#music analysis
This post was written by Emma-Leigh Jones, an intern from the Classics Department.
Continuing with my Latin internship at the Archives and Special Collections Department online, another work I have chosen to analyse is the Psalmodia Vespertina by Philippus Baronus Aconitanus. The Psalmodia Vespertina, or a collection of religious evening Psalms, is a musical work that was collected by Aconitanus and published in 1710. Not much is known about Philippus Baronus, or Filippo Baroni, other than that he was a composer of religious music in the 1700s. As I am myself a musician, analysing music from the 16th century has been challenging but intriguing; the way music is composed and written today is very different.
Translation: First Singer Part. Psalmodia Vespertina. For the whole year, to be sung together briefly by a twofold chorus. For the most illustrious and most reverend patron, John the Baptist, and Bussio. The second work by Filippo Baroni Aconitus.
As a 21st century violinist, I am used to reading music composed in treble clef:
However, the music I have analysed in the Psalmodia is written in a C-clef that I have never seen before. And the notes looked different from what I am used to seeing:
This clef can attach to any position on the staff, which makes it difficult to read because it can often change throughout the piece and does not stay consistent, unlike the modern treble clef. The middle line in the ladder chain represents the note middle C, so whichever staff line it is on or between would represent that note. In this picture, the middle staff line would represent C.
The first piece in the Psalmodia is a good demonstration of the function of this C-clef.
Translation: Lord hurry toward me who is to be assisted, Lord hurry toward me who is to be assisted, hurry toward me who is to be assisted. Glory to the Father and the Son and the Holy Spirit. As it was in the beginning, and now, and always, and in ages of ages, amen amen amen amen.
As shown in the first piece in the Canto Primo part, or first singer (soprano) part, the clef jumps up on the last line of music. Having the clef so low on the staff in the first three lines would make it easier to notate the higher notes that the soprano part would use. I was curious to hear what this piece would sound like, so I transposed it into treble clef to make it more readable for modern musicians.
(Yes, it took several tries.)
Overall, I had a lot of fun analysing and transposing this 16th-century music, and I am glad I have more works from this time period to look at!
