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Thesaurus of Musical Types

v 4.0 (January 2022)

Citations: the Renaissance Imitation Mass

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Cadences

Cantus Firmus

Soggetto (subject) and Countersubject

Contrapuntal Duos

Fuga

Imitative Duos

Periodic Entries

Non-Imitative Duos

Homorhythm

Homorhythm Staggered

Homorhythm Sequential

Homorhythm Dialogue

Homorhythm Fauxbourdon

CAD

S / Cs

PEn

NIM

HR-S

HR-Sq

HR-D

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Cantus firmus

A cantus firmus is a melody cited in its integrity by a single voice throughout a complete section of music.

In analysis and data entry, the CF can be characterized by:

voice (by staff number)
Select “pitches only” or “rhythms only” or ‘pitches and rhythms”

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Cantus firmus

CRIM Observation 1792

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Soggetto

A soggetto (subject, motif) is a single line, considered as a totality.

It can be any length, from a short motive to a phrase. A plainchant melody is a soggetto, no less than a motive or phrase from a mensural composition.

Modifiers include (these are mutually exclusive):

ostinato repetition (regular repetition of pitches and/or rhythm)
periodic phrasing (sections of regular length, with or without repeating content within them)

In analysis and data entry, the soggetto can be characterized by:

a single voice (by staff number)
Note: If the given soggetto is part of a fuga, we only mark the fuga. It is understood that a fuga must consist of repeated statements of a soggetto
Select “pitches only” or “rhythms only” or ‘pitches and rhythms”

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Soggetto

S / Cs

CRIM Observation 573

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Counter Soggetto

A counter soggetto (subject, motif) is a single line, considered as a totality.

It can be any length, from a short motive to a phrase. A plainchant melody is a soggetto, no less than a motive or phrase from a mensural composition.

Modifiers include (these are mutually exclusive):

ostinato repetition (regular repetition of pitches and/or rhythm)
periodic phrasing (sections of regular length, with or without repeating content within them)

In analysis and data entry, the soggetto can be characterized by:

a single voice (by staff number)
Note: If the given soggetto is part of a fuga, we only mark the fuga. It is understood that a fuga must consist of repeated statements of a soggetto
Select “pitches only” or “rhythms only” or ‘pitches and rhythms”

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Counter Soggetto

S / Cs

CRIM Observation 707

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Contrapuntal Duo

Any pair of voices in free counterpoint, consisting of soggetto and its countersubject.

In analysis and data entry, the duo can be characterized by:

voices (by staff number, with commas, such as “2, 3”)

Note:

If the soggetti heard in the duo are similar then they form a Fuga. More complex forms always supercede simpler ones in CRIM metadata.
If the voices are dissimilar, and if the same contrapuntal duo appears more than once, it is a Non-Imitative Duo.

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Contrapuntal Duos

CRIM Observation 707

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Fuga

Any set of entries of the same soggetto, but without modular repetition of vertical intervals.

Sets involving such modular repetition would instead be Imitative Duos or Periodic Entries, as explained below.

Modifiers include:

Periodic entries that are regular but without modular repetition of contrapuntal intervals.
Sequential entries are those that enter on some series of stacked (and thus identical) intervals.
Strict entries are those with identical diatonic melodic intervals.
Flexed entries are those in which melodic or rhythmic contours are similar, but not identical.
Flexed tonal entires are those in which the 4ths and 5ths have been exchanged in accordance with modal divisions of the octave.
Inverted entries are ones in which successive voices are diatonic inversions of each other (as in certain canons)
Retrograde entries are ones in a successive voice is another voice in reverse (as in certain canons).

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Fuga

Note:

Strict, Flexed, and Flexed Tonal are mutually exclusive
Strict, Flexed, and Flexed Tonal CAN be combined with Inverted, Periodic, Retrograde and Sequential

In analysis and data entry, the fuga can be characterized by:

order of voices (by staff number, with comma separators, such as “2,1”)
intervals of imitative entries (relative to previous voice, repeated as needed, without separators, for instance: "8-").
time intervals of entries (relative to previous voice, counting from first onset; up to but not including onset of next voice. Enter slashes between and after each count, but not after letter designating the basic time interval. For instance: "B1/4/1" or "M6/12/6")

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Fuga

CRIM Observation 175

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Fuga (periodic)

CRIM Observation 2641

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Fuga (sequential)

CRIM Observation 3766

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Fuga (strict)

CRIM Observation 2335

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Fuga (flexed)

CRIM Observation 177

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Fuga (flexed tonal)

CRIM Observation 349

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Fuga (inverted)

No Example

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Fuga (retrograde)

No Example

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Imitative Duos

Two or more Imitative pairs in which the same sogetto is heard in each successive voice part.

The entries come in sets (at least two, but sometimes more), and thus involve the modular repetition of the same vertical intervals.

Each pair of voices is normally separated by the same vertical and time interval between the imitative entries. Successive pairs can follow at longer or shorter time intervals (but if these were the same time interval as within the pairs themselves, the ID would instead be a PEn (see below).

Invertible counterpoint is also possible, but not common in ID

Modifiers include:

Strict entries are those with identical diatonic melodic intervals.
Flexed entries are those in which melodic or rhythmic contours are similar, but not identical.
Flexed tonal entries are those in which the 4ths and 5ths have been exchanged in accordance with modal divisions of the octave.
Invertible counterpoint (INV)

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Imitative Duos

Note:

Strict, Flexed, and Flexed Tonal are mutually exclusive

In analysis and data entry, the IDs can be characterized by:

order of voices (by staff number, with comma separators: “3,4,1,2”)
intervals of imitative entries (relative to previous voice, repeated as needed, without separators, for instance: "8-5+8-")
time intervals of entries (relative to previous voice, counting from first onset; up to but not including onset of next voice. Enter slashes between and after each count, but not after letter designating the basic time interval. For instance: "B1/4/1" or "M6/12/6")

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Imitative Duos (strict)

CRIM Observation 665

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Imitative Duos (flexed)

CRIM Observation 1514

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Imitative Duos (flexed tonal)

CRIM Observation 99

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Imitative Duos (invertible counterpoint)

CRIM Observation 63

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Periodic Entries

PEn

A regularly-timed series of at least three entries of the same soggetto, where the soggetto is longer than the time interval between entries. Each voice enters after the same time interval, creating modular repetition of the same vertical intervals.

If there is no overlap between the voices there will be no modular repetition, and thus the pattern is properly a “fuga with periodic entries” (see fuga description above)

Invertible counterpoint (INV) is common in PEn, and will result in different (but closely related) successions of vertical intervals.

Modifiers include:

Strict entries are those with identical diatonic melodic intervals.
Flexed entries are those in which melodic or rhythmic contours are similar, but not identical.
Flexed tonal entries are those in which the 4ths and 5ths have been exchanged in accordance with modal divisions of the octave.
Sequential entries are those that enter on some series of stacked (and thus identical) intervals.

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Periodic Entries

PEn

Added entries are used to indicate voices that shares the same soggetto as the PEn, but which complicate the regularity of the pattern. Added entries sometimes anticipate the main series of the PEn, or interrupt it some way. The added entries can be mentioned in a comment for the observation, but should not be included in the EMA selection or the metadata for the PEn itself.
If the EMA includes all the voices in which the soggetto appears, then the pattern will more correctly marked as a fuga. The choice of PEn or Fuga in this context will depend on the character of the Relationship, as when (for instance) the analyst wants to show that a PEn in the model has been “amplified” as a fuga, which nevertheless contains the original PEn in a latent form.)
Invertible counterpoint (INV)

Note:

Strict, Flexed, and Flexed Tonal are mutually exclusive
Strict is compatible with Added Entries, but these are to be mentioned in comments, not the metadata or EMA selection

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Periodic Entries

PEn

In analysis and data entry, the PEns can be characterized by:

order of voices (by staff number, with comma separators, “3,4,1”)
intervals of imitative entries (relative to previous voice, repeated as needed, without separators, for instance: "5-8+")
time intervals of entries (relative to previous voice, counting from first onset; up to but not including onset of next voice. Enter slashes between and after each count, but not after letter designating the basic time interval. For instance: "B1/4/1" or "M6/12/6"). Do not include added entries in the metadata when marking the pattern as PEn.

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Periodic Entries (strict)

PEn

CRIM Observation 5057

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Periodic Entries (invertible counterpoint)

PEn

CRIM Observation 2613

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Periodic Entries (sequential)

DC0508.7-8. Guyon, Musiciens qui chantez

Voices:

Bassus

Tenor

Superius

Interval: 5+5+

Time: S1/1

Sequential: True

PEn

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Periodic Entries (added entries)

DC0901.39-43. Gervaise, Je ne cognois

PEN

Voices:

Superius

Contratenor

Bassus

Interval: 8-1+

Time: S3/3

Added entry voices:

Bassus

Do NOT include in selection!

PEn

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Periodic Entries (flexed and flexed tonal)

PEn

For Flexed and Flexed Tonal, see ID and Fuga above.

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Non-Imitative Entries

NIM

Non-Imitative Duos come in sets: For example: SA > TB, with the same soggetto in the upper voice of each pair (S and T), but accompanied by a contrasting countersubject in A and B. Results in repeating “module' of contrapuntal intervals.

These modules normally repeat at the octave. Two pairs are the norm, but there are often more. I

It is also possible to have three-voice NIMs.

If the successive sets have differing numbers of voices and differing contrapuntal modules, then the pattern is better marked as HR Dialogue.

Modifiers include:

Strict entries are those with identical diatonic melodic intervals.
Flexed entries are those in which melodic or rhythmic contours of the corresponding voices (the upper or lower parts of each pair) are similar, but not identical.
Flexed tonal entries are those in which the 4ths and 5ths have been exchanged in accordance with modal divisions of the octave.
Sequential duos are those that enter on some series of stacked (and thus identical) intervals.
Invertible counterpoint (INV)

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Non-Imitative Entries

NIM

Note:

Strict, Flexed, and Flexed Tonal are mutually exclusive

In analysis and data entry, the duos can be characterized by:

order of voices (in each duo, show voices from high to low, using staff numbers and commas, “1,2,3,4”)
intervals of imitative entries (relative to uppermost voice of previous pair, repeated as needed, without separators, for instance: "8-", or 8+)
time intervals of entries (relative to first voice of previous pair, counting from first onset; up to but not including onset of first voice of the next pair. Enter slashes between and after each count, but not after letter designating the basic time interval. For instance: "B2" or "M4/4")

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Homorhytym

Homorhythm is when three or more voices present the text in more or less simultaneous durations.

Modifiers include:

Simple (HR=default): Three (or more) voices in coordinated presentation of the text, in the same (or almost exactly the same) rhythm.
Staggered or ruffled homorhythm (HR-S): three (or four) voices moving in strict coordination but a fourth (or fifth) enters in slightly before or after them.
Sequential (HR-Sq): Sequential HR patterns that enter on some series of stacked (and thus identical) diatonic intervals.
Fauxbourdon (HR-F): three voices moving in parallel 63 sonorities (an archaism)
Dialogue (HR-D): The repetition of some HR forms involving more than two voices but between which there are no repeating modules. If there are repeating contrapuntal modules, the pattern should be marked as NIM.

Note:

The various types of HR are mutually incompatible, except for HR Dialogue, which can be used in conjunction with any of the others.

In analysis and data entry, the HR patterns can be characterized by:

voices (all voices that participate, top to bottom, using staff numbers with comma separators. Ex: "1,2,3,4")

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Homorhythm (simple)

CRIM Observation 2625

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Homorhythm (staggered)

CRIM Observation 2626

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DC0508.27-28. Guyon, Musiciens qui chantez

Homorhythm (ST)

Voices:

Superius

Altus

Tenor�Bassus

Homorhythm (staggered)

HR-S

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Homorhythm (fauxbourdon)

DC0905.21-22. Archadelt, Je ne suis pas

Homorhythm (Faux)

Voices:

Tenor

Contratenor

Bassus

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Homorhythm (dialogue)

Example Missing

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Cadence

CAD

Cadences are normally defined as octave or unison approach by closest imperfect consonance.

The normal voice roles put half-step ascent (the cantizans) in the superius and the whole step descent (tenorizans) in the tenor. But these roles can exchanged, or played by other voices.

Cadences usually feature the conventional four-stage model of consonant preparation/syncopated dissonant suspension/resolution/final perfection.

Cadences are not combined with any other Musical Type.

There are many possibilities . . .

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Cadence

CAD

Cadence Types

Authentic: a regular cadence in various tonal positions: to C, D, E, E-flat F, G, A, B-flat, with indication of which voice parts. Begins with first full measure containing the preparation. Note that in the web form we use E-flat and B-flat for those tones.
Plagal:

the absence of 6-8 motion between any pair of parts
the presence of parallel 6 motion between two parts and then the bassus falling 4 or rising 5. This lowest final tone is used identify the final tone of the cadence.
the absence of the 7-6 suspension formula (which nevertheless DOES appear in Phrygian cadences, which also involve bassus falling 4 or rising 5)
The optional presence of 4-3 or even 6-5/4-3 double suspensions Plagal half-cadence is not something that be defined in any objective way, but it can certainly be part of narrative arguments about borrowings or similarity.

Phrygian: with 1/2 step in the descending voice. Phrygian cadences in S/T are almost always have bass motion of falling fourth, but we do not tag Phrygian cadences as plagal!

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Cadence

CAD

Cadence Voice Roles and Finals

Voice Roles are indicated with numbers in the relevant box
Final Tone Is the octave or unison reached by cantizans and tenorizans. In case of Plagal use the lowest tone of the ensemble.
Dovetail voice: the voice in which the next soggetto or line of text begins, even as the current cadence is coming to a conclusion. Normally enters on a tone that is a fifth above the final of the cadence. In CRIM we are interested in whether this dovetail voice appears above, between, or below the cadential pair formed by the cantizans and tenorizans.

Irregular Cadences (can be added in any combination to the above categories)

We consider as irregular any cadence in which one or more of the voice roles move in an unexpected way. This includes situations in which a voice is suddenly silent, or moves in the wrong direction (as when the tenorizans moves up instead of down, or the bassus leaps up a third instead of falling a fifth). Since the voice roles are already indicated in the choice of Cantizans and Tenorizans in the main cadence data, we need only note which “roles” move irregularly.

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Cadence

CAD

In analysis and data entry:

Tagged area begins with the first tones to contain the preparation, and ends with the resolution (or presumed moment of resolution in the case of irregular cadences). Plagal cadences can include all the notes of the penultimate and ultimate sonorities.

In the case of an irregular cadence, the analyst can tag the irregular voice in the selection if not included among the rest of those already tagged as part of the structural pair.

We make note of the type, voice roles, final, and any modifications that apply.
For dovetail voice, the voice part that begins a new soggetto or line of text:

Above, Between, or Below cadential pair formed by the cantizans and tenorizans pair.
The analyst tags the dovetail voice in the EMA selection.

For irregular cadences:

Voice roles that move in unexpected way

Cantizans
Altizans
Tenorizans
Bassizans

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Cadence (authentic)

DC0519.40-41. L’huillier, Si je te voy

Cadence

Cantizans: Superius

Tenorizans: Tenor

Type: Authentic

Tone: C

CAD

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DC0101.12.13. Certon, Qui souhaitez avoir

Cadence

Cantizans: Superius

Tenorizans: Tenor

DC0106.23-24.Certon, L’enfant amour

Cadence

Cantizans: Superius

Tenorizans: Tenor

Type: Phrygian

Tone: A

Cadence (phrygian)

CAD

Comment: the suspension formula in S/T determines the Phrygian cadence type, which in this case can only be accompanied by the falling fourth bassus motion. Compare with true plagal cadence in next slide.

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DC0502.19-20. Godart, J’ay le fruict desiré

Cadence

Cantizans:

Tenorizans:

Type: Plagal

Tone: D

Cadence (plagal)

CAD

DC0102.24-25. Regnes, Venons au poinct

Cadence (irregular)

Cadence

Cantizans: Superius

Tenorizans: Tenor

Type: Authentic

Tone: G

Irregular Voices: Bassus

CAD

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DC0303.23-28. Guilliaud, Si mon grand mal

Cadence (irregular)

Cadence

Cantizans: Superius

Tenorizans: Tenor

Type: Authentic

Tone: D

Irregular Voice: Tenor

CAD