Abstract

Jessie Ann Owens marshaled evidence of a stage in Renaissance compositional process that did not use writing; Julie Cumming believes it was composers’ training as choirboys, which included improvisation, that enabled them to do this; and I propose that what they were doing was contrapunto pensado, Lusitano’s “thought-out” counterpoint, a category lying between on-the-spot improvisation and composition. This article details strategies for “composing in the mind” as it might have applied to a particular technique that singer/improvisers learned early on (after note-names, intervals, and rhythmic notation), called contrapunto fugato. It consists of singing a freely invented line containing repetitions of a motive against a cantus firmus (CF) in long equal values. Although this technique is easy to describe, no one has investigated the difficulties that are involved in repeating a motive against a CF. I will show what needs to be thought out beforehand (pensado) and what needs to be held in the mind so that the result can be sung immediately or written down later. The strategies that I “reverse engineer” from Lusitano’s examples give concrete reality to this ephemeral practice and offer a useful tool for our own pedagogy, for thinking about Renaissance music, and for refining our concept of improvisation. Lusitano’s examples are supplemented by examples by Banchieri and Ortiz.

中文翻译：

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Contrapunto Fugato：迈向思维定型的第一步

摘要

杰西·安·欧文斯（Jessie Ann Owens）编排了文艺复兴时期写作过程中不使用文字的证据。朱莉·卡明（Julie Cumming）认为，正是作曲家作为合唱团的训练，其中包括即兴创作，才使他们能够做到这一点。我建议他们正在做的事情是彭西多（penunado pensado），这是卢西塔诺（Lusitano）的“深思熟虑”对立面，介于即兴创作和作曲之间。本文详细介绍了“在头脑中作曲”的策略，因为该策略可能已应用到歌手/即兴演奏者早期（在音符名称，音符和节奏符号之后）学到的一种特殊技术，称为“反向流行”。。它由演唱自由发明的乐曲组成，其中包含长等值的针对小腿腹肌（CF）的动机重复。尽管这种技术易于描述，但没有人研究过重复针对CF的动机所涉及的困难。我将展示需要事先考虑的内容（pensado）以及需要牢记的内容，以便可以立即唱出结果或稍后写下来。我从Lusitano的示例中“逆向工程”的策略为这种短暂的实践提供了具体的现实，并为我们自己的教学法，思考文艺复兴时期的音乐以及完善我们的即兴创作概念提供了有用的工具。Lusitano的示例由Banchieri和Ortiz的示例进行了补充。