Regula cantus firmi: an edition, translation, and commentary

dc.contributorBiermann, Joanna Cobb
dc.contributorChance, Kevin
dc.contributorRobinson, Thomas
dc.contributorSargent, Joseph
dc.contributorSummers, Kirk M.
dc.contributor.advisorCummins, Linda
dc.contributor.advisorHerlinger, Jan W.
dc.contributor.authorHeemann, Catherine
dc.contributor.otherUniversity of Alabama Tuscaloosa
dc.date.accessioned2019-08-01T14:24:27Z
dc.date.available2019-08-01T14:24:27Z
dc.date.issued2019
dc.descriptionElectronic Thesis or Dissertationen_US
dc.description.abstractThis thesis presents an edition and translation of Regula cantus firmi, a short (about 1,900 words) anonymous music theory text from the later Middle Ages, dedicated to the practice of plainchant. The specific information concerns the following topics: the Guidonian hand; the “musical” letters A–G; clefs; the low, high, and very high registers; the various hexachords, their properties, solmization, and mutation from one hexachord to another; and sixteen intervals from the semitone to the double octave. Considerable attention is given to the eight plainchant modes, with their finals and ranges; their classification as perfect, imperfect, pluperfect, mixed, and intermixed; the species of diapente and diatessaron of which they are composed; whether they employ B-natural, B-flat, or both; and how to distinguish plagal modes from authentic modes in ambiguous cases. Though the topics covered are those commonly found in medieval theory treatises, the value of Regula cantus firmi rests in its claim to present and describe those elements masters should teach “to all those who want to have instruction in the art of music”; thus it provides valuable information on the oral teaching of music theory during the Middle Ages. The edition and translation follow the principles of Mathiesen and Solomon, Greek and Latin Music Theory: A Style Guide for Text Criticism, Translation, and the Preparation of Camera-ready Typescript. The four manuscript sources used in this edition are D-Sl, Donaueschingen 250; I-Fl, Ashburnham 1119; I-FZc, 117; and I-Rv, C.105. Key words: Medieval music theory; oral teaching; solmization.en_US
dc.format.extent71 p.
dc.format.mediumelectronic
dc.format.mimetypeapplication/pdf
dc.identifier.otheru0015_0000001_0003351
dc.identifier.otherHeemann_alatus_0004M_13739
dc.identifier.urihttp://ir.ua.edu/handle/123456789/6164
dc.languageEnglish
dc.language.isoen_US
dc.publisherUniversity of Alabama Libraries
dc.relation.hasversionborn digital
dc.relation.ispartofThe University of Alabama Electronic Theses and Dissertations
dc.relation.ispartofThe University of Alabama Libraries Digital Collections
dc.rightsAll rights reserved by the author unless otherwise indicated.en_US
dc.subjectMusic history
dc.subjectMusic theory
dc.titleRegula cantus firmi: an edition, translation, and commentaryen_US
dc.typethesis
dc.typetext
etdms.degree.departmentUniversity of Alabama. School of Music
etdms.degree.disciplineMusic
etdms.degree.grantorThe University of Alabama
etdms.degree.nameM.M.
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