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Les énigmes de l'Antefana et du double hoquet de Machault: une tentative de solution

Gaston G. Allaire
Revue de Musicologie
T. 66, No. 1 (1980), pp. 27-56
DOI: 10.2307/928545
Stable URL: http://www.jstor.org/stable/928545
Page Count: 30
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Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
Les énigmes de l'Antefana et du double hoquet de Machault: une tentative de solution
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Abstract

The Antefana, an exercise in avoiding tritones, may have been a test piece for boys learning how to read music in Renaissance maîtrises. In order to avoid singing D-flat the student would have used the syllabe na before fa (after la) in the solmisation of the harmonic division of the octave Eb-eb. In Machault's Double Hoquet the tenor sings the melisma of the word David in the Alleluia for the Feast of the Holy Virgin. This Alleluia is given to be in the Mixolydian mode in the Liber Usualis. The range of the two upper voices is roughly G-g, which octave is at times divided arithmetically (ut-sol:: ré-sol) allowing F-naturals, and at other times divided harmonically (ut-sol:: ut-fa) allowing F-sharps. F-sharp is possible only when the notes of the tenor are in the hard hexachord. We can therefore say that the double hoquet modulates from the Mixolydian mode to the Ionian mode transposed and vice versa. The natural and flat signs in the original manuscript sources did not indicate chromatic alterations, bu they were inserted by the singers according to a certain convention to guide correct solmisation.

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