Scott Hamilton

Critical Book Review Outline

MUSI 301H 11/5/15
Jeppesen, Knud The Style of Palestrina and the Dissonance. New
York: Oxford University Press, 1970.
I. Introduction: Quick Description/Overview
A. Two-Part book about Palestrinas musical style and use of
dissonance
1. Foundations of style
a. Standard temporal conditions, rhythm, modes and
treatment of words during the time period
b. Exploration of Palestrinas personal style through his
music
2. Treatment of the Dissonance
a. Dissonances implemented by Palestrina
b. The evolvement of dissonance techniques and treatment
from times
before and up to the time of Palestrina
B. Authors Target audience
1. Advanced students with an extensive musical background
2. Professional musicologists
C. Authors Credentials
1. Knud Jeppesen received a doctorate from the University of
Vienna
2. Professor of musicology and director of the newly founded
Institute of
Musicology at Aarhus University
3. Has written a number of books on musical counterpoint and
the style of Palestrina
D. Summary Critique Preview [Thesis]

1. A fine, meticulous analysis of Palestrinas style and

dissonance.
a. Well organized and logically laid out
b. Jeppesens writing style very detailed and thorough,
with only
minor annoyances due to the inclusion of information from
sources of
different languages
c. Discoveries well supported through several examples
from different sources
II.
Organization & Layout: Well organized and sensibly laid out, allowing
readers to find exactly what theyre looking for.
A. Information split up into sections; allowing easy access to specific
topics.
1. Part 1: Foundations of Style
a. split up into six categories: Temporal conditions,
Rhythm, Modes, Treatment of Words, Melody & Harmony
2. Part 2: Dissonance
b. six categories: Phases of Dissonance Treatment,
Dissonance as Secondary Phenomenon (Passing &
Ornamental), Dissonance as a Primary Phenomenon,
Dissonance as a Means of Poetical Expression
B. Topics within a category flow from idea to idea
1. Movement from one application of a dissonance technique to
the next
2. Topics typically follow a sort of chronological order.
III.

Jeppesens Writing Style

A. Very thorough and detailed throughout
1. Analyzes nearly every possible element found in the style of
music by, not only Palestrina, but other composers of the same
time period.
2. Provides substantial evidence for his assertions. (i.e. musical
examples, theoretical examples of other musicologists)

B. Annoying aspect: Taking and including information from sources of

a different language into analysis, while not bothering to translate.
1. Example 1: This contra-time accent has on this account
been termed the pathetic accent, since it hufig dem
Ausdrucke leidenschaftlichen Widerstandes, erregten Kmpfens
dient. (69)
2. Example 2: Berardi expresses this in terms more adjusted to
the harmonic conception of the 17th century, as follows: Si
proibisce ancora quella modulation, che vien chiamata
girandoletta, overo gioco, particolarmente quando il canto fermo
st sopra duna medema corda. (80)

IV.
Discoveries; well supported through several examples from multiple
sources.
A. Palestrina
1. Discovered many elements fundamental to his style through
this formal analysis
2. His use of dissonance, as compared to other composers of the
same genre
3. Mistakes found in newer editions/sources of Palestrinas music;
some
inconsistencies in note length, etc. in comparison with older
sources.
V.

Conclusions
A. Summary Evaluation
B. Paved the way for future studies
1. This being the first analysis of its kind on this subject, it sets
the foundation for future research.
2. Future musicologists can dig deeper on more specific sections
of elements discussed in this book.