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sequitur,” [it follows slow].                       edition.
        36  “The measure should change according to the words, now   40  This is the same as the second half of Rule 17 of the 1619
            slower and now faster.” Nicola Vicentino, Ancient Music   edition but expanded and clarifi ed.
            Adapted to Modern Practice, trans. Maria Rika Maniates   41  Harold Powers articulates a similar system of determining
            (New Haven: Yale University, 1996), 301.            mode by a complex of factors including  B-durus vs.
        37  DeFord’s remarks on the issue of performance practice   B-mollis, range within the gamut, and lowest note of
            are spread throughout her book, but especially good   the  final triad, which may approximate what Friderici

            sections are Chapter 7 on tactus and tempo, particularly   had in mind. Harold Powers, “Tonal Types and Modal
            page 188, and pages 468-469. She observes that three   Categories in Renaissance Polyphony,”  Journal of  the
            factors determined tempo: nature of the music, text, the   American Musicological Society 34, no. 3 (1981): 436-438.
            director’s interpretation.  Tactus, Mensuration, and Rhythm   42  See Walter Atcherson’s very interesting article “Key and
            in Renaissance Music (Cambridge: Cambridge University,   Mode.” Joel Lester’s article “Major-Minor Concepts
            2015).                                              and Modal Theory in German 1592-1680,” Journal of
        38  The  confi nal is the  fifth above the mode’s  fi nalis. Friderici   the American Musicological Society 30, no. 2 (1977): 208-253

            apparently considers this so well known as to need no   is particularly valuable for the 17th-century German

            further comment, for I find no mention of the confi nal in   context. The Barnett summary in “Tonal Organization”
            Chapter 8 on the modes.                             makes a thorough study of the relevant elements involved.
        39  This is the same as the first half of Rule 17 of the 1619   43  Gregory Barnet, “Tonal Organization.”





















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        CHORAL JOURNAL  June/July 2021                                                              Volume 61  Number 11          31
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