«Dodekachordon» by Heinrich Glareanus and «Dodecacorde» by Claude Le Jeune: An Experience of Comparison
Born in Voronezh in 1969. Graduated from the Central Music School of Tchaikovsky Moscow State Conservatory (Departments of Piano and Music Theory) in 1988, then from Moscow Conservatory (the Department of Music Theory and History) in 1995. Candidate’s Dissertation: “Theoretical Problems of Motet Composition in ‘Magnum Opus Musicum’ by Orlando di Lasso” (2003; scientific supervisor — Professor Yu. Kholopov). Since 1996 teaches Harmony, Reading an Orchestral Score, Theoretical Concepts in Music, and History of Orchestral Styles at the Department of Music Theory of Moscow Conservatory (Associate Professor since 2005).
The article demonstrates a rare historical example of such a connection between musical theory and composer’s practice, in which a musical text arises partly as an embodiment of the ideas of a musical-scientific text. This connection is emphasized by the identity of titles of the treatise by Heinrich Glarean (“Dodekachordon,” 1547) and of the extensive cycle of polyphonic psalm compositions by Claude Le Jeune (“Dodecacorde,” 1598). However, the differences exceed the similarities: in addition to the fact that Glarean’s system of 12 modes was perceived by Le Jeune through the prism of Gioseffo Zarlino’s treatises, his cycle is deeply different from his musical-theoretical “namesake” both philosophically and stylistically. At the same time, Le Jeune’s compositional solutions often represent radical conclusions from those humanistic assumptions that were introduced into the modal theory by Glarean and developed by Zarlino.
the author is deeply grateful to T. B. Baranova and A. S. Savenkova for their assistance in access to music and book editions