, many of these effects are not conventionally harmonious at all, but work by being ostentatiously off-kilter or deviating from an expected pattern of some kind. For instance, enjambement, the phenomenon to which D. gives the most attention, works by dislocating a sense unit across a verse break. Other prosodic and metrical effects that D. considers work similarly, for example hiatus and hypermeter, by breaking established norms. Even a golden line (A B C B A), which seems visually so harmonious, violates norms that operate at a different linguistic layer, namely the syntactic constraints that structure typical Latin word order. D.'s attention to the aesthetic dimension of word order distinguishes it from recent Anglophone work on Latin (and ancient Greek) word order, for instance, by A.M. Devine and L.D. Stephens, B.L.M. Bauer, and A. Ledgeway. Instead, D. works largely within a framework and terminology that should be familiar to most Classicists: 'hyperbaton', 'anastrophe' and 'emphasis' instead of, for example, 'discontinuity', 'long-distance fronting' and 'focus'. This makes the work accessible to a wide range of Classicists and demonstrates the continued hermeneutic value of these concepts in the hands of a sensitive reader. One advantage of the familiar terminology is its ancient pedigree: through Servius and Quintilian it takes us back perhaps as close as we can get to the vocabulary in which Virgil himself probably understood his poetic creation. For describing enjambement and other effects that cluster around verse breaks, D. persuasively advocates adopting two concepts from M. Grammont (Le vers français [2nd edn 1913]): rejet and contre-rejet. Both help to describe the aesthetic tension between the metrical unit of the verse and the syntactic unit of the sentence. Rejet occurs when a single word has overstepped the boundary of the metrical verse and been projected, or enjambed, onto the following verse, and is then followed by a pause (p. 58). Contre-rejet describes the mirror image of this, when the sentence ends before the verse does, and a new sentence begins shortly before verse-end. D. also introduces a third term of his own, après-rejet, which describes the start of a new sentence immediately after rejet. This toolkit of vocabulary helps D. to break new ground in his description of enjambement and related phenomena and their interaction with metrical structure and semantic content.