'Clefless' notation, counterpoint and the fa-degree
Stefano Mengozzi
In recent years a number of music scholars have interpreted ‘clefless’ musical works from the 15th century as grounded on mechanism hexachordal solmization. The basic assumption that drives such analyses is medieval and Renaissance musicians were trained to understand notated pitches embedded in segments six syllables pitches. Thus, primary function flat sharps signs found has been taken be one indicating fa mi degrees underlying hexachords. However, particular notational features rondeau, Gilles Binchois’s Mon seul et souverain desir, may point different conclusions. This study suggests notation ultimately assigns priority octave-based notion space (grounded seven claves) shaped not only structure gamut, but also grammar counterpoint. While six-syllable solmization well successfully used sight read this chanson, it was by no means mandatory step for performance. non-hexachordal approach proposed here line with early history staffed notation, general orientation theorists issue
Early Music