Counterpoint, 'Fuge', and 'Air' in the Instrumental Music of Orlando Gibbons

This thesis develops an analytical approach to the instrumental music of Orlando Gibbons (1583-1625) based on close readings of historical theory sources, primarily by Thomas Morley, John Coprario and Thomas Campion. Music of the early seventeenth century can be difficult to analyse, since it falls between the more extensively studied and theorised practices of classic vocal polyphony and common-practice tonality. Although English music theory of this period is recognised as strikingly modern in many respects, innovative aspects of English compositions from the same period receive little attention in standard accounts of the seventeenth century. I argue that concepts taken from this body of historical theory provide the basic terms of a technical vocabulary for analysis, which should be further refined through application to real compositions. Successive chapters deal with common counterpoint models or patterns, imitative invention and disposition, cadential progressions, and overall tonal structure. I argue that these analyses show Gibbons's music to be a contribution to new ways of conceiving of instrumental polyphony and tonal structure, which deserves re-evaluation in the context of broader seventeenth-century trends. In particular, Gibbons's use of extended cadential expectations as an expressive element, fascination with sequential progressions, and sectional structuring by harmonic area have clear parallels with later practices. At the same time, early seventeenth century style allows the composer considerably more freedom of harmonic procedures and implications than the musical styles which immediately followed it. Analysis grounded in historical theory provides the best approach to understanding and appreciating this unique musical language. List of Figures List of Tables Introduction Counterpoint patterns Introduction A rule for composing canons Patterns in Gibbons's two-treble fantasies Patterns in Gibbons's keyboard fantasies Patterns in Gibbons's In Nomines Patterns as a topic of invention Patterns as a unifying topic in the Fantazia of foure parts Patterns and chord sequences Counterpoint patterns and harmony Maintaining a `fuge' Introduction Imitative invention in Morley's Introduction Imitative disposition in Coprario's Rules how to Compose and four-part fantasies Imitative schemata in the Rules how to Compose Imitative duos Non-imitative duos and `double fuge' Free imitation Alternative interlocks and multiple time intervals Periodic entrances Summary Imitation in three-part fantasies by Gibbons and Coprario Periodic entries and alternative interlocks Sequential imitation Borrowing or critique? Varieties of imitation Conclusion Imitative artifice at the keyboard Introduction Unpacking and re-packing the box Variation and development Imitative sequence Difficulties and solutions `Unending melody' Imitation and virtuosity Close Conclusion Cadences and closes Introduction The grammaticalization of cadence Cadences in Zarlino's Istitutioni Harmoniche Cadences and closes in Morley's Introduction and Butler's Principles `Flat cadences' and mi closes Closes defined by bass progression Half closes, middle closes and plagal flourishes Half closes and flourishes in Gibbons's keyboard pavans Half closes and flourishes in Gibbons's In Nomines False closes, imperfect cadences, and changes in `air' Closes with a false bass or treble Closes with an `imperfect cadence' Types of false close in Gibbons's fantasies `Deferring a close' and `changing the air' False closes in sequence Cadential imitation Extended ambiguity and cadential `garden paths' Conclusion Key, `air', and `tone' Introduction Key, air and tone in English theory Church tones Tonal types and tonalities Gibbons's tonalities Tonal compass Gibbons's tonal compasses Changing the `air' Changing the `key' Conclusion Conclusion Bibliography