The tonal organization of Gothic polyphonic repertoire appears to be ambivalent. On one side, tenors of organa, clausulae (and, on a second level, motets) are extracted from clearly-cut modal chants; on another side, we can not presume, without adequate verification, that the new-composed voices of dupla and tripla, as well as the entire genre of the conductus not based on chants, conform themselves to the same modal contours, show the same degree of modal organization, and obey to the same structural criteria. The paper analyses therefore as a case-study some Parisian conductus in order to verify (a) if in them any sense of ‘tonal orientation’ can be detected, and (b) if that possible orientation can or cannot be related to the categories of the (theoretical) chant tradition.

The Repertoire of Parisian Conductus as Case-Study in the Tonal Organization of Gothic Polyphony

SABAINO, DANIELE
2015-01-01

Abstract

The tonal organization of Gothic polyphonic repertoire appears to be ambivalent. On one side, tenors of organa, clausulae (and, on a second level, motets) are extracted from clearly-cut modal chants; on another side, we can not presume, without adequate verification, that the new-composed voices of dupla and tripla, as well as the entire genre of the conductus not based on chants, conform themselves to the same modal contours, show the same degree of modal organization, and obey to the same structural criteria. The paper analyses therefore as a case-study some Parisian conductus in order to verify (a) if in them any sense of ‘tonal orientation’ can be detected, and (b) if that possible orientation can or cannot be related to the categories of the (theoretical) chant tradition.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11571/1098231
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