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Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
Singing for Dante in 'Purgatorio'
Bibliotheca Dantesca: Journal of Dante Studies Volume 1 Dante and Music Article 7 2018 SINGING FOR DANTE IN ‘PURGATORIO’ 30–31 Helena Phillips-Robins Follow this and additional works at: https://repository.upenn.edu/bibdant Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Italian Language and Literature Commons, Medieval History Commons, and the Music Commons Recommended Citation Phillips-Robins, Helena (2018) "SINGING FOR DANTE IN ‘PURGATORIO’ 30–31," Bibliotheca Dantesca: Journal of Dante Studies: Vol. 1 , Article 7. Available at: https://repository.upenn.edu/bibdant/vol1/iss1/7 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/bibdant/vol1/iss1/7 For more information, please contact [email protected]. Phillips-Robins: SINGING FOR DANTE Bibliotheca Dantesca, 1 (2018): 127-145 SINGING FOR DANTE IN ‘PURGATORIO’ 30–31 HELENA PHILLIPS-ROBINS, University of Cambridge This essay investigates types of sociality enacted through song, as depicted in Dante’s Earthly Paradise. The first section of the essay argues that the singing of Psalm 30 (In te, Domine, speravi) in Purgatorio 30 is a way of enacting a particular mode of compassion. In the second section of the essay I argue that Dante’s depiction of Psalm 30—together with his depiction of the antiphon sung in Purgatorio 31, the Asperges me—invites a devotional response from the reader. The sociality of prayer can involve not only the characters, but also the readers of the Commedia. I investigate the liturgical context in which Dante and medieval readers would have known and lived the Asperges me. I argue that here, at the end of the narrative of his penitential journey, Dante, with this antiphon, invites the reader to her own performance of penance. -
Gradual (Franciscan Use) in Latin with Some Portuguese, Illuminated Manuscript on Parchment Portugal, C
Gradual (Franciscan Use) In Latin with some Portuguese, illuminated manuscript on parchment Portugal, c. 1575-1600 209 pages, on parchment, preceded by a paper flyleaf, missing a leaf at the end and perhaps another in the core of the manuscript, mostly in quires of 8 (collation: i4, ii8, iii8, iv8, v8, vi8, vii7 (missing 8; likely a cancelled blank as text and liturgical sequence seems uninterrupted [see pp.102-103]), viii8, ix8, x4, xi8, xii8, xiii8, xiv7 (missing 7, with 8 a blank leaf)), written in a rounded gothic liturgical bookhand on up to 16 lines per page in brown to darker brown ink, ruled in plummet (justification 430 x 285 mm), no catchwords, a few quire signatures, rubrics in bright red, pitches marked in red over words, some corrections and contemporary annotations in the margin; later annotations in the margins (in Portuguese), elaborate calligraphic pen flourishing swirling in the margins in purple, dark blue and red ink, larger cadels in black ink with elaborate calligraphic penwork (e.g. ff. 197-198), a number of initials traced in blue or red (2- to 5-lines high) enhanced with calligraphic penwork and sometimes with floral motifs, fruits, faces, putti or satyrs (e.g. pp. 82-83; p. 151), a few initials pasted in on small paper strips (cadels on decorated grounds, see f. 171), numerous decorated initials in colors (and some liquid gold) and acanthus leaves of varying size (1-line high, larger 3- line high) (e.g. ff. 9-10 et passim), 13 historiated initials with elaborate calligraphic penwork, often with a variety of birds, putti, insects, bestiary, fruit etc., large illuminated bracket border of strewn illusionistic flowers on a yellow ground (inspired from the Flemish illusionistic borders) with a purple decorated initial with similar illusionistic floral motifs (f. -
Musica Strumentale E Committenza in Area Bresciana. Titoli E Dediche Delle Canzoni Strumentali Fra Cinque E Seicento
Philomusica on-line 15/1 (2016) Musica strumentale e committenza in area bresciana. Titoli e dediche delle canzoni strumentali fra Cinque e Seicento Marina Toffetti Università degli Studi di Padova [email protected] § Un aspetto rilevante della storia della § An important aspect of the history cultura bresciana è la presenza, nelle of culture in Brescia is the presence, raccolte di musica strumentale, di in the collections of instrumental titoli-dedica sostantivati al femminile music, of feminine title-dedications riferiti a esponenti della nobiltà, referring to members of the nobility, compositori, musicisti e personalità di musicians and personalities the local spicco del clero locale. clergy. In questo articolo sono stati presi in In this article all titles (172) that are considerazione tutti i titoli-dedica (172) in the collections of canzonas che si trovano nelle raccolte di canzoni published in Brescia or composed by pubblicate a Brescia o composte da authors from Brescia were taken into autori bresciani e, laddove possibile, ne consideration and, where possible, sono stati identificati i dedicatari their implicit dedicatees have been impliciti. identified. Il corpus delle canzoni prodotte a The corpus of canzonas produced in Brescia fra il 1582 e il 1626-29 include Brescia between 1582 and 1626-29 otto raccolte individuali di sette includes eight individual collections compositori, per un totale di 147 of seven composers (147 instrumental canzoni strumentali, alle quali dove- canzonas); to these we must add two vano aggiungersi due raccolte che sono collections that went lost. In addition, andate perdute; altre 72 canzoni sono another 72 canzonas were published state pubblicate all’interno di raccolte in collections of vocal sacred or di musica vocale sacra o profana o di secular music, or in collections of composizioni strumentali di genere instrumental compositions of diverso dalla canzone. -
Propers of the Mass Set to Psalm Tones
Daniel A. Bradley Sr, who put this book together over ten years, has generously granted permission to the Church Music Association of America to host this file for free download. if you find it useful, please consider letting him know at [email protected]. You might also consider sending a donation to the Gregorian Institute of Guam, which has no other source of income apart from sales of this book. It is given away here as a free gift. ACKNOWLEDGMENTS CHANTS: The Gregorian Chants reproductions printed herein are included with the kind permission of the Abbaye Saint-Pierre de Solesmes, France, and taken from their copyrighted publications, namely: Liber Usualis, Liber Cantualis. Copyright 2003 by The Gregorian Institute of Guam Tamuning, Guam To Saint Pius Tenth Sovereign Pontiff Eminent Patron of Sacred Music On the Occasion of the Hundreth Anniversary Of the Motu Proprio On The Restoration of Sacred Music This Book Is Humbly Dedicated: With the Earnest Hope that It Contribute to the Great Goal Of His Pontificate. To Restore All Things in Christ 22 November 2003 The Feast of Saint Cecilia TABLE OF CONTENTS Extracts from Musicam Sacram (March 1967) ....pg. i II. Basic Instructions Concerning Gregorian Chant ...pg. i-iv NOTATION STAFF and CLEF SIGNS LATIN PRONUNCIATION PRODUCTION (SINGING) OF GREGORIAN CHANT ACCOMPANIMENT OF GREGORIAN CHANT TO SUM UP IH Examples of each Psalm Tone pg. v - vii IV, Propers of the Sundays of the Year ... ...pg. 1-119 V. Propers of Holydays of Obligation pg. VL A Kyriale containing : pg. 13 2. ~ 156 PREFACE RESPONSES ASPERGES ME VIDI AQUAM ORDINARIES of MASSES I, II, IV, Vm, K, XI, XVH GLORIAS of MASS Vffl& DC; CREDOSI &ffl SEQUENCES : Victimae Paschali; Veni Creator; Lauda Sion REQUIEM MASS I Extracts from Musicam Sacram - 5March, 1967 " Therefore the Consilium set up to implement the Constitution on the Liturgy, on the instructions of the Holy Father , has carefully considered these questions and prepared the present Instruction. -
Chantcd.Com Product Catalog — Traditional Gregorian Chant Cds
ChantCd.com Product Catalog — Traditional Gregorian Chant CDs ChantCd.com 367 Stagecoach Hill Dr, Seguin, TX 78155 Order by Phone: 914-6890 E-mail: [email protected] (Area code: 830) We accept Visa/Mastercard/Discover/American Express, Cash, Check, Money Order, and Paypal (manual payment). Please make checks payable to "Matthew McDevitt". For international customers, we also accept Western Union. CDs available only from ChantCd.com The Gregorian chant in the Chant Compendium series (Marian hymns, Benediction hymns, etc) was sung with the right intention, and you can perceive it when you listen. These CDs are like genuine windows on the praise offered to God in churches all over the world, for countless centuries. These are not fake studio recordings, but authentic recordings of actual liturgical functions – public prayer offered to God. There is organ accompaniment in every piece (very well done) and the chant itself is excellent. Each CD is filled to capacity (over 79 minutes) with centuries-old Gregorian chant sung in the traditional Solesmes style. Includes lyrics to every track! Chant Compendium 1 12.99 Vidi Aquam, O Quam Glorifica, Virgo Dei Genitrix, Salve Festa Dies, Sung Litany of St. Joseph (in Latin), Benedictus Es, Cor Arca, Regina Caeli (simple tone), Victimae Paschali Laudes, Sung Angelus, Ubi Caritas, Jesu Dulcis Memoria, Magnificat (Solemn), Adoremus in Aeternum, Ecce Panis Angelorum, O Quam Suavis Est, Panis Angelicus, Te Rex Altissimus (Vespers hymn), Sub Tuum Praesidium, Ave Verum, Tantum Ergo IV, Te Saeculorum Principem (Vespers hymn) Vexilla Regis (Vespers hymn), Adoro Te Devote, Kyrie 11, Tantum Ergo VI, Alma Redemptoris Mater, Ave Maris Stella, Ave Maria, and Sung Compline (Wednesday). -
Graduate-Dissertations-21
Ph.D. Dissertations in Musicology University of North Carolina at Chapel Hill Department of Music 1939 – 2021 Table of Contents Dissertations before 1950 1939 1949 Dissertations from 1950 - 1959 1950 1952 1953 1955 1956 1958 1959 Dissertations from 1960 - 1969 1960 1961 1962 1964 1965 1966 1967 1968 1969 Dissertations from 1970 - 1979 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 Dissertations from 1980 - 1989 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 Dissertations from 1990 - 1999 1990 1991 1992 1994 1995 1996 1998 1999 Dissertations from 2000 - 2009 2000 2001 2002 2003 2005 2006 2007 2008 2009 Dissertations since 2010 2010 2013 2014 2015 2016 2018 2019 Dissertations since 2020 2020 2021 1939 Peter Sijer Hansen The Life and Works of Dominico Phinot (ca. 1510-ca. 1555) (under the direction of Glen Haydon) 1949 Willis Cowan Gates The Literature for Unaccompanied Solo Violin (under the direction of Glen Haydon) Gwynn Spencer McPeek The Windsor Manuscript, British Museum, Egerton 3307 (under the direction of Glen Haydon) Wilton Elman Mason The Lute Music of Sylvius Leopold Weiss (under the direction of Glen Haydon) 1950 Delbert Meacham Beswick The Problem of Tonality in Seventeenth-Century Music (under the direction of Glen Haydon) 1952 Allen McCain Garrett The Works of William Billings (under the direction of Glen Haydon) Herbert Stanton Livingston The Italian Overture from A. Scarlatti to Mozart (under the direction of Glen Haydon) 1953 Almonte Charles Howell, Jr. The French Organ Mass in the Sixteenth and Seventeenth Centuries (under the direction of Jan Philip Schinhan) 1955 George E. -
Asperges Me Apsalms 50 P–– Sung E Rbefore G Sunday E S Masses M in Thee Extraordinary Form Outside Paschal Time
Asperges Me APsalmSPERGES 50 –– Sung before Sunday Masses M in theE Extraordinary Form outside Paschal Time TRANSLATION: Thou shalt sprinkle me with hyssop, O Lord, and I shall be cleansed; e Thou shalt wash me, and I shall be made whiter than snow. Asperges M (Ps 50) Have mercy on me,Psalm O God, 50 ––according Sung before to thy Sundaygreat mercy. Masses in the ExtraordinaryAsperges Form outside Paschal M Timee Psalm 50 –– Sung before Sunday Masses in the ExtraordinaryAsperges Form outside Paschal M Timee Psalm 50 –– Sung before Sunday Masses in the ExtraordinaryAsperges Form outside Paschal M Timee Psalm 50 –– Sung before Sunday Masses in the Extraordinary Form outside Paschal Time Thou-wilt-sprinkle me, O-Lord, with-hyssop and I-shall-be-cleansed: Thou-shalt-wash me, and more-than snow shall-I-be- Repeat the Antiphon Asperges me. On Passion Sunday and Palm Sunday, the Glória Patri is not said, but the Antiphon Asperges me is repeated immediately after the Psalm. made-white Have-mercy on-me, O-God, according-to (that) great Translation Thou shalt sprinkle me with hyssop, O Lord, and I shall be cleansed; Repeat the AntiphonThou shalt wash Asperges me, and I shallme. be made whiter than snow. Ps. Have mercy on me, O God, according to thy great mercy. RepeatOn Passion the Antiphon Sunday and Asperges Palm Sunday, me. the Glória Patri is not said, but the Antiphon Asperges me is repeated immediately after the Psalm. mercyOnRepeat Passion the Antiphon Sunday and Asperges Palm of-Thine. Sunday, me. the Glória Patri is not said, but the Antiphon Asperges me is repeated immediately after the Psalm. -
Ordinary of the Mass 1962 Edition of the Tridentine Ordo Ordinary of the Mass 1962 an English Translation of the Missale Romanum
Ordinary of the Mass 1962 edition of the Tridentine Ordo Ordinary of the Mass 1962 An English Translation of the Missale Romanum P. Priest Parts are denoted as follows D. Deacon P. Priest S. Server/Congregation D. Deacon C. Choir L. Subdeacon/Lector V. Versicle S. Server/Congregation R. Response C. Choir V. Versicle R. Response The Asperges On Sundays before the principal Mass the church and congregation are sprinkled with holy water. Antiphon Antiphon P. Asperges me P. Thou shalt sprinkle me, C. Domine, hyssopo, et mundabor: C. Lord, with hyssop and I shall be lavabis me, et super nivem dealbabor. cleansed; thou shalt wash me, and I Ps. 50 Miserere mei, Deus, secundum shall be made whiter than snow. Have magnam misericordiam tuam. mercy on me, O. God, according to thy great mercy. V. Gloria Patri, et Filio, et Spiritui V. Glory be to the Father and to the Son Sancto, and to the Holy Spirit. R. Sicut erat in principio, et nunc, et R. As it was in the beginning, is now, semper, et in saecula saeculorum. and ever shall be, world without end. Amen Amen. Antiphon Asperges me, Domine, Antiphon Thou shalt sprinkle me, Lord, hyssopo, et mundabor: lavabis me, et with hyssop and I shall be cleansed; super nivem dealbabor. thou shalt wash me, and I shall be made whiter than snow. or during Easter time Antiphon Antiphon P. Vidi aquam P. I saw water coming C. egredientem de templo, a latere C. forth from the Temple from the right dextro, alleluia: et omnes ad quos side, alleluia: and all those were saved pervenit aqua ista salvi factci sunt, et to whom that water came, and they shall dicent: Alleluia, alleluia. -
English Chant English Chant
ENGLISH CHANT Resources for Singing the Propers and Ordinary of the Roman Rite Mass in English Presentation by Steven W. Medicis, Director of Music, Saint James Church, Syracuse, New York The Role of Chant in the Roman Rite Liturgy According to the Constitution on the Sacred Liturgy (Sacrosanctum Concilium), one of the constitutions of the Second Vatican Council solemnly promulgated by His Holiness Pope Paul VI on December 4, 1963, • 116. The Church acknowledges Gregorian chant as spypecially suited to the Roman liturgy: therefore, other things being equal, it should be given pride of place in liturgical services. But other kinds of sacred music, especially polyphony, are by no means excluded from liturgical celebrations, so long as they accord with the spirit of the liturgical action... • 117. The typical edition of the books of Gregorian chant is to be completed; and a more critical edition is to be prepared of those books already published since the restoration by St. Pius X. It is desirable also that an edition be prepared containing simpler melodies, for use in small churches. The Roman Gradual • The “typical edition” specified in Article 117 is the Roman Gradual (Graduale Romanum), available in hardcopy form from several Catholic publishers of sacred music including CanticaNOVA Publications, GIA Publications, and OCP. • The Roman Gradual is the primary official book of liturgical music for the Roman Rite. • First published in 1908 at the request of Pope Saint Pius X by the Benedictine monks of Abbaye Saint‐Pierre de Solesmes in France and revised in 1974 following the issuance of the Roman Missal (Missale Romanum) of 1970. -
30Th Sunday in Ordinary Time
THE PARISH OF ST. VINCENT FERRER AND T ATHERINE OF IENA S . C S The Very Reverend Walter C. Wagner, O.P., Pastor James D. Wetzel, Director of Music and Organist THIRTIETH SUNDAY IN ORDINARY TIME October 25, 2020 Take this leaflet with you after Mass or return it to the tray from which you took it, after which it will be destroyed. Covid guidelines prevent them from being reused. PRELUDE Johann Sebastian Bach Toccata and Fugue in F Major, BWV 540 (1685-1750) INTRODUCTORY RITES ENTRANCE ANTIPHON (OFFICIUM) Psalm 104 (105):3, 4, 1 Chant, mode ii Laetetur cor quaerentium Dominum: Let the hearts of those who seek the Lord rejoice. quaerite Dominum, et confirmamini: Seek the Lord, and be strengthened; quaerite faciem ejus semper. seek his face always. V. Confitemini Domino, V. Give praise to the Lord, et invocate nomen ejus: and call upon his name; annuntiate inter gentes opera ejus. declare his works among the nations. SIGN OF THE CROSS AND GREETING PENITENTIAL ACT KYRIE Roman Missal Mass GLORIA Roman Missal Mass 2 COLLECT Almighty ever-living God, increase our faith, hope and charity, and make us love what you command, so that we may merit what you promise. Through our Lord Jesus Christ, your Son, who lives and reigns with you in the unity of the Holy Spirit, one God, for ever and ever. Amen. LITURGY OF THE WORD FIRST READING Exodus 22:20-26 Thus says the Lord: “You shall not molest or oppress an alien, for you were once aliens yourselves in the land of Egypt. -
The Science and Art of Renaissance Music-Princeton University Press
CHAPTER ONE A Sixteenth-Century Attempt at Music Criticism A COMPLAINT SOMETIMES MADE about theorists, at least about those active be- fore the middle of the nineteenth century, is that their concerns are too exclusively prescriptive, that they rarely describe music, much less evaluate it. As musicians we can enjoy what we take to be timeless aspects of the music of the past, and we feel to a certain extent confident in our ability to distinguish level of quality and de- gree of attractiveness in it—in short to make it live as part of our own musical cul- ture. As scholars we can learn a good deal about the musical life of a period such as the Renaissance. As analysts we can take almost any music apart and reassemble it, using theoretical writings of the appropriate period as manuals wherever they are helpful. But as historians concerned not only with cultural artifacts but also with the intellectual and artistic outlook of the past we want to know not just how music was made but why it took the shapes it did, and especially how it was heard and crit- icized by those who first performed and listened to it. Not how everyone heard it, of course; if we look at the general reception of art music in our own time we can see that random sampling of opinion would not get us far, and there is no reason to sen- timentalize about a past when everyone understood and loved contemporary cul- ture. We do want to know what those critics have to say who are equipped by train- ing and temperament to give sympathetic judgment on modern music; and it is a group of this sort, comparatively large in some periods and very small in others, that we would like to have speak to us from the past.