Rece ca Musicolbgica VI-VII, 1986-1987, 5-27
G ego ian chan and
musica ic a
:
New obse a ions om Spanish heo y o he Ea ly
Renaissance*
KARL-WERNER GUMPEL
On Ma ch 31, 1410, Fe nand Es e an, c maes o de can o plano
&
de con apun o>) a he Ca hed al o Se ille, comple ed a musical ea-
ise which may be conside ed one o he mos ascina ing heo e ical
sou ces o
musica ic a1.
In s udying his wo k, he mode n schola
*ABBREVIATIONS USED IN THIS ARTICLE:
AR
=
An iphonale Romanum
(Rome 1912).-
AM
=
An iphonale Monas icum
(Pa is, Tou nai and Rome 1934).- BC
=
Biblio eca de Ca alunya.- BN
=
Biblio eca Nacional.
CA0
=
Co pus An iphonalium
O icii,
ed. R.J. HESBERT, 5 ols. (Rome 1963-75).-
CS
=
E. de COUSSEMAKER,
Sc ip o um de musica medii ae i no a se ies,
4 ols. (Pa is 1864-76).-
CSM
=
Co pus
Sc ip o um de Musica
(Rome 1950 .).-
GR
=
G aduale Ro nanum
(Rome 1908).-
GS
=
M. GERBERT,
Sc ip o es ecclesias ici de musica sac a po issi num,
3
ols. (S .
Blasien 1784).- Landweh -Melnicki
=
M. LANDWEHR-MELNICKI,
Das eins immige
Ky ie des la einischen Mi elal e s,
Fo schungsbei age zu Musikwissenscha , Vol. I
(Regensbu g 1968).-
LR
=
Libe Responso ialis
(Solesmes 1895).-
MMMAe
=
Monu-
men a Monodica Medii Ae i
(Kassel-Basel 1956 .).-
PM
=
P ocessionale Monas icum
(Solesmes 1893).- Schildbach
=
M. SCHILDBACH, "Das eins immige Agnus Dei und
seine handsch i liche Übe lie e ung om. 10. bis zum 16. Jah hunde ", Diss., Uni e -
si y o E langen, 1967.- Schlage
=
K.H. SCHLAGER,
Thema ische Ka alog de
al es en Alleluia-Melodien aus Handsch i en des.
10
und
Il.
Jah hunde s
... (Miinchen
1965).
he
ex an manusc ip copy o ESTEVAN's ea ise da ing om he i een h cen-
u y is p ese ed a he Biblio eca Pública P o incial in Toledo whe e i bea s he call
numbe
R (Ms)
329.
I s pa ia1 publica ion o 1934 (see G. ARCINIEGA in
Teso o
Sac o-Musical
XVIII, pp. 53-55, 66-68, 73-75, and 81-83) was ecen ly complemen ed by
a acsimile edi ion wi h line-by-line ansc ip ion, commen a y and s udy unde he
au ho ship o M. P. ESCUDER0 GARCÍA (Mad id 1984). Conce ning speci ic aspec s
o he
Reglas de can o plano
and hei ele ance wi hin i een h-cen u y music heo y,
he eade should consul R. STEVENSON,
Spanish Music in he Age o Columbus
(The Hague 1960, ep in edi ion, 1964), pp. 51-53, as well as F.J.
LEON
TELLO,
Es udios de His o ia
de
la Teo ia musical
(Mad id 1962), pp. 403-414. A nine een h-cen-
u y copy o Ms. Toledo
R (Ms)
329
can be ound a he Biblio eca Nacional unde he
call numbe
M.
814.
inds himsel con on ed wi h abundan in o ma ion ega ding he his-
o ical backg ound, e minology, aes he ics, and p ac ica1 applica ion
o acciden al ones in G ego ian Chan . As a heo is , Es e an clea ly
ollows he di ec ions o a new and p edominan ly p ac ice-o ien ed
ype o
A s musica
on he Ibe ian Peninsula, ep esen ed o he i s
ime du ing he la e ou een h cen u y in a li le e nacula ea ise
wi h he (implici ) i le
A e de can o llano
/
A del can pla
2.
His
in en ions a e qui e ob ious: by dedica ing himsel passiona ely o
ma e s o
musica ic a,
he ies o p epa e his eade o a musical
p ac ice which had been widely accep ed wi hin he li u gical se ices
o his own day.
Besides Es e an's wo k a second heo e ical sou ce om i een h-
cen u y Spain me i s special a en ion.
I
am speaking he e o Ms. El
Esco ial q.II1.23', a ea ise well-known among Renaissance schola s,
since Man ed Buko ze in
1936
d ew a en ion o i s opening chap e
which ecognizes se e a1 i een h-cen u y compose s o hei ad an-
cemen o new s ylis ic p inciples4. Al hough he au ho o his ea ise
does no e eal his name, we a e old by him ha he inished his wo k
on July
7,
1480,
ccwhile he sun wis ed i s eins and wi h Phoebus'
o ch scanned he lands), (c dum sol o queba habenas e ebeia lus a-
ba lanpade e a~n)~. Unlike Es e an, Anonymous Se ille does no
only deal wi h he heo y o G ego ian Chan , bu o e s addi ional
2~
c i ica1 edi ion o his manual is a ailable in my s udy "Zu F ühgeschich e de
ulga sp achlichen spanischen und ka alanischen Musik heo ie",
Spanische Fo schungen
de Go esgeseNscha
1/24 (Müns e i.W. 1968), pp. 257-336. The eade may u he -
mo e wish o look a a 1976 a icle by E. ZARAGOZA PASCUAL, which unde he i le
"Un
manual de can o llano del siglo XV has a hoy inédi o"
(sic!)
o e s ano he edi ion
o he Spanish ex e sion in Ms. Silos 14. Fo he Ca alan ex e sion (Ba celona,
Bibl. de Ca alunya, M. 1327) see also F. PEDRELL's edi ion o 1912
(Recuii de ex es
ca alans an ichs
XVII).- Rega ding i s con en s and s uc u e, he
A e de melodia
o e s
a concise and didac ic in oduc ion in o he heo y o G ego ian Chan , om which
innume able la e sou ces, e en up o he se en een h cen u y, d ew hei inspi a ion.
3~o a only exce p s om his wo k, edi ed by L. VILLALBA, ha e been published:
c .
La ciudad de Dios
LXX (1906), pp. 118-123, 531-549, and
Biblio eca Sac o Musical
V (1915), pp. 64-71, 74-77; VI (1916), pp. 128-130, 137-139; VI1 (1917), pp. 5-8, 15-17.
As in he case o ESTEVAN's ex , he e exis s a nine een h-cen u y copy made om
Ms. El Esco ial
q.111.23
now belonging o he Biblio eca Nacional (call numbe
M.
1282).
A
comple e edi ion o he ea ise will be published by he p esen au ho .
4~. BUKOFZER, "Ube Leben und We ke on Duns able",
Ac a Musicologica
VI11
(1936), pp. 103-105. Fo mo e de ailed in o ma ion on he ea ise see STEVENSON,
op. ci .,
pp. 53-55, and
LE~N
TELLO,
op. ci .,
pp. 219-223, 414-420, 471-476.
'FOI. 50' (Explici ). C . VIRGIL,
Aeneidos
IV 6: "pos e a Phoebea lus aba lampa-
de e as".
GREGORIAN CHANT AND
MUSICA FICTA
7
in o ma ion on
con apun o
and
can o de o gano.
His eaching o
musica ic a
is e y simila o Es e an's in i s ansmission o in o -
ma ional con en s. A he same ime, howe e , i p o ides us wi h
mo e de ailed obse a ions abou he in e na1 s uc u e o G ego ian
melodies o jus i y he use o acciden al ones. Wha e e he indi idual
me i s o hese wo au ho s may be, hei ex s complemen each o he
in a uly unique way, hus es ablishing he i s conc e e body o
in o ma ion on
musica ic a
as p ac iced in Spain. In his espec bo h
documen s clea ly dis inguish hemsel es om ou een h-cen u y
wo ks such as he i s o h ee ea ises a ibu ed o he Pa isian
schola Goscaldus (o Gos~alcus)~, u he mo e he anonymous
A e
de
can o llano
and an anonymous La in ex unde he i le
Quedam
ca ula de can u plano7,
in which he heo y o acciden al ones is
mo e o less limi ed o supplying basic in o ma ion on nomencla u e,
hexacho dal o igin, and simila subjec s, wi h o wi hou a ew musi-
cal examples d awn om Mass and Li u gical Hou s.
Wi h hei de ini ion o
conjun a
as he ac ual change om a whole
one in o a hal one and ice e sas, ou Spanish sou ces e li n o an
olde concep which is based on a gamu ha allows acciden al ones
&Tex edi ion by O.B. ELLSWORTH,
The Be keley Manusc ip : Uni e si y o Cali-
o nia Music Lib a y, MS.
744
(olim Phillipps
4450)
(Lincoln/Neb aska and London
1984), pp. 32-109. See especially pp. 50-67.- Abou GOSCALDUS, whose name is
equen ly men ioned in Spanish ea ises o he i een h and six een h cen u ies
(ANONYMOUS SEVILLE, DURAN, ESCOBAR, SPAÑON, and MOLINA), see ELLS-
WORTH,
op. ci .,
pp. 13-15, and he oliowing s udies: A. SEAY, "The 'Libe Musices'
o Flo en ius de Faxolis",
Musik und Geschich e
[Fes sch i L. Sch ade] (Koln 1963),
p. 80;
U.
MICHELS,
Die Musik ak a e des Johannes de Mu is,
Beihe e zum A chi
u Musikwissenscha , Vol. VI11 (Wiesbaden 1970), pp. 28-30, 31, 37-38, 41, 113; W.
FROBENIUS,
Johannes Boens Musica und seine Konsonanzenleh e,
F eibu ge Sch i -
en zu Musikwissenscha , Vol. 11 (S u ga 1971), pp. 29, 65, 68, 164, 165.
7~a celona, Biblio eca de Ca alunya, M. 883, ol. 70 -7l . See below, pp. 24-27
(Appendix), whe e he comple e ex o his sou ce is p esen ed.
s~ may su ice o men ion he e he ollowing s a emen s om ESTEVAN's
Reglas:
"conjun a es aze del ono semi ono
&
del semi ono ono, conuiene a sabe , aze del
a mi
&
del
mi
aze
a"
( ol. 10'); "conjun a es aze segund la boz del omme del ono
semi ono,
&
del semi ono ono" ( ol. ll , ed. ESCUDER0 GARCÍA, p. 87 and 91).
Conce ning he second de ini ion see also ANONYMOUS XI
CS
I11 who a ound 1450
p esen s a sligh ly ex ended e sion:
"
... coniunc a, secundum ocem hominis el ins u-
men i, es ace e de ono semi onium, e e con e so de semi onio onum (c . R.J.
WINGELL, "Anonymous XI (CS 111): An Edi ion, T ansla ion, and Commen a y".
Ph.D. disse a ion, Uni e si y o Sou he n Cali o nia, 1973, p. 28;
CS
111, p. 426b).
The same ex e sion was la e also ansmi ed by MAGISTER SZYDLOVITA (c . W.
GIEBUROWSKI,
Die Musica magis i Szydlo i e,
Posen 1915, p. 34).
8
KARL-WERNER GÜMPEL
by in oducing en addi ional o i egula hexacho ds (on
F
e opolis,
A,
B,
D,
E,
a, b, d, e,, and These acciden al ones ma e ialize
in he solmisa ion syllable mi (as he ch oma ic al e a ion o a) o a
(as he ch oma ic lowe ing o mi). Thus he possibili y is gi en ha he
one mi o an i egula hexacho dum du um o na u ale
(=
C
o
F
)
be exchanged wi h he one mi o an i egula hexacho d
(=
Cu
o
F,).
Jus as in he hexacho dia na u alia and mollia, he syllable mi
(=
E
o a) can be eplaced by a
(=
E,
o ab, i such s ep should p o e
necessa y. The e is mo eo e he acciden al one B- la co espond-
ing o he syllable a o he i s i egula hexacho d on
F
below
Gamma-u . I should poin ou ha i egula hexacho ds we e conside-
ed an in eg al pa o he solmiza ional sys em which allowed hem o
pa icipa e in a wide ange o mu a ions:
((E
sabe que odas son llama-
das dedu~iones, an bien las ayun adas commo las o as a que se
ayun an, po que an bien aen consigo seys bozes na u ales cada na
dellas commo las o as sie e a que se ayun an>)lO.
As a as is known, he expansion o he Medie al onal sys em by
en i egula hexacho ds was o he i s ime desc ibed in
1375
in he
p e iously men ioned Goscaldus ea ise". I is indeed possible ha
he Spanish concep o he conjun a has i s di ec oo s in his highly
in luen ial sou ce. How could i o he wise be explained ha he la e
ou een h-cen u y A e de can o Ilano and Goscaldus ocus in p inci-
ple on he same cha ac e is ics and, o an ex en , employ in hei
desc ip ions almos iden ical pa e ns and ph ases? A simila conclu-
sion is a hand when one conside s he ac ha Goscaldus, he Ca u-
la om Ba celona M.
883,
and Fe nand Es e an ansmi o discuss
he same basic se o musical examples.
Following ou wo i een h-cen u y sou ces, he o igin o musica
ic a mus be aced back o coun e poin (con apun o), al hough
'~cco din~ o GOSCALDUS,- he numbe o acciden al ones a ied, "nam alii
[musici] 7, alii e o
8,
alii e o plu es dixe un esse coniunc as" (ed. ELLSWORTH, p.
52).
In e es ingly enough, ANONYMOUS SEVILLE speaks o some heo is s (o musi-
cians) who ied o jus i y as many as ou een di e en
conjun as,
"p ouandolo asi que
pues conjun a es aze de
mi a
&
de
a mi
en el a e de can o Ilano, ay sie e
mies
&
sie e
ues.
Sy sob e cada na des as se pod ia aze conjun a, seguiase que e an ca o ze
conjun as. Es o es also. Ve dad es que sob e cada
mi
de
be abemi
agudo
&
de
be abe-
mi
sob eagudo po ia que de ca o ze pun os sacando qua o quedan diez. Asi digo que
son diez conjun as y no mas ni menos" ( ol.
3V).
'%STEVAN,
Reglas,
ol. 37" (ed. ESCUDER0 GARCIA, p. 197).
"~ee O.B. ELLSWORTH, "The O igin o he Coniunc a: A Reapp aisal",
Jou nal
o Music Theo y
XVII (1973), p. 96.
GREGORIAN CHANT AND
MUSICA FICTA
9
conjun as
we e widely used also in G ego ian Chan 12. A e all, i was
ou een h-cen u y
con apunc us
and polyphonic music in which an
e e -inc easing expe imen a ion wi h acciden al ones ook place. Tha
G ego ian Chan became a i al pa o his p ocess, seems only na u-
al. Non-dia onic s eps, on he o he hand, can al eady be ound in a
la ge numbe o li u gical melodies p eceding he o icial accep ance o
he
genus dia onicum.
S ill in he ea ly ele en h cen u y an anonymous
heo is men ions he ac ual use o ch oma ic onesI3. A he same ime
nume ous melodies wi h non-dia onic s eps we e subjec ed o anspo-
si ion, a la gely no a ional p ocedu e which did no en ail any melodic
o s uc u al changes, bu a he p ese ed hei o iginal ea u es wi -
hin he go e ning dia onic sys em. In e es ingly enough, mos discus-
sions in ou Spanish ea ises conce n hemsel es wi h he o iginal,
non- ansposed o m o G ego ian melodies. This would indica e o
me ha he Renaissance concep o ch oma ic ones o
conjun as
in
monophonic music ma ks he e i al o a musical phenomenon which
had been heo e ically ejec ed o e se e a1 cen u ies and which only in
he la e ou een h-cen u y ound i s academic jus i ica ion.
Bu which a e he easons gi en by ou sou ces o using
musica
ic a?
Es e an men ions he idea o ccbuena assonancia
&
melodia))
which made acciden al ones a necessa y pa o musical pe o manceI4.
The same hough is p esen ed o us when he a gues ha such ones
we e in oduced, ccpo que iniesse el can o llano a mejo conco dancia,
&
con las bozes de las conjun as iniesse la melodia
&
consonancia
mas
pe ec a^'^.
We a e ins an ly eminded he e o Anonymous
2
CS
I
who in his la e hi een h-cen u y
T ac a us de discan u
spoke in
a o o
alsa mu a io
and
alsa musica
ccp op e bonam consonan iam
in eniendam e malam i anda n)), a s a emen la e complemen ed by
de ema k ha
musica ic a
was used, ccu omnis consonan ia seu
"ESTEVAN,
Reglas,
ol. 12' (ed.
ESCUDER0 GARC~A,
p. 95): "E commo quie
que ue on echas en el a e del con apun o, son bien allegadas
&
pe enesqien es a las
bozes del can o llano pa a 10 compone
...";
ANONYMOUS
SEVILLE, ol. 30 :
"
...
ue-
on alladas po que el con apun o iniese a mejo co condancia".
'3~~
I,
p. 272a-b. See
H.
RIEMANN,
Geschich e
de Musik heo ie im IX.-XIX.
Jah hunde ,
3 d ed. (Hildesheim 1961), pp. 61-64.
14~eglas,
ol. 12' (ed.
ESCUDER0 GARC~A,
p. 95): "Pe o buenamen e non se
pod ia salua el can o llano, si non se pusiesen o as diez deduqiones, que son las diez
conjun as;
...
asi que son x ii deduqiones, ca sin es as can os ay llanos que non pod ian
aze buena assonanqia
&
melodia
&
que se non pod ian salua .
&
po es a azon las
pusie on con a ias a las bozes del can o llano."
''~01. 10' (ed.
ESCUDER0 GARC~A,
p. 87).

KARL-WERNER
GUMPEL
melodia in quolibe signo pe icia u ))I6. As hese quo a ions show,
Es e an ob iously bo owed ideas oo ed in he eaching o con apunc-
us and applied hese o G ego ian Chan . The same obse a ion is
ue o Anonymous Se ille, al hough his ex s ill seems o dwell on
he his o ical unc ion and necessi y o musica ic a:
E commo quie que sea al con apun o, son bien necesa ias
&
pe e-
nescien es [las conjun as] po que muchas ezes acaesce en el con apun o
haze
a
en
bemi,
asi po na u a como po bemol. E sy po en onces el
can o llano en
bemi
dixese
mi,
sona ia muy mal po que nunca puede se
hecha ninguna de las consonancias pe ec as
a
con a
mi,
ni
mi
con a
a,
can ando po la p ime a conjun a. E asy a a la consonancia del
con apun o su pe icion, ca en o a mane a se ia also con apun o, no
solamen e pa a en
bemi,
mas pa a en o os muchos luga es que ay en la
mano, en al mane a que a las ezes agamos de
mi a
&
a las ezes de
a
mi
17.
Ano he e lec ion o adi ional ideas may pe haps be ound in
Es e an's obse a ion ha anybody who denies he exis ence o acci-
den al ones should look a he o gan whe e all o hese ones a e
isible, e en wi h hei no a ional signs a ached o hem18. Indeed, he
p ac ice o p o iding each o gan key (o key-like de ice) wi h nomen-
cla u e in o m o le e s can be ound as ea ly as he en h cen u y. I
we ollow he anonymous Mensu a is ula um- ea ise Cup um pu issi-
mum o Theophilus p esby e , he pu pose o his p ac ice was o
assis he o gan playe in iden i ying he indi idual ones o his ins u-
men (((u ci ius modula o possi sci e, quam linguam debea ange-
e)))I9. How an old o gan keyboa d wi h added nomencla u e looked
"CS
I,
p. 310b. The ea ise o ANONYMOUS 2 was e-edi ed by A. SEAY in Vol.
I
o he Colo ado Music P ess Tex /T ansla ions (1978). Tex quo e on p. 28.
17~~1. 29".
I8~eglas,
ol.
12'
(ed. ESCUDER0 GARCÍA, p. 95): "E munchos dizen que las
conjun as non son e dade as, mas e a 10s o ganos, que asi las alla as señaladas es as
conjun as con 10s signos deyuso esc ip os."
I9~ex aken om
Cup um pu issimum,
whe e he comple e s a emen eads as o-
Ilows: "In laminis e o ligneis sc ibe en u alphabe i li e ae duplici e i a: A, B, C, D,
E,
F,
G,
A, B, C, D, E, F,
G,
H,
u ci ius modula o possi sci e, quam linguam debe
ange e" (c .
K.J.
SACHS,
Mensu a is ula um: Die Mensu ie ung de O gelp ei en im
Mi elal e
I,
Sch i en eihe de Walcke -S i ung u o gelwissenscha liche Fo schung,
Vol. I, S u ga 1970, p. 58).THEOPHILUS PRESBYTER o e s a e y simila obse -
a ion: "In caudis au em lingua um sc iban u li e ae secundum ascensum e descensum
can us, quibus possi cognosci quis ille el ille onus si ". See
Schedula di e sa um
a ium,
lib. 111 81, ed. A. ILG, Quellensch i en u Kuns geschich e und Kuns echnik
des Mi elal e s und de Renaissa ice, Vol. VI1 (Wien 1874, Rep in ed., Osnab iick
1970), p. 311.
GREGORIAN CHANT AND MUSICA
FICTA
11
like, can be ga he ed om such sou ces as he
Syn agma musicum
o
Michael P ae o iusZ0.
Re u ning o Es e an's s a emen abou he exis ence o ch oma ic
ones on he o gan o his ime, i should also be poin ed ou ha
se e a1 heo is s om he p eceding wo cen u ies, among hem Jac-
ques de Likge, men ion he o gan in connec ion wi h
musica ic a.
Thus we ead in Book VI o Jacque's
Speculum musicae
how he
di ision o e e y whole one in o wo
semi onia inaequalia
made pos-
sible he use o se e a1 mo e pe ec consonancesZ1. And he
Zn oduc-
io musice secundum magis um de Ga landia
speaks o
musica ic a
as a necessa y equi emen o musical ins umen s, in pa icula he
o ganzZ.
A second de ini ion o
conjun a
om he heo e ical w i ings o
Es e an and Anonymous Se ille dese es b ie men ion. In ying o
explo e he o iginal meaning o he e m i sel , i de ines
conjun a
as
a joining- oge he (la .
coniunc io)
o wo oces
(inaequales)
om
hexacho ds o di e en na u eZ3. Rela ed o his s a emen in Es e an's
obse a ion ha he
conjun a
has i s name ccpo que ayun a dos p o-
p iedades de diue sas na u as en no, conuiene a sabe , la suya
&
la
del
can o lla no^^^.
Acco dingly
disjun a C a- a, mi-mi]
is in e p e ed as
ccnon ayun amien o)) o c desayun amien o)) (la .
disiunc io).
Among he many elabo a ions on acciden al ones o e ed by Fe -
nand Es e an he e appea s one s a emen which in i es pa icula
a en ion on pa o he mode n schola . In i ou maes o p esen s he
idea ha
conjun as
we e in oduced ccpo aze ac es~en amien o en
las bo~es))~* ( eely ansla ed: o make an expansion, enhancemen , o
in ensi ica ion o he oice). Al hough his s a emen emains wi hou
ZO~ol. I1
(Thea um
Ins umen o um, Wol enbü el 1620), able XXIV, XXV, XXVII
and XXVIII.
21~~~~~~~
LEODIENSIS, Speculum
musicae,
lib. VI 66, ed. R. BRAGARD (CSM
111 6, p. 187): "Ideo, in aliquibus ins umen is, u in o ganis, quasi ubique onus
di idi u in duo semi onia inaequalia, u plu es ibi ie i possin conco diae."
"CS
I,
p.
166b: "Videndum es de alsa musica que ins umen is musicalibus mul-
um es
necessa is,
speciali e in o ganis." See also CS 111, p. 26a.
23~~~~~~~,
Reglas,
ol.
15'
(ed. ESCUDER0 GARC~A, p. 109): "conjun a es
ayun amien o de dos bozes." ANONYMOUS SEVILLE,
A s,
ol. 29 -30 : "...conjun a
es coniunc io
(Ms.
conjun a um) dua um uocum diue sa um p op ie a um in na oce
uel in no signo (Ms. num signum)."
24~eglas, ol. 1V (ed. ESCUDER0 GARCÍA, p. 87). The same s a emen is almos
li e ally epea ed by ANONYMOUS SEVILLE ( ol. 30
).
''~01. 37' (ed. ESCUDER0 GARC~A, p. 197).
KARL-WERNER GÜMPEL
u he explana ion, i would seem logical o sugges ha Es e an
ouches he e on one o he exp essi e quali ies o
musica ic a.
In ac ,
heo is s bo h be o e and a e Es e an discussed simila ma e s when
speaking abou acciden al ones as being applied o G ego ian Chan
and polyphony. Anonymous Se ille, o example, conside ed ccbe e
sono i y)) (melio sono i as) o be an essen ial cha ac e is ic o
musica
ic a26.
Rega ding he p ac ica1 u iliza ion o acciden al ones, we lea n om
ou sou ces ha in con as o he
can o
de
o gano
and
con apun o
only ce ain
conjun as
we e applied in G ego ian Chan . While Es e-
an speci ically men ions he six conjun as
B,
E,
F,,
a,, e, and
4,
Anonymous Se ille adds o his se he acciden al one
c:~.
We also
lea n ha
conjun as
we e only pe missible i a chan could no be
c sal aged)) in any o he way. And whene e applied, he singe was
equi ed o immedia ely lea e hem behind and e u n o he dia onic
s~ale~~. A e all,
musica
ic a
was a ma e o sub le y (c cosa de
so ileza echa~)~~ and had o be applied wi h good judgemen , as e
and disc e ion.
As has been men ioned a he beginning o his a icle, he w i ings
o Fe nand Es e an and Anonymous Se ille ep esen a new ype o
26c . ol. 1 IV.
"F om ESTEVAN's Reglas he ollowing wo passages may se e as a e e ence: "E
las dichas diez conjun as nunca son menes e pa a can o llano si non las seys dellas,
conuiene a sabe , la p ime a
&
la iija
&
la a
&
la ija
&
la iija conjun as..."; "O osi
digo e mas que odas .x. las conjun as susodichas son menes e quan o al can o de
o gano
&
con apun o pa a aquellos luga es ado ue en necessa ias
...,
mas digo e que
quan o al con apun o de las conjun as la mas ne~essa ia es la oc aua conjun a" ( ol.
12"
and 3SV, ed. ESCUDER0 GARC~A, pp. 97 and 201). ANONYMOUS SEVILLE, on he
o he hand, ema ks:
"
...
digo que segun la opinion de algunos que dizen que son sie e
[conjun as], es o es e dad quan o al can o llano po que en el can o llano no se hallan
mas de sie e, con iene a sabe , p ime a, e ce a, qua a, quin a, sex a, se ima, oc aua"
( ol. 30 ).- An addi ional, hough somewha ague, classi ica ion o he en acciden al
ones is ansmi ed by ESTEVAN who in one o his chap e s dis inguishes be ween i e
conjun as especiales
(By
E,,,
a,,, e,,, aub) and i e gene ales
(C#
,
F
,
,
c
#,
#,
CC
#.
Whe eas
he i s g oup occu s In "can os apa ados", he second is used in " odos 10s can os,
an bien ecclesias icos como segla es" (c . Reglas, ol.
14',
ed. ESCUDER0 GARCÍA,
p. 103).
28~ee ESTEVAN, Reglas, ol. 12' (ed. ESCUDER0 GARC~A, p. 95): "O osi la
conjun a deuemos escusa lo mas que pudie emos, saluo si non se pudie e salua el
can o en o a mane a. E aunque can emos po alguna conjun a, deuemos sali della 10
mas ayna que pudie emos."
29~~~~~~~, Reglas, ol. 17' (ed. ESCUDER0 GARCÍA, p. 115): "Ca conjun a es
llamada ic a musica, cosa de so ileza echa."
GREGORIAN CHANT AND
MUSICA FICTA
13
ea ise cha ac e ized by an emphasis on i een h-cen u y Spanish
Chan p ac ices. I is he e o e no su p ising ha bo h ex s s i e o
p o ide he eade /pe o me wi h a ho ough unde s anding o he
condi ions unde which acciden al ones become indispensable du ing
he pe o mance o monophonic music. In ac , Es e an's and Anony-
mous Se ille's discou ses on he use o musica ic a ill no less han
eigh chap e s, each o hem exposing his subjec in a di e en man-
ne and wi h new obse a ions. When analyzing he echnical in o ma-
ion, one inds ha he e a e wo majo easons o employing acci-
den al ones in G ego ian Chan : a) o a oid he di ec o indi ec
in e al o he augmen ed ou h ( i one) and diminished i h, b) o
c ea e he subsemi one, and in one special case he supe semi one. In
addi ion, acciden al ones we e used ccpo i ud de la melodia)), ha
is, o s ic ly aes he ical pu poses (((causa pulch i udinis))). Es e an
emphasizes he i s eason by desc ibing each o he six conjun as,
which he associa es wi h Chan , as necessa y o es ablish
a
pe ec
ou h o i hgO. While B, and
,
(=
conjun a 1 and 8) a e sung ccpo
azon de na quin a)),
F,,,
a, and e,
(=
conjun a 4,
5
and
7)
ollow
he need o c ea ing a pe ec ou h. Only he hi d conjun a (E,)
ul ills a dual unc ion since i may se e o es ablish ei he a pe ec
ou h
(=
E,
-
B,) o a pe ec i h
(=
E,
-
bb)31.
The ollowing examples se e o illus a e Es e an's heo yg2:
Conjun a
1
(
=
BJ
Example: Comm. Pe signum c ucis (4 h mode): 'c ucis'.
Sou ce: Mad id
BN,
M. 1361 (G adual, 14 h cen ., Cas ile), ol.
145'.- C .
GR,
p. 428 (melody ansposed o he uppe i h).
Es e an: ((Pues azese la p ime a conjun a po azon de na quin-
''c . Reglas, ol. 12"-14" (ed. ESCUDER0 GARCÍA, p.
97
.), om which, wi h
one excep ion, also he ollowing quo a ions ha e been aken.
"~cco din~ o ESTEVAN he use o
E,
"po azon de alguna quin a" is howe e
limi ed o e y ew melodies, and i ne e occu s in chan s o he hi d and ou h
mode. The la e is equally ue o he se en h
conjun a
(e,,) which is used "especial-
men e en algunos quin os onos", whe eas
F#
and
#
can ne e be ound in chan s o he
i h and six h mode.
32~11 o he ensuing examples
(=
exce p s) a e men ioned by ESTEVAN o ANONY-
MOUS SEVILLE o illus a e hei espec i e poin s. They a e ansc ibed he e uni o mly
on a ou -line s a .
20
KARL-WERNER
GUMPEL
Example 2: O . Dex e a domini (2nd mode): 'ui u em'.
Sou ce: Ba celona BC, M. 648 (G adual, 14 h cen .), ol. x .- C .
GR, p. 57 (melody ansposed o he uppe i h).
e
-
ci ui - u-
em
Example 3: O . Angelus domini (8 h mode): 'dixi '.
Sou ce: Mad id BN, M. 1361, ol.
9(Y
.- C . GR, p. 207.
E
J
hl;
-
%
I
b
-
1'4
8
I
Te..
lle-
d
I
de ce-
10,
e
di-
xi
The use o
c.
and , in o de o c ea e a subsemi one can be demons-
a ed in he ollowing examples:
Conjun a
6
(=
subsemi one
c.
)
Example: Resp. G ad. Libe as i nos, domine (7 h mode): 'con u-
dis i
'.
Sou ce: Mad id BN, Vi . 21-8, ol. 171 .- C .
GR,
p. 333 .
Anonymous Se ille: c Todo can o que subie e de gesol eu po be a-
bemi a delasol e y en aquel delasol e o ie e dos o es pun os
jun os a mane a de aes, sobiendo
&
descindiendo con aquella con-
sonancia diapen e, al
c
can o
>
se can a a po la sex a conjun a))38.
38~his
and he ollowing quo a ions ha e been aken om ol.
33'
. o
ANONY-
MOUS SEVILLE's
ex .

GREGORIAN CHANT
AND
MUSICA FICTA
.''I
I
e
e-
os
qui
nos
o-
de-
un
,
con-
u-
di-
s .i.
Conjun a
8
(=
subsemi one
,)
Example 1: An . In ci i a e domini (7 h mode): 'cla a', e c.
Sou ce: Toledo, Bibl. Capi ., Ms.
33.5
(B e ia y om he Toledo
a ea, la e 12 h cen .; no a ed in Aqui anian neumes wi h d y-poin
line), ol. 41' .- C .
PM,
p.
203.
Anonymous Se ille: ((Todo can o que subie e de delasol e o de
elami agudo a gesol eu
<
&
>
en aquel gesol eu ouie e es pun-
os jun os a mane a de aes [c .
Ex.
11
o pun o d~blado~~ que es
llamado alpha duplex in ensum e emissuma onicum [c .
Ex.
21,
al can o se can a a po la oc aua conjun a.))
39~o an illus a ion o he
pun o doblado
see ol. 24', u he mo e DURAN'S
Co-
men o sob e Lux belh
(Salamanca 1498), o]. c'.
'%once ning he e ms
in ensum
and
emissum,
he eade may be e e ed o such a
la e sou ce as he
Ri ual Ca meli ano,
Pa
I
(Mad id 1789), p. 59 ., whe e he oUowing
passage is ound abou he o ma ion o caden ial o mulae (o
clausulas):
"...de 10s
modos se hacen dichas
Clausulas:
el uno,
subiendo un Pun o,
y
baxando o o,
como
e,
mi, e;
y o o,
baxando un Pun o,
y
ol iendole
á
subi ,
como
e, u , e,
se llaman
In ensas,
y
emisas. In ensas
son, quando baxan un
Pun o,
y 10s uel en
a
subi [Exam-
ple:
D-C#-D;
G-F#-GI, y ambikn quando suben un
Pun o,
y 10 uel en
a
baxa , con al
que el
Pun o
que sube sea ue e no blando
[D-E-DJ. Remisas
son, quando suben un
Pun o
y le uel en
B
baxa , y siemp e el
Pun o
que sube ha de se blando, es o es,
dis ancia de
Semi ono [a-b,-a;
E-F-E#]."
22
KARL-WERNER GÜMPEL
I
I
mmm
.I
In ci- ui- a- e do-
mi-
ni cla-
a
so-nan iu- gi- e o - ga-na sanc- o- um
Example
2:
Comm. Ma inus Ab ahe (4 h mode wi h inalis b):
'Ma inus'.
Sou ce: Ba celona BC,
M.
648,
ol. clx j .
le- us ex-ci-
pi-
u : Ma i- nus, hic pau-
U
-
-
-
i.
pe e mo-di- cus
Anonymous Se ille e e s o he pun o doblado also in connec ion
wi h conjun a
5.
When analyzing he espec i e example, i becomes
ob ious ha he acciden al one
a,
is he e employed as a supe se-
mi ~ne.~~
4L~ iden ly he subsemi one and supe semi one unc ion o acciden al ones is implied
in he ollowing s a emen o FERNAND ESTEVAN: "I e n algunas ezes azemos
a
en algund
mi,
si el al
mi
non iene pun o encima. E algunas ezes el
a
azemos
mi,
si
el al
a
iene pun o encima, es o es subiendo"
(Reglas,
ol.
13";
ed. ESCUDER0
GARC~A, p.
iol).
GREGORIAN CHANT AND
MUSICA FICTA
Conjun a
5
(=
supe semi one
a,)
Example: Resp. Conclusi ias meas (6 h mode): 'con a me'.
Sou ce: Ba celona BC, M. 39, ol. xxxi -xxxij .- C . Paléog aphie
Musicale XII, pl. 115 (melody ansposed o he uppe i h).
Anonymous Se ille: ((Todo can o. que subie e de gesol eu "alami e
&
en aquel alami e o ie e n pun o doblado que se llama alpha
duplex in ensum e emissum onicum, al can o se can a a po la
quin a conjun a..
.))
la- pi-dem con- a me.
Ou inal example has been chosen o illus a e he applica ions o
acciden al ones o he pu pose o beau i ying a chan melody.
Conjun a
7
(=
e,, ((po i ud de la melodia)))
Example: Ky ie 'Ch is e Deus decus' (G-melody): Acclama ion 7
and
9
(Ky ie eleison).
Sou ce: El Esco ial, Bibl. del Monas e io, Ms. 1.11.17, ol. 376'.C .
Landweh -Melnicky: Melody 47.
Anonymous Se ille:
{c...
alla eys la conjun a en el se imo ky ie
&
en el pos ime o, a nque en es os no ienen con la egla, mas can anse
po conjun a po i ud de la melodia del can o.))
Ki ie
leyson.
KARL-WERNER
GUMPEL
APPENDIX
Ba celona, Biblio eca de Ca alunya:
M.
883,
ol.
70'-71'
'[JINcipi quedam ca ula de can u plano.
'E dixi
<
Guido
>
:
Qui nesci palmam, in uanum endi ad musicam.
3P imo docendum es quod oc o sun li e e g aues, scilice
G, a, b,
e c.;
sep em sun acu e,
. .
supe acu e.
4Secundo scia is quod
xx l
sun signa, id es .x. in linea e .x. in spa io.
SGamau es in linea, a e in spa io, e c.
6Te io scia is quod sep em sun deduc iones que deducun sex uoces na u-
ales
u ,
e,
mi, a, sol, la,
qua um es p ime sun ascendendo, alie es
descendendo, u docendum es in palma.
'Gamau
es p ima,
C au
secunda,
F au
e ia,
Gsol eu
qua a,
Csol au
quin a,
F au
sex a,
G
<
sol eu
>
sep ima, de quibus p ima e qua a e sep ima gube na u pe quad a um,
secunda e quin a pe na u am, e ia e sex a pe b molle.
'J em debe is sci e quod oc o sun coniunc e, scilice iiijo in e io es e iiijoT
supe io es, qua um p ima accipi u in e
a
e
b
g aues, secunda in e
d
e
e
g aues, e ia in e
e
g
g aues, qua a in e
g
g aue e
a
acu am, quin a in e
c
e
d
acu am, sex a in e
d
e
e
acu a, sep ima in e
e
g
acu a, oc aua in e
g
acu a e
a
supe acu um.
9E debe is sci e quod is e cognoscun u pe duas p op ie a es, id es e ia
e quin a e sep ima signan u in p ima li e a ascendendo pe quad a um,
e habebi ibi
mi.
I0Omnes alie cognoscun u , id es signan u in ul ima li e a
ascendendo pe b molle, e habebi <ibi
>
a.
"Te mina iones dic0 inales iux a illud quod dixi me i ica o :
ui]
qui
Ms.
//
uanum] manum
Ms.
4~ecundo] secundo
Ms.
6qua um] Qua um
Ms.
//
in] in in
Ms.
'qua um] Qua um
Ms.
//
qua a] Qua a
Ms.
'O~mnes] omnes
Ms.
//
A e sen ence 10 he ex o M.
883
con inues as ollows:
u
appa e in plu ibus locis in can o plano. scilice in sanc a e inmacula a loco qui dici u
non po e an .
(Since hese wo ds belong o hepa ag aph on coniunc ae, hey ha e been
placed in hei p ope con ex in his edi ion. See sen ence 12).
Si uul is cus odi e
duobus de causis id es in e
..
(emp y space)
e consue udinem sanc e ecclesie.
(Tex
dele ed he e because incomple e).
"~e mina iones] e mina iones
Ms.
'0 he sou ces using a se o eigh
coniunc ae
include he anonymous ea ise om
Codex Va . la . 5129 (ed. A. SEAY,
CSM
IX, p. 46 .) and ANONYMOUS XI (ed.
R.J. WINGELL, p. 28-37;
CS
111, p. 426a-429b).
GREGORIAN CHANT AND MUSICA FICTA
12Fines cunc o um can o dignosce ono um,
Nam
inem p imi d con ine a que secundi.
Te ius e egi u e qua i inis habe u .
Quin us in
inem, sex us quoque posci eandem.
Sep imus, oc auus inali
g
poscun u .
13<
J em p ima coniunc a accipi u in e a e b g aues>, u appa e in
plu ibus locis in can o plano, scilice in Sanc a e inmacula a <in> loco qui
dici u 'non po e an '.
14E
appa e plus in Emendemus in melius in loco qui
dici u 'e mise e e', uel in e <sponso> Si bona suscepimus in loco qui
dici u 'i a ac um es ', e in omnibus similibus, e in an iphona
A
imo e
inimici in loco qui dici u 'e ipe me'.
lSJ em secunda accipi u in e
d
e e g aui, u appa e in esponso Gaude
Ma ia in loco qui dici u 'in e emis i'.
16J em e ia accipi u in e
e
g
g aues, u appa e in comunione Bea us
se uus in loco qui dici u 'inuene i uigilan em'.
12 e se
1:
Fines] ines Ms.
//
can o dignosce] can o dic0 dignosce Ms.
//
Ve se
4:
sex us quoque posci eandem] Sex us quoque possi eundem Ms.
//
Ve se
5:
Sep imus]
sep imus Ms.
//
The e ses a e ollowed by a sho ex agmen which eads: consue-
idunem id es usum (c . oo n.
10).
I4~ ] u Ms.
//
e ] E Ms.
//
i a ac um es ] add. sicu sc ip um es Ms.
//
A imo e]
a imo e Ms.
15~a ia] ma ia Ms.
.
16inuene i ] Jnuene i Ms.
'%hese e ses a e also quo ed in he anonymous A del can pla (ed. K.W.
GUM-
PEL, p. 308) and he i een h-cen u y Libe musicalium (CS 111, p. 36a).
13~esp. Sanc a e
immacula s
(=
CA0 IV, No. 7569), 2nd mode: LR, p. 62 . and
247 .; AM, p. 1184 .; PM, p. 38
.
See also he illus a ions gi en by GOSCALDUS
(T ea ise 1, ed. O.B. ELLSWORTH, p. 54), ANON. XI, p. 30 (CS 111, p. 427a), and
MAGISTER SZYDLOVITA (ed.
W.
GIEBUROWSKI, p. 34).
14~esp. Emendemus in melius
(=
CA0 IV, No. 6653), 2nd mode: GR, p. 70; PM,
p. 47 . C . ANON. XI, p. 29 (CS 111, p. 426b .), and SZYDLOVITA, p. 35 (bo h
sou ces wi hou illus a ions).- Resp. Si bona suscepimus
(=
CAO, No. IV 7647), 2nd
mode:
LR,
p. 422.- An . A imo e inimici
(=
CA0 111, No. 1196), 2nd mode: AR, p.
166, and AM, p. 52 (melody he e descending only o C g a e).
g a esp.
Gaude Ma ia i go
(=
CA0 IV, No. 6759), 6 h mode: AM, p. 1195-1197;
PM, p. 146 . (melody ansposed o he uppe i h). The o iginal e sion o Gaude
Ma ia i go can be ound in Toledo, Bibl. Capi ., Ms. 33.5, ol. 24".- C . GOSCAL-
DUS, p. 58.
l6com n. Bea us se us, 3 d mode: GR, p. (391
.
(melody ansposed o he uppe
ou h). Fo he o iginal e sion wi h inalis E see Mad id BN,
M.
1361, ol. 171V.- C .
GOSCALDUS, p. 58, ANON. XI, p. 32 (CS 111, p. 427b), and SZYDLOVITA, p. 36.

26 KARL-WERNER GUMPEL
[ ol.
71'1
"J em qua a coniunc a accipi u in e
g
g aue e
a
acu am, u
appa e in esponso
Conclusi uias meas
in loco qui dici u 'con a me', pos
'uide domine' e c.
I8J em quin a coniunc a accipi u in e
c
e
d
acu um, u appa e si uul is
can a e comunionem
Bea us se uus
pe dyapen e in loco qui dici u 'inuene i
uigilan em'
.
I9J em sex a coniunc a accipi u
<
in e
d
e
e
acu a, u appa e in o icio
>
Ado a e deum
<
in loco qui dici u 'deum'
>
,
uel
<
in
>
an iphona
Jmu emu
habi u
in loco qui dici u 'jeiunemus', e c.
'OJ em sep ima coniunc a accipi u in e
e
g
acu a, u appa e in esponso
g aduali, id es
Di iga u o a io mea
in loco qui dici u 'in conspec u', uel in
Hodie Ma ia ui go.
21J em oc aua coniunc a accipi u in e
g
acu a e
a
supe acu a, u appa e
si
uul is can a e
Conclusi uias meas
pe dyapason in loco qui dici u 'con a
me'.
22E
debe is sci e quod plu a alia exempla similia sun in can u plano, sed
p edic a su i ian .
23E
i e a o debe is sci e quod nemo po es can a e pe ec e o ganum sine
p edic is coniunc is.
I8inuene i ] Jnuene i
Ms.
19~mu emu ] Jnu emu
Ms.
//
jeiunemus] Jeiunemus
Ms.
20.~i iga u ] di iga u
Ms.
//
Hodie Ma ia] hodie ma ia
Ms.
"~ ] e
Ms.
I7~esp.
Conclusi ias meas
(
=
CA0
IV, No. 6306), 6 h mode:
PaIMus
IX, pl. 176
., and XII, pl. 115 (melody ansposed o he uppe i h). Regula e sion wi h inalis
F
in Ba celona BC,
M.
39, ol. mi -xxxij .C . GOSCALDUS, p. 60.
18~omm.
Bea us se us
("pe dyapen e"): see oo n. 16 o his edi ion; Anon. XI, p.
35 (CS 111, p. 428b).
I91n .
Ado a e deum omnes angeli,
7 h mode:
GR
55. C . GOSCALDUS, p. 62, and
ANON. XI, p. 36
(CS
111, p. 429a).- An .
Immu emu habi u
(=
CA0
111, No. 3193),
1s mode:
GR
69 (wi h inalis
D
ins ead o
G).
C . ANON. XI, p. 36
(CS
111, p. 429a),
and SZYDLOVITA, p. 38.
'Oc ad.
Di iga u o a io meu,
7 h mode:
GR,
p. 90 An .
Hodie Ma ia celos ascen-
di
(=
CA0
111, No. 3015), 8 h mode:
AR,
p. 693;
AM.
p. 1018. The
coniunc a
#
(on
'Ma ia' and 'celos') comes abou when he melody is sung a he uppe i h: see
ANON. XI, p. 36 (CS 111, p. 429a), and SZYDLOVITA, p. 38. FERNAND ESTEVAN
ela es he ansposed o m o
Hodie Ma ia
o a Pa isian p ac ice ("segund cos unb e
de Pa is".
Reglas,
ol. 11"; ed. ESCUDER0 GARC~A, p. 93).
es^.
Conclusi ias meas
("pe dyapason"): see oo n. 17.
GREGORIAN CHANT AND
MUSICA FICTA
24E debe is sci e, u dixi Guido, quod secundum is as salua u omnis
can us qui i egula is appela u . ''Voca u i egula is, quando non e mina u
in sup adic is li e is. 26E omnia is a po es is uide e in sequen ibus exemplis,
u pa e pos .
.
.
--.-.-
-
--
e.'
[ ol.
71'1
''Jncipiun li e e g aues, acu e e supe acu e, egule, no ule, claues
id es
g aue e acu um, p op ie a es scilice
b
molle e quad a um. "E pe
is as dimi i u maius spa ium e minus spa ium e ascensus p op ius ocius
palme, u pa e .
24~ ] e
Ms.
2'~oca u ] uoca u
Ms.
26~ ] e
Ms.
27no ule] no ale
Ms.
"~ ] e
Ms.
24~
simila s a emen , wi hou asc ip ion o CUIDO, can be ound in he i s
ea ise o GOSCALDUS: "E p op e ea in en e ue un ipse coniunc e u can us an e-
dic us i egula is pe eas ad egula i a em quodammodo duci posse " (ed. ELLSWORTH,
p.
50).