Untitled

THE CONDUCTUS 333
(Under the type of 'the true flower which the pure root brought forth', the
pious care of our clergy has made a mystical flower beyond the experience of
the laity, drawing a figurative meaning from the nature of the flower.) 1
isochronous nor ternary. The same is true of the few others which
Latex silice' 2 and c
Qui
supply definite first-hand evidence, such as *
3 servare puberem'. From internal evidence it can be clearly seen that
c
'Verifloris' (p. 330), Coelurjanonanimam', 46 Trinaevocistripudio', 5
and others fall neatly and convincingly into a rhythm of this kind;
and it is to such rhythms that Bukofzer is presumably alluding when
he speaks of 'certain lengthenings of "primary" accents in the verse
which are not disclosed by the meter and which can be derived only
from the music'. 6 Other specimens, as he has pointed out, can
be classified under the various rhythmic modes by examination
of the ligatures in the intervening melismatic sections, or caudae,
when these melismatic sections repeat the melody of the syllabic
sections.
When we turn from the conductus sine cauda to its more fully
developed relation cum cauda we discover, to a degree not hitherto
encountered, music which only needs to be known and interpreted to
be widely appreciated. The caudae, those textiess preludes, interludes,
and finales to which we have briefly alluded above (pp. 326-7), have
not hitherto been fully explored. As soon as these sections are scored
on any considerable scale it becomes apparent that their chief interest
lies not in the harmony but in the melody of the lowest voice. Some
1 Recorded in The History ofMusic in Sound, ii, side 17. BM = Brit. Mus. Harl, 524
(see Oxford History of Music, 2nd ed., i, p. 164); F = Florence, Bibl. Laur. plut. xxix,
1; Ma = Madrid, Bibl. Nac. 20486; StG - St. Gall, Stiftsbibliothek 383; Tort = Tortosa
Cathedral, 97; W 1 = Wolfenbiittel 677; W* = Wolfenbiittel 1206. The variants
from W\ Tort and Ma are from the transcript printed by Angles in La Musica a
Catalunyafins al Segle XIII (Barcelona, 1935), p. 262. The words of the song are said
to be by Herras of Hohenburg and are also found, without music, in Oxford, BodleiaJI
RawL C 510.
3
Four-part motet in Florence, Bibl. Laur. plut. xxix, 1, fo. 230^; clausulae in Wolfen
biittel 677, fo. 49, and Florence, fo. 158; three upper parts in Wolfenbiittel, fo. 74;
monophonic in Stuttgart, Landesbibl. I Asc. 95 ; text in Oxford, Bodleian, Rawl. C 510.
See also G. M. Dreves, Analecta Hymnica Medii Aevi, xxi (Leipzig, 1895), p. 17, and
Musical Quarterly, xxx (1944), p. 462.
8
Three-part motet in Florence, fo. 381 T ; two upper parts in Wolfenbiittel, fo. 106
and Madrid, Bibl. Nac. 20486 (facsimile in P. Aubry, Cent Motets du XIU e siecle
(Paris, 1908), pi. HI); clausulae in Wolfenbiittel, fo. 49, and Florence, fo. 101 Y ; text in
Oxford, Bodleian, Add. A 44 and Rawl. C 510. See also Analecta Hymnica, xxi,
p. 157, Oxford History of Music, 1st ed., i, p. 358, Musical Quarterly, xxx (1944),
p. 462.
4
Wolfenbiittel, fo. 11; Florence, fo. 223 V ; Munich, Staatsbibl. lat 4660 (Canrnna
Burana), fo. 48. Text in Oxford, Bodleian, Rawl. C 510, fo. 18.
5
Wolfenbiittel, fo. 68 y ; Florence, fo. 205. Text in Oxford, Bodleian, RawL C 510,
fo. 16*.
6
Bulletin of the American Musicological Society (1948), p. 65.