DOCSLIB.ORG

Debido, En Gran Medida, a La Gran Eclosión Del Romanticismo Y a La

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Debido, En Gran Medida, a La Gran Eclosión Del Romanticismo Y a La Debido, en gran medida, a la gran eclosión del Romanticismo y a la generalización del Lied, el número de compositores que inspiran sus obras en la Naturaleza crece de forma exponencial, haciendo imposible la publicación en este medio de todos los registros que hemos recogido hasta la fecha. Con mucho gusto facilitaremos los de aquellos autores cuyos nombres figuren en la siguiente lista provisional. Autores por orden alfabético Abeille, Ludwig (1761-1838) Albert of Saxe-Coburg and Gotha, Prince Abendroth, Walter (1896-1973) Consort. (1819-1861). Abenheim, Joseph (1804-1891) Albert, Stephen Joel (1941-1992) Aborn, Lora (1907-2005) Albertet de Sestaro (…1194-1221...) Aboulker, Isabelle (1938- ) Albin, Roger (1920- ) Abrams, Harriet (1760-1825) Albinoni, Tomaso (1671-1751) Absil, Jean (1893-1974) Albuquerque, Armando Amorim (1901-1986) Abt, Franz Wilhelm (1819-1885) Alcántara, Germán (1910- ) Adaïewsky, Ella (Elisabeth von Schultz- Alemán, Eduardo A. (1922- ) Adajewsky, Elisabeth Schultz, Ella Schultz) Alfagüell, Mario (1948- ) (1846-1926). Alfano, Franco (1876-1954). Adalid y Gamero, Manuel de (1872-1947) Alferaki, Akhilles Nikolayevich (1846-1919) Adam, Adolphe (1803-1856). Alfonso X el Sabio (1221-1284) Adams, H. Leslie (1932- ) Alger, Robert (1867-1926). Adams, John Coolidge (1947- ) Alimonda, Heitor (1922-2002) Adaskin, Murray (1906-2002). Alkan, Charles Henri Valentin (1813-1888) Addison, John (1920- ) Allen, Creighton (1900-1969). Adelburg, August Ritter von (1830-1873). Allen, Geeoffrey (1927- ) Adès, Thomas (1971- ) Allende, Pedro Humberto (1885-1959) Adler, James R. (1950- ) Allison, Richard (ca. 1599-1606). Adler, Samuel Hans (1928- ) Allitsen, née Bumpus, (Mari) Frances (1848- Adolphe, Bruce (1955- ) 1912). Adomián, Lan (1905-1979) Almeida, Carlos Vianna de (1906-1990) Aestbacher, Walter (1901-1969). Almeida Prado, José Antonio Ager, Andrew (1962- ) Resende (1943- ) Ager, Laurence Mitchel (1904- ) Alnaes, Eyvind (1872-1932) Aggházy, Károly (1855-1918) Al-Zand, Karim Adam (1970- ) Agincourt, François d´ (1684-1758) Alomías Robles, Daniel (1871-1942). Agincourt, Louis Claude d´ (1696-1772) Alonso, Eduardo (1956- ) Agthe, Carl Christian (1762-1797) Alonso, Francisco (1887-1948) Aguiar, Ernani H. Chaves (1950- ) Altmann, Hans (1904-1961). Aguilar, Emanuel A. (1824-1904) Alvarado, Herculano (1879-1921). Aguirre, Julián (1868-1924) Álvarez, Luis Manuel (1939- ) Ahrol, Frank (1931) Alwyn, William (1905-1985). Aikman, James Whitton (1959- ) Amatucci. Paolo (1868-1935) Aimeric de Peguilhan (…1190-1242…) Ambrosio, Alfredo d´ (1871-1914) Aitken, George (1882- ) Ambrosius, Hermann (1897-1983). Aitken, Hugh (1924- ) Ameller, André (1912-1990) Alain, Jehan (1911-1940 Amende, Dietrich (1901-1980) Alaleona, Domenico (1881-1928) Amengual Astaburucana, René (1911- ) Alard, Jean Delphin (1815-1888) Amerongen, Jan van (1938- ) Alary, Giulio (1814-1891) Ames. William Thayer (1901- ) Albeniz, Isaac (1860-1909) Amiet, Paul (1883-1942) Albert, Eugen (Francis Charles) d´(1864- Amodei, Cataldo (1649-1693) 1932) Amps, William (ca. 1850) Amram, David Werner (1930- ) Amsel, Peter (1968- ) Applebaum, Edward (1937- ) Amy, Gilbert (1936- ) Araújo Régis de 0liveira, Gina (1890-1960) Ancelin, Pierre (1934-2001) Araujo, Severino (1917-2012) Anchieta, Juan de (ca.1462-ca.1523) Aramios, Pericles (1854-1932) Andersen, Arthur Olaf (1880-1958) Arbenz, Wilhelm (1899-1969) Andersen, Karl Joachim (1847-1909) Arcadelt, Jacques (ca. 1515-1568) Anderson, Leroy (1908.1975) Archer, Violet Balestreri (1913-2000) Anderson, Jean Mary (1939- ) Arditi, Luigi (1822-1903) Anderson, Jean Mary (1939- ) Arditti, David (1964- ) Anderson, Thomas Jefferson (1928- ) Arensky, Antón (1861-1906) Anderton, Thomas (1836-1903) Aretz, Isabel (1909-2005) André, Johan (1741-1799) Argento, Dominick (1927- ) André, José (1881-1944) Arismendi, Diana (1962- ) André, Julius (o Jules) (1808-1880) Arizaga, Rodolfo (1926-1985) Andreae, Volkmar (1879-1962). Arlen, Harold (1905-1986) Andreoli, Guglielmo (1862-1932) Armanini, Mark (1952- ) Andrews, Herbert Kennedy (1904-1965) Armesto, Jorge César (1933- ) Andrews, Mark (1875-1939) Armin, née Brentano, Bettina (1785-1859) Andriessen Hendrick (1892-1949?) Arnaud Daniel (…1180-1195…) Andriessen, Juriaan (1925-1996) Arne, Thomas Augustine (1710-1778) Angerer, Gottfried (1851-1909) Arnold, Malcolm (1921-2006) Anglebert, Jean- Henry d´ (1628-1691) Aronis, Thomas Athanasios (1935-….) Angot-Bracquemond, Marthe (1898-1973) Arrieu, Claude (1903-1990) Anónimo alemán (Ss. XII-XIII) Arroyo, Juan (1981- ) Anónimo bretón (S. IX) Artsybushev Nikolai Vasil´yevich (1858-1937) Anónimo del Cancionero de Montecasino Arvilès, Rodney (1948- ) (Segunda mitad del s. XV). Aschaffenburg, Walter (1927- ) Anónimo flamenco (Principios del s, XV) Ascone, Vicente (1897-1979). Anónimo francés (1540) Asenjo Barbieri, Francisco (1823-1894) Anónimo francés (Ss.XIII-XIV) Ash, Rodney (1932- ) Anónimo inglés (Abadía de Reading. ¿W. de Ashton, Algernon Bennet (1859-1937) Wycombe?) (ca. 1260) Ashton, John H. (1938- ) Anónimo inglés (ca. 1270) Asriuel, André (1922- ) Anónimo inglés (ca. 1300) Assad, Sergio (1952- ) Anónimo inglés (ca. S. XIV) Ast, Max (1875-1964). Anónimo inglés (ca. s. XIV) Atkinson, Frederick Cook (1841-1897) Anónimo italiano (S. IX) Aston, Peter George (1938- ) Anónimos de trovadores occitanos (ca. ss XII- Attaingnant, Pierre (ca. 1494-ca. 1551) XIII) Auber, Daniel-François-Esprit (1782-1871) Anónimos del Buxheimer Orgel Buch (s. Aubert, Jacques (1689-1753) XV). Aubert, Louis (1877-1968) Anónimos del Glogauer Liederbuch” (ca. Aubin, Tony (1907- ) 1480). Audran. Edmond (1840-1901) Anónimos del Locheimer Liederbuch” (s. Augé, Claude (1854-1924) XV). August, Herzog von Sachsen-Gotha und Anónimos españoles. (s. XVI) Altenburg (1772-1822) Anónimos españoles. (s. XVII?) Aulin, Laura Alborg (1860-1928) Anónimos italianos (s. XV) Aulin, Tor (1866-1914) Ansorge, (Conrad (Eduard Reinhold). (1862- Auric, Georges (1899-1983) 1930). Austin, Frederic (1872-1952) Ansorge, Max (1862-1940) Aute, Luis Eduardo (1943- ) Antheil, George (1900-1959) Averkamp, Antón (1861-1934) Anthiome, Eugene (1836-1916) Averit, William Earl (1948- ) Antoine, Georges (1892-1918) Avilés, Danilo (1948- ) Anton, Gus (1938- ) Ayala Pérez, Daniel (1906-1975). Aplvor, Denis (1916-2004) Aylward, Florence (1862- ) Aponte Ledée, Rafael (1938- ) Ayres, Frederic (1876-1926) Apostel, Hans Erich (1901-1972) Azereto, Juan (1930-1991) Apothéloz, Jean (1900-1965- ) Baake, Ferdinand Gottfried (1800-1881) Appel, Karl (1812-1895) Baber, Joseph W. (1937- ) Basbin, Victor (1908-1972) Bartók, Bela Victor Janos (1881-1945) Bach, Carl Philipp Emanuel (1714-1788) Basart, Robert (1926.1993) Bach, Johann Christian (1735-1782) Bassett, Karolyn Wells (1892-1931) Bach, Johan Sebastian (1685-1750) Bassett, Leslie R. (n. 1923) Bach, Leonhard Emil (1849-1902) Bastard, William (1880 - ¿) Bach, Maria (1896-1978) Bate, Stanley (1913-1959) Bach, Otto (1833-1893) Bateson, Thomas (ca. 1510-c. 1630) Bache, Francis Edward (1833-1858) Batista da Silva, Rafael (1909-1984) Bachelet, Alfred (1864-1944) Baton, René (1879-1940) Bachmann, Gottlob (1763-1840). Battemberg, Beatrice Mary Victoria Feodora Backer-Grondahl, Agathe Ursula (1847- of Great Britaon and Ireland, Princes Henry 1907) of (1857-1944) Backer-Lunde (1814-1958). Bauer, Charlotte (S. XIX) Bauer, Marion Eugenie (1887-1955) +Bacon, Ernst (1898-1990) Bauer, Moritz (1875-1932) Bacon, Marc Gustave (1913- ) Baum, Catharina (m. 1876). Bailly, Marc-Gustave (1925-2009) Baumgartner, Wilhelm (1820-1867) Bainton, Edgar Leslie (1880-1956) Baur, Jürg (1918- ) Baines, William (1899-1922). Bautista, Julián (1901-1961). Bairstow, Sir Edgard Cuthbert (1874-1946). Bax, Arnold Edward Trevor (1883-1953) Baker Jr. Daivd Nathaniel (1931- ) Baxter, Garth (1946- ) Baksa, Robert F. (1938- ) Bayle, François (1903-1971) Bal y Gay, Jesús (1905-1993) Bayle, François (1932-2009) Balada, Leonardo (1933- ) Beach, Amy Marcy Cheney (1867-1944) Balakirev, Mili (1837-1910) Beahm, Jacquelyn Yvette (1930-1988) Baldamus, Gustav (1862-1933) Beamish, Sally (1956- ) Baldwin, John ( -1615) Beaume, Gilbert (1888-1967) Balfe, Michael William (1808-1870) Becaud, Gilbert (1927-2001) Balfe, Michael William (1808-1870) Becerra Casanova, Rogers (1924-2005). Ballif, Claude (1924-2004) Becerra-Schmidt, Gustavo (1925-2010) Banchieri, Adriano (1568-1634) Becher, Alfred Julius (1803-1848) Banister, John (1630-1679) Bechet, Sydney (1897-1959) Banck, Carl (1809-1889) Bechgaard, Julius (1843-1917) Bantock, Sir Granville Ransome (1868- Beck, Conrad (1901-1989) 1946).. Becker, Albert Ernst Anton (1834-1899) Bañales, Domingo Lobato (1920- ) Becker, John Joseph (1886-1961). Bañuelas, Roberto (1931- ) Becker, Konstantin Julius (1811-1859) Barab. Seymour (1921- ) Becker, Reinhold (1842-1924) Barbara (Monica Andrée) (19301997) Becker, Valentin Eduard (1814-1890) Barber, Samuel (1910-1981) Beckerat, Alfred von (1901-1978) Barbier, René Auguste Ernest (1890-1981) Beckmann, Heike (1959- ) Barbirolli. Alfredo Antonio María (m. 1931) Beckschäfer, Maximilian (1952- ) Barbour, Florence Newell (1867-1946) Beckwith, John (1927- ) Barker, George Arthur (1812-1876) Bédard, Denis (1950- ) Bardac, Raoul (1881-1950) Bedyngham, Johannes (ca. 1422) Barkworth, John Edmond (1858-1929) Beethoven, Ludwig v. (1770-1827) Bärman, Heinrich Joseph (1784 -1847) Behm, Eduard (1862-1946) Barnett, John G. (1802-1890) Behn, Hermann (1857/9-1927) Barnett, John Francis (1837-1916) Behr, Franz (1837-1898) Baron, Maurice (1889-1964) Behrend, Jeanne (1911-1988) Baron Supervielle,
Load more

Recommended publications
  • Flauti Dolci & Amici I Flauti Dolci & Amici I
    Foothill Community Concert Series - Early Music - Flauti Dolci & Amici I Flauti Dolci & Amici I Upcoming early music concerts: Sat. April 6, 3PM Flauti Dolci & Amici II Sat. April 27, 7:30 PM Ensemble Virtu Sat, June 1, 3PM the Peralta Consort The Foothill Presbyterian Church Music Series was created to promote varied music to the community. Proceeds from the Music Series Concerts will go to the Foothill Church Music Series Fund to provide more musical events like these. Thank you for your support. (http://www.FoothillPC.org) Foothill Presbyterian Church 5301 McKee Road ● San José, CA 95127 Concerto Celestini Quartetto Paradiso Consorte Paradiso ● Amaranta SDQ ● Ensemble Trecento Rev. Lindsay Woods Wong Co-Pastor Rev. Andy Wong Co-Pastor Judi Sherwood FCCS Administrator Foothill Presbyterian Church Kraig Williams Early Music Series Director San José, California Saturday, March 9, 2019, 3:00 PM Flauti Dolci & Amici I Intermission March 9, 2019 Program Quartetto Paradiso Trio sonata in C Johann Joachim Quantz Consorte Paradiso Affetuoso (1697-1773) Fantasia for 6 John Ward Alla breve mixed consort of recorders and viols (ca 1680 - ca 1755) Larghetto Vivace Allegro from Symphony 5 William Boyce arr. Fred Palmer (1710 - 1779) SDQ Compel the Hawk to Sit William Byrd Ensemble Trecento (c. 1540-1623) S’aucunne fois Fortunne Anonymous (French Cypriot, late 14th c.) Mia benigna fortuna Giaches de Wert (1535-1596) My wofull hert Anonymous (English, 15th c.) Time in a Bottle Jim Croce arr. Greta Haug-Hryciw (1943-1973) Ma tre dol Rosignol Borlet (Trebor?) (French, 14th c.) Amaranta Vuur (2014) Pieter Campo Concerto Celestini Sonata D Major Antoine Dornel Fipplicious (2019) Glen Shannon Ouverture (ca 1680-ca 1755) (world premiere) (b.
    [Show full text]
  • A New Look at Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564
    A New Look at Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564 A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Music Michael C. Evans March 2011 © 2011 Michael C. Evans. All Rights Reserved. 2 This thesis titled A New Look at Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564 by MICHAEL C. EVANS has been approved for the School of Music and the College of Fine Arts by Richard D. Wetzel Professor of Music History and Literature Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT EVANS, MICHAEL C., M.M., March 2011, Music History and Literature A New Look At Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564 Director of Thesis: Richard D. Wetzel The ars subtilior is a medieval style period marked with a high amount of experimentation and complexity, lying in between the apex of the ars nova and the newer styles of music practiced by the English and the Burgundians in the early fifteenth century. In scholarly accounts summarizing the period, however, musicologists and scholars differ, often greatly, on the precise details that comprise the style. In this thesis, I will take a closer look at the music of the period, with special relevance to the Codex Chantilly (F-CH-564), the main source of music in the ars subtilior style. In doing so, I will create a more exact definition of the style and its characteristics, using more precise language.
    [Show full text]
  • Thèse Présentée Pour L'obtention Du Grade De Docteur De L'utc
    Par Flora FISCHER Les normativités des technologies numériques : approche d’une éthique « by design » Thèse présentée pour l’obtention du grade de Docteur de l’UTC Soutenue le 14 décembre 2020 Spécialité : Philosophie, Épistémologie, Histoire des Sciences et des Techniques : Unité de recherche COSTECH (EA-2223) D2583 Ecole doctorale 71 « Sciences pour l’ingénieur » Laboratoire Connaissance, Organisation et Systèmes Techniques (COSTECH – EA2223) et ETHICS (EA7446) LES NORMATIVITÉS DES TECHNOLOGIES NUMÉRIQUES : APPROCHE D’UNE ÉTHIQUE « BY DESIGN » Spécialité : Philosophie, Épistémologie, Histoire des Sciences et des Techniques THÈSE en vue de l’obtention du grade académique de Docteur en philosophie de l’Université de Technologie de Compiègne Présentée et soutenue publiquement par Flora FISCHER Le 14 décembre 2020 Sous la direction de : M. Xavier GUCHET et M. Malik BOZZO-REY Membres du Jury Bruno BACHIMONT, Enseignant-chercheur, Philosophie des sciences, Directeur à la Recherche Faculté des Sciences Sorbonne Université (examinateur) Jean-Michel BESNIER, Professeur de Philosophie émérite, La Sorbonne (rapporteur) Malik BOZZO-REY, Directeur de recherche en Éthique, Université Catholique de Lille (directeur de thèse) Isabelle COLLET, Professeur Associée en sciences de l’éducation et informaticienne, Université de Genève (rapporteure) Xavier GUCHET, Professeur de philosophie et d’éthique des techniques, Université de Technologie de Compiègne (directeur de thèse) Anthony MASURE, Responsable de l’Institut de Recherche en Art & Design (IRAD) de
    [Show full text]
  • 1554874724524.Pdf
    Art Assets This overhaul was made in accordance to Wizards of Listed alphabetically the Coast's Fan Content Policy. This is unofficial Art of Bartlett content made by me, /u/Galiphile, with some collaboration (listed below). AV-6R7 Chris Trevas Cristi Balanescu Dark Dream Credits David Kegg echostain First and foremost, I have to thank the person who got me Eiluvision into D&D: my buddy, Ross. That playgroup was not great, but Fantasy Flight Games it started my journey. Jason Edmiston Second, I have the thank the original guinea pigs of this Joel Hustak conversion: Drew, Eric, and Rickey. It was comically bad, but we had fun with it. Jhomar Soriano Knight of Malta Lastly, while I would love to say that I created everything in this conversion, that wouldn't be entirely true. The following Matt Difa people deserve credit as well: RamArtwork Shout out to the /r/sw5e mod team Sam Wood /u/karbacca for the epic cover and SW5e logo Somarinoa /u/Grelite for the Matukai Order Monk archetype Stu Cunningham /u/Charrmeleon for the entire Scholar class Weasyl /u/MayB_259 for their Human race Whitelight369 /u/SpiketailDrake for the Bloodstorm Approach Berserker William O'Connor archetype /u/TheGentGamer for the Warchief Approach Berserker And of course archetype Star Wars Star Wars: Rebels Star Wars: The Clone Wars Star Wars: The Old Republic If I missed you and you feel you deserve credit please let me know. I've been working on this for years, and I'm fallible. I hope you like it. Chapter 6: Customization Options Preface New multiclassing requirements/proficiencies, and with the This conversion has been a labor of love of mine starting three exception of the spell point variant (discussed in chapter 10), years ago.
    [Show full text]
  • Apel, Willi/ French Secular Music of the Late Fourteenth Century. Edited
    THE MEDIAEVAL ACADEMY OF AMERICA PUBLICATION NO. 55 FRENCH SECULAR MUSIC OF THE LATE FOURTEENTH CENTURY FRENCH SECULAR MUSIC OF THE LATE FOURTEENTH CENTURY Edited by WILLI APEL Edition of the Literary Texts by ROBERT W. LINKER and URBAN T. HOLMES, JR. University of North Carolina With Foreword by PAUL HINDEMITH Yale University MEDIAEVAL ACADEMY OF AMERICA CAMBRIDGE, MASSACHUSETTS 1950 COPYRIGHT BY THE MEDIAEVAL ACADEMY OF AMERICA 1950 PRINTED IN U. S. A. JOHANNES WOLF IN MEMORIAM FOREWORD There is no need to praise once more the expert scholar- hints will suffice to make us aware of the creative power ship of this book's author, nor can anything be added to that keeps those structures in motion and of the human the laudable fact that a publisher's idealism makes pos- quality that guided their creators. sible the edition of a large selection of hitherto unknown To the performers the immediate contingence with this mediaeval compositions. But as a composer and as a music will open up new horizons. They will learn to performer of the earlier masters' compositions I feel that understand the shortsighted attitude of our present musi- a few words of encouragement, coming from a practical cal culture, which adores only those idols of audible musician, would help to a better appreciation of this high- beauty that are not much older than two hundred years. ly interesting, valuable, and stimulating publication. They soon will find it necessary to replace our contem- The modern musician's problems, of which there arc porary ways of performing, which oscillate between two so many, will lose some of their puzzling oppression if extremes — over-individualistic exhibitionism on the one compared with those of our early predecessors, as they side and the dullest metric-dynamic motorism on the appear in this volume.
    [Show full text]
  • L'obra De Guillaume De Machaut En El Manuscrit Mòdena
    L’obra de Guillaume de Machaut en el Manuscrit Mòdena, Biblioteca Estense, .M.5.24 1. Índex Pàg. 1. Índex 1 2. Introducció 2 3. La França de Guillaume de Machaut 7 4. Guillaume de Machaut i la seva obra 9 5. Itàlia i la seva música a la segona meitat del segle XIV i principis del 22 XV 6. El còdex .M.5.24 (Latino 568;olim IV.D.5) de la Biblioteca Estense e 30 Universitaria de Mòdena. 7. Guillaume de Machaut a les fonts italianes 42 8. Guillaume de Machaut en el Manuscrit Mòdena, Biblioteca Estense, 43 .M.5.24 9. Criteris d’edició 44 10. Transcripcions 56 11. Aparell crític 64 12. Conclusions 75 13. Bibliografia 78 14. Índex de figures 83 15. Índex de quadres 84 1 L’obra de Guillaume de Machaut en el Manuscrit Mòdena, Biblioteca Estense, .M.5.24 2. Introducció El segle XIV coneix el naixement del primer humanisme. A partir d’aquest moment, els aspectes profans comencen a prendre un paper dominant en el món de les arts. A diferència de l’Ars antiqua, gran part de la producció musical es trasllada dels centres religiosos a les cases de la noblesa. Fins aquest moment, l’estil musical propi de la noblesa fou el moviment trobadoresc, però a finals del segle XIII, aquest món cau en decadència per donar pas a l’Ars nova i posteriorment, a l’Ars subtilior. Fins i tot la figura del joglar queda desprestigiada fins tenir la consideració d’un titellaire o músic de carrer, donant pas als ministrers (instrumentistes) i als xantres (cantants)1.
    [Show full text]
  • 5 the Fourteenth Century Elizabeth Eva Leach
    5 The fourteenth century elizabeth eva leach Although a famous popular history book’s subtitle glossed the fourteenth century as ‘calamitous’,a consideration of its music would probably see the period as a triumph.1 In part this is because the chief technology that gives us access to the past – writing – became more widely used for record keeping by this time. In particular, the special kind of writing used to record musical sounds – musical notation – reached a new level of prescription, describing relative pitches and rhythms more fully than before. As the fourteenth century paid more cultural attention to writing things down in the first place, more music books survive from this period than from any earlier centuries, and their contents seem tantalizingly decipherable. The detailed social and political history of the fourteenth century is complex and beyond the scope of this chapter. However, some of its aspects will be mentioned here, not in order to give a comprehensive history, but in order to suggest ways in which larger historical changes affected musical culture. The later fourteenth century saw a deep division of the Western Christian church, a problem partly caused by the refusal of successive popes to reside in Rome after the French pope Clement V moved the papal court to Avignon (France) in 1309. The often lavish papal court was responsible for employing a large number of expert singers, many of whom we know to have also been composers because pieces by them survive.2 Avignon was especially important as a centre for musical
    [Show full text]
  • La Ballade, D’Extension Européenne, Sans Lien Apparent Avec Le Genre Aristocratique Médiéval
    cccma_27_couv_broche.qxp_hc_couv_155x235 16.06.20 09:00 Page1 Liée au chant et à la danse, la ballade serait apparue au XIIIe siècle dans la littérature du Nord de la France et a joui d’un incontestable prestige dans la poésie de la fin du Moyen Âge. Proscrite par les poètes de la Pléiade, elle a cependant résisté au XVIIe et au XVIIIe siècles, pour renaître sous une forme complètement différente, non fixe, dont la thématique, empruntée notamment à la ballade anglaise, s’inspire de la légende, de l’histoire et de la complainte ; elle connaît un grand succès au XIXe siècle tant en France que dans la littérature européenne. De nos jours, la ballade a investi le domaine de la chanson, continuant une tradition populaire, La Ballade, d’extension européenne, sans lien apparent avec le genre aristocratique médiéval. Que peuvent avoir en commun, à part la dénomination, une ballade médiévale, une ballade romantique, une ballade en prose et une ballade chantée de nos jours ? histoire et avatars Avec le souci d’allier une perspective comparatiste à l’étude de cette forme poétique, dix-huit spécialistes reconsidèrent cette question, et d’autres attenantes, permettant des découvertes d’une forme poétique insolites sur les surprenantes métamorphoses de la ballade. Brigitte Buffard-Moret est professeure de langue française et de stylistique à l’université d’Artois. Ses travaux de recherche portent sur Sous la direction de Brigitte Buffard-Moret les formes de la poésie française héritées de la chanson. Elle a notamment publié un Précis de versification (Paris, Dunod, 2001, rééd. et Mireille Demaules revue et augmentée, Armand Colin, 2017), et La Chanson poétique du XIXe siècle, origines, statut et formes (Rennes, Presses Universitaires de Rennes, 2006, Prix Louis Barthou de l’Académie française 2007).
    [Show full text]
  • 6.5 X 11 Double Line.P65
    Cambridge University Press 978-0-521-60861-9 - The Cambridge Companion to Medieval Music Edited by Mark Everist Index More information Index Aachen, 265, 325, 327, 338, 402 Arnulf of Metz, Saint, 191 Adalbero, 196 Arras, 223, 326 Adalbert, St, Bishop of Prague, 174 Ars Nova, 98, 119, 144, 146–9, 152, 154, 166, Adler, Guido, 359, 365 167, 176, 200, 310, 315, 364 adonic, 227, 231 Ars Subtilior, 102, 146, 288, 289, 361 Ad organum faciendum, 53–5 Aubry, Pierre, 349–50 Affligemensis, Johannes Aucassin et Nicolette, 346 De musica cum Tonario, 48, 55, 60, 124 Augustine, Saint, 9, 40, 98, 230, 264, 322, 337 Agricola, Alexander, 181 De musica, 279 Aires, Fernandez, 229 Augustine, of Canterbury, Saint, 113, 337 Alberic, 330 Aurenga, Raimbaut d’, 207 Albertet, 208 Auresadnostradeitatispreces, 231 Alcuin of York, 264, 337–8 Auto de los Reyes Magos, see drama, vernacular Alfanus, 330 auto-citation, 224 Alfonso VIII, 166 Auvergne, 207, 332 Alfonso X (el Sabio) of Castile and Leon,´ see Auxerre, 326 cantiga Ave, mundi spes, Maria, 125 Alfred, King, 114 Avignon, 87, 95, 126, 136, 145, 201, 236, 275, alleluia, 15, 17, 27, 28, 32, 33, 34, 44, 49, 63, 64, 289, 327 186 Alleluia. Ascendens Christus, 15, 51–2 Bach, Johann Sebastian, 72, 93, 352, 357 Alleluia. Christus resurgens, 28 Balbulus, Notker, 33, 234, 266, 336, 338 Alleluia. Justus ut palma, 53 Deeds of Charlemagne, 338 Alma redemptoris mater, 229 ballade, 100, 101, 102, 113, 142, 154, 221, 222, Alvernhe, Peire d’, 207 274, 314, 327, 366 Amalarius of Metz, 28, 193 En la maison Dedalus, 100 Ambros, August
    [Show full text]
  • The Captive Scribe, Part 1
    The Captive Scribe: The context and culture of scribal and notational process in the music of the ars subtilior. by Jason Stoessel, B.Mus./B.A. (UNE), B.A.Hons (UNE). Volume 1: Thesis A thesis submitted for the degree of Doctor of Philosophy at the University of New England Armidale, Australia. October, 2002 ii ©2002 by Jason J. Stoessel. All rights reserved. iii UXORI CARISSIMAE FILIOLAEQUE MEAE HUNC OPUSCULUM DAMUS iv Contents Contents iv Abstract v Acknowledgments vi Indices of Tables and Figures viii Key to Abbreviations x Prologue 1 Chapter 1 : What is the ars subtilior?10 Chapter 2 : A source made in Italy? Observations of scribal process and filiation in Codex Chantilly 24 2.1. Physical and scribal characteristics 30 2.2. Contents and repertorial considerations 36 2.3. Evidence of editorial activity 54 2.4. The index: clues to Codex Chantilly’s early provenance 64 2.5. Relationships with other sources 68 2.6. Conclusions 92 Chapter 3 : A French legacy in the hands of Italian masters: The manuscript Modena, Biblioteca estense, a .M.5.24 (olim lat. 568) 9 4 3.1. Physical and scribal characteristics 98 3.2. Illumination and rubricae 109 3.3. Contents and repertorial considerations 111 3.4. Composers in MOe5.24 127 3.5. Relationships with other sources 145 3.6. The provenance and origin of the manuscript 173 3.7. Conclusions 182 Chapter 4 : The notational grammar of the ars subtilior 184 4.1. Coloration 194 4.2. Special note shapes 204 4.3. Conclusions 237 Chapter 5 : The use of mensuration signs in French and Italian notational systems: Observations concerning theory, practice and semiotic intertextuality 239 5.1.
    [Show full text]
  • Rethinking Ars Subtilior: Context, Language, Study and Performance
    Rethinking Ars Subtilior: Context, Language, Study and Performance Submitted by Uri Smilansky to the University of Exeter as a dissertation for the degree of Doctor of Philosophy in Medieval Studies June, 2010 This dissertation is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this dissertation which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. © Uri Smilansky, 2010 Abstract This dissertation attempts to re-contextualise the late fourteenth and early fifteenth century musical phenomenon now referred to as the Ars subtilior, in terms of our modern understanding of it, as well as its relationship to wider late medieval culture. In order to do so I re-examine the processes used to formulate existing retrospective definitions, identify a few compelling reasons why their re-evaluation is needed, and propose an alternative approach towards this goal. My research has led me to analyse the modern preoccupation with this repertoire, both in musicology and performance, and to explore external influences impinging on our attitudes towards it. Having outlined current attitudes and the problems of their crystallisation, I seek to re-contextualise them within medieval culture through a survey of the surviving physical evidence. The resulting observations highlight the difficulties we face when looking at the material. Above all, they point at the problems created by using narrow definitions of this style, whether these are technical, geographic, temporal or intellectual.
    [Show full text]
  • FIGURES of HARMONY Songs of Codex Chantilly C
    FIGURES OF HARMONY songs of codex chantilly c. 1390 TRACKLIST P. 2 ENGLISH LINER NOTES P. 10 SUNG TEXTS P. 53 FRANÇAIS LINER NOTES P. 20 TEXTES CHANTÉS P. 53 DEUTSCH LINER NOTES P. 32 GESUNGENE TEXTE P. 53 ITALIANO LINER NOTES P. 44 TESTI CANTATI P. 53 A 382 2 Menu BALADES A III CHANS CD 1 …OF TREBOR AND OTHERS 1 Trebor: Helas pitié envers moy dort si fort 5’58 Chantilly, f. 42 1/4/7 2 Trebor: Se Alixandre et Hector fussent en vie 12’52 Chantilly, f. 30 1/4/5v 3 Baude Cordier: Tout par compas suy composés [instrumental] 2’05 Chantilly, f. 12 4/5v/6 4 Anonymous: Adieu vous di, tres doulce compaynie 3’20 Chantilly, f. 47 3/4/7 5 Matteo da Perugia: Rondeau-refrain [instrumental] 1’46 Florence, f. 16v 4/6/7 6 (?) Matteo da Perugia: Pres du soloil deduissant s’esbanoye 9’54 Modena, f. 16 1/4/5v 7 Antonio da Cividale: Io vegio per stasone [instrumental] 2’26 Siena, f. 47v-48 5l/6/7 8 Anonymous: Lamech Judith et Rachel de plourer 3’12 Chantilly, f. 45 1/6/7 9 Anonymous: Le mont Aon de Thrace, doulz pais 11’02 Chantilly, f. 22v 1/3/4 10 Magister Grimace: Se Zephirus, Phebus et leur lignie 4’41 Chantilly, f. 19 1/2/4 Total time 58’20 SOURCES Chantilly = Chantilly, Bibliothèque du Château, Ms. 564 Florence = Florence, Biblioteca Nazionale, Panciatichi 26 Modena = Modena, Biblioteca Estense, α.M.5.24 Siena = Siena, Biblioteca Comunale, Ms.
    [Show full text]