The Structure of Musical Collections up to 1750

Abstract

UP TO the second half of the I8th century, musical manuscripts and printed volumes usually consisted of a number of pieces that could, in general, be performed independently. Often these pieces were all of one type, such as madrigals, and by one composer; but there were also compilations of various forms and by various composers that as a rule were made by the publisher. From the 15th century on it is noticeable that compilers of such collections made a definite effort to give the assembled compositions some inner relation to each other, so that the book would have a certain design and coherence, and this custom became gradually of greater significance, until Bach offered the world in his last works a few perfect examples of such deliberately arranged collections. In the Catholic liturgy, the Magnificat was sung to one of eight different tones or formulas, linked to the eight modes of Gregorian Chant, so that the series of eight ways of intoning the Magnificat was an example of a planned series, an aesthetic unit. The Magnificat was also sung in polyphonic settings. Many compilations of such settings in all eight modes were published. The single verses of the Magnificat were in many places (especially Lutheran churches) alternately sung and played by the organ, such instrumental interludes being called versetti. Various collections of versetti in the eight modes were printed or engraved. Thus originated the first consciously designed series of instrumental pieces. After Glareanus published his Dodekachordon, musical theory l e e s i , but to . i is t a abroad.