DIAMM

Digital Image Archive of Medieval Music

Widaman

Jean Widaman, The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-century Music (PhD, Brandeis University, 1988)

PDF Download Links

Volume 1 (10.6 MB) | Volume 2 (4.3 MB)

These PDFs are made up of images of the original dissertation. They have been scanned using optical character recognition and should therefore be searchable within Adobe Acrobat. This process is not perfect, however, so an electronic search of the documents should not be considered exhaustive.

Abstract

Arnold de Lantins, a composer widely represented in the musical sources of the 1420s and 1430s and a singer in the papal chapel from 1431 to 1432, stood at the forefront of stylistic developments of the early fifteenth century, yet his music is hardly known among music historians and performers today. Although he was one of the first composers to link the Gloria and Credo by motto beginnings and to write a complete, musically unified Mass cycle, few of his Ordinary settings are available in modern transcription and little has been written about them. Without an edition of these settings it is not possible to evaluate the extent of Arnold’s influence in the development of the cyclic Mass, the most important musical genre of the fifteenth and sixteenth centuries. This dissertation establishes the basis for a re-evaluation of Arnold de Lantins and his role in the creation of the unified Mass cycle. The first chapter assembles the known facts concerning his biography and discusses the reasons for his neglect. Chapter 2 scrutinizes the sources containing his music to determine its place within the manuscript repertories and the time and place of its transmission. Chapter 3 examines each of Arnold’s Ordinary settings and proposes a provisional chronology for their composition, while the final chapter discusses the variants among settings preserved in more than one source. Volume II presents each of Arnold’s Ordinary settings in modern transcription. The combined evidence of recent archival studies, the sources, and the music itself demonstrates that Arnold’s music was highly regarded by the scribes of the early fifteenth-century sources, that its transmission to these scribes was fairly direct, that Arnold’s Ordinary settings were among the most advanced in the north Italian repertory, and that Arnold himself may have participated in the revision of parts of his complete Mass cycle. The nature of the variants in the settings preserved in more than one source suggest an early stage in a living tradition where composer, singers, and scribes freely reworked musical material for immediate consumption.

Table of Contents

Volume I

Preface
List of Tables
List of Figures
List of Musical Examples
List of Abbreviations
List of Manuscript Sigla
Introduction
Chapter 1: The Musical Legacy of Arnold de Lantins
Earlier Scholarship Concerning Arnold de Lantins
The Discovery of Documents and Musical Sources
Transcriptions and an Emerging Biography
Arnold and the Origins of the Cyclic Mass
New Archival Evidence
Reasons for Arnold’s Neglect
The Life and Works of Arnold de Lantins: A Summary of Evidence
A Brief Biography and a Worklist
The Genres Arnold Cultivated
Chapter 2: The Testimony of the Sources
Organization and Contents of the Manuscripts
Bologna, Civico Museo Bibliografico Musicale, MS Q15
Oxford, Bodleian Library, MS Canonici 213
Bologna, Biblioteca Universitaria, MS 2216
Munich, Bayerische Staatsbibliothek, Musik-sammlung, MS Mus. 3224
The Proximity of the Sources to Arnold
Bologna, Civico Museo Bibliografico Musicale, MS Q15
Oxford, Bodleian Library, MS Canonici 213
Bologna, Biblioteca Universitaria, MS 2216
Munich, Bayerische Staatsbibliothek, Musik-sammlung, MS Mus. 3224
The Organization of Music for the Mass Ordinary
Bologna, Civico Museo Bibliografico Musicale, MS Q15
Oxford, Bodleian Library, MS Canonici 213
Bologna, Biblioteca Universitaria, MS 2216
Munich, Bayerische Staatsbibliothek, Musik-sammlung, MS Mus. 3224
Chapter 3: Arnold’s Settings of the Mass Ordinary
Techniques of Unification
The Gloria/Credo pairs
The Arnold de Lantins/Johannes Ciconia Composite Cycle
The Missa Verbum incarnatum
Towards a Chronology of Arnold’s Ordinary Settings
Mensural Usage
Tonal Organization
Conclusions
Chapter 4: The Transmission of Arnold’s Ordinary Settings
The Relationship between BL 90/91 and BU 37/38
Missa Verbum incarnatum: A Tale of Three Scribes
Implications for Editors of Early Fifteenth-Century Music
Epilogue
Appendix: The Evidence of the Attributions
Notes
Bibliography

Volume II

Introduction to the Edition
Edition of Mass Ordinary Settings by Arnold de Lantins