The Mancini Codex

Total Page:16

File Type:pdf, Size:1020Kb

The Mancini Codex .. i l "q-w T}IE MANCINI CODEX : A MANUSCRIPT STUDY by Carol J. Williams B. Mus (Hons) A thesis submitted in fulfilnent of the requirements for the degree of Doctor of Philosophy in the- Faculty of Music at the University of Adelaide. August,19B3 ii . ( ¡!,..,r.t, {,\ i,., ilti 1 t1 DECLARATION This thesis contains no naterial which has been accepted for the award of any other degree or diplona in any university, and to the best of my knowledge and belief contains no material previously published or ü f written by another person, except when due reference is nade. d ù 11 DEDICATION Gordon the nodel Andrew the mentor Ric my love Sarah ny joy IT and Dante j i ( i f ù 1: I .f4 ir I 11]- ACKNOI1ILEDGEMENTS ;' My thanks are due to rny academic supervisor and friend, Professor Andrew McCredie for his constant encouragement and faith in ny abilities for a period of years longer than either of us would care to acknowledge. Thanks are due too, to colleagues and students of the l{usic Department at Monash University who have witnessed most of the stages of this pro- duction. My particular thanks also to Mrs Callio of the Italian Depart- nent at the University of Melbourne for her critical comments on the Italian texts of this collection. For the chance to study at first hand the two parts of the lt4ancini Codex, I thank the Curators of Manuscripts of the Lucca Archivio di Stato and the Perugia Biblioteca Comr¡na1e Augusta. Thanks are due too to the reference librarians of both the Barr Smith Library at the University of d Adelaide and the Main Library at Monash University for their willingness ï to seek out a large number of obscure references. Nicky Rose and Sharron Nixon nust also be thanked for their speedy and accurate typing. Finally I wish to thank ny long suffering family who have forgiven ny antisocial behaviour and endured long evenings rvithout a television set. i ¡ i 4 1 ù' ï ( { 'tt' I t' 1V INTRODUCTION It is the intention of this study to provid"'a c1os" examination of one major musicaL source of the Trecento - the Mancini codex. Three approaches have been taken, and this has required the organisation of the materiaL into three volumes In the first volume, essential nanuscript details have been recorded and interpreted with a view to providing a general impression of the makeup of the nanuscript and providing evidence leading to an opinion ex- pressed concerning the probable dating and provenance of the source. FoIl- owing this, the named works contained within the collection, are considered in general analytic terms as they contribute to the picture of the composer in question. (The anonymous works are not here considered, since the analysis, grouping and possible provision of composer attribution for these works com- prises a separate study.) This is intended to provide a perspective for the I works H in transcription in Volume II, and textual in in analysis in Volume III. l At the conclusion of Volune I is presented the manuscript connentaïy, provided in this volume so that it can function as a useful reference tool for the reading of the transcriptions of Volume II and the texts of Volune III. Volume II itself, purports to be nothing more than the transcription of the works contained in the manuscript. Any editorial comment for these works has been incorporated into the manuscript commentary at the end of Volume I. 1 The editorial procedure is described in the introduction I to Volune II. I The intention of Volume III is primarily to present the texts as they I appear f in the nanuscript but prefatory to this is the plcesentation of brief ¡, fornal essays concerning the text forms for¡nd in this collection. Atl too ,t often the texts of the songs of this period - in the present study considered ï to be the essence of the works - have been ignored, oï at best given {' only cursory attention. Admittedly, LiGotti, in his presentation of these texts, -{ I V made a consolidated attenpt to redress this balance, but there are problems with his collection, which have nade a re-edition-,essential. As LiGotti states, his collection is a modernisation of the priginal and he has made attenpts 'tper presentarli con una ceïta uniformità grafica?' (LiGotti 1950 : 111). The present edition makes no attempt to modernise the texts but tries to present then as nearly as possible, exactly as they appear in the manuscript. A full editorial nethod is provided in the introduction of Volume III, but as will be seen, the texts as given heie, provide few problems of understanding to the reader of modern Italian. A study of this nature uncovers more questions that it f,)roposes answers for, and can perhaps hope to be nothing more than exploratory, in isolating those areas surrounding the manuscript itself which sti11 require investi- gation and understanding. I I ,t f iì ! ¡, il ï rt I It '4 I CONTENTS Title page Declaration a Dedication 1t Acknowl edgements 111 Introduction ]-V I. The Manuscript 1 Description of Manuscript Contents 4 Discussion 40 Proposed ltlorking Model of the Mancini Codex 46 Discussion 50 Concordance Checklist 63 Discussion 67 II. The Composers and Their Works Bartolino da Padova 69 Gilles Binchois 83 Antonio da Cividale 86 Francesco Landini 93 Johannes Ciconia 97 Niccolò da Perugia L.I3 Antonio Zac}:.ata da Terano LL7 Magister Zacharias t33 Anthonello de Caserta 136 Johannes Vaillant L47 Giovanni da Foligno 1s0 { Andrea Stefani 153 Bonaiutus Chorsinr 159 Paolo da Firenze 762 III Manuscript Commentary Explanation of Method 164 Man. 1 - La douce ciere L67 Man.2 - Dueilangoisseux 169 Man.3 - Servaciaschuno T7T I'fan. 4 - Rechordete de ni t72 Man. 5 - Zoya de novi odori t73 Man. 6 - Per un verde boschetto L74 Man. 7 - La sacrosancta karita L76 Man.8 - Perchecangiato 178 Man. 9 - Le aurate chiome 180 Man. 10 Sempre donna t82 Man. 11 Non chorrer troppo 183 Man. L2 La be1le flour 184 Man. 73 Ma1 vi loyaute 18s Man. t4 Mon be1 amy corteus 186 Man. 15 Mon bel amy mon confort 187 Man. 16 Merci pour dieu 188 Man. L7 Loingtemps j tay mis mon cuer 189 Man. 18 Va pur amore 191 Man. 19 Donna sfitto fallito 192 Man. 20 Con lagrerne bagnandome 193 Man. 2L Ave vergene 194 Man. 22 La fia¡nma del to amor 195 Man. 23 Donna possrio sperare 196 Man. 24 Rosetta che non camhi 797 Man. 25 Un fiore gentil 199 Man. 26 Deus deorum 200 Man. 27 Amor ne tossa 20L Man. 28 Plorans ploravi 202 Man. 29 So1 me trafigerl cor 204 Man. 30 Ciaramella rne dolce 206 Man. 31 Je suy navvres/Gnaffra 1e guagnele 207 Mal. 1) Ad ogne vento 208 Ma¡. 33 Spesso fortuna 209 Man. 34 Del glorioso titolo 270 Man. 35 De nia farina 272 Man. 36 A pianger lrochi 273 Man. 37 Piu chiar chf el so1 2L4 Man. 38 Deh vogliateme oldire 275 Man. 39 Con dogliosi ¡nartire 2t6 Man. 40 0r tolta pur 2t7 Man" 4L Madonna io me ramento 278 Man. 42 Vous soyes tres bien venus 2t9 Man. 43 Atandre 220 Man. 44 Par naintes fois 227 Man. 4s Mercede o donna 2'23 Man. 46 I cani sono fuora 224 Man. 47 Chi vole anar 225 Man. 48 Cazando un giorno 226 Man. 49 GIi atti col danzar 227 Man. 50 Una pantera 228 Man. 51 Le ray au soleyl 230 Man. 52 Chi ne1 servir antico 231 Man. 53 Per que1la strada 232 Man. 54 Poi che morir 233 Man. 55 Piangono lrochi 234 Man. 56 Ahine per tutto 235 Man. 57 Ay las quant je pans 237 Man.58 Non credo donna 238 Man.59 Tal sotto lracqua 239 Man.60 Fugir non posso 240 Man. 61 I senti matutino 247 Man. 62 Imperiale sedendo 242 Man. 63 A tanti onini 244 Man. 64 0 cuor de1 coryo mio 245 Man. 65 Mi1le merce 246 Man. 66 Je suy madame 247 Man. 67 Merci merci noble creature 248 Man.68 0 pensieri vani 249 Man. 69 Deh tristo ni topinello 250 Man. 70 Spinato intorno 257 Man. 77 S'irti sor stato 2s2 Man. 72 Con tucta gentilecca 2s3 Man. 73 Morte mta sciolt 254 Man. 74 Sravesse forca 255 Man. 75 La vaga luce 2s6 Man. 76 Tra speranca e fortuna 2s7 Appendix I 258 References 26t Supporting References 265 I ãl^lnT0^ JdIU]SNNVh¡ AHI ,íÕ L In the late fifteenth century a manuscript collection of French and Italian songs held in Lucca was broken up. At tÏis time the songs víere of 1ittle interest and the value of the nanuscript" *u, based entirely on the commercial value of the fine parchnent folios which provided the mat- erial of the collection. Consequently the. parchment folios were used by notaries in the creation of bindings to protect their record books. Later again these notaïy books themselves fel1 into disuse. Such was the case ih the State Archives of Lucca and the Public Library of Perugia where unexpected treasures were to be found on the eve of irlorld War II. In 1935, Professor Giovanni Cecchini, Director of the Biblioteca Comunale of Perugia discovered three parchnent folios in the padding of the covers of some protocol books held in the archives (Ghisi 1942:72). In 1938 Professor Augusto Mancini discovered eighteen parchrnent folios in the covers of the record books of the Archivio llotarile held in the Archi- vio di Stato of Lucca (Pirrotta 1949:720) .
Recommended publications
  • TRECENTO FRAGMENTS M Ichael Scott Cuthbert to the Department Of
    T R E C E N T O F R A G M E N T S A N D P O L Y P H O N Y B E Y O N D T H E C O D E X a thesis presented by M ichael Scott Cuthbert t the Depart!ent " M#si$ in partia% "#%"i%%!ent " the re&#ire!ents " r the de'ree " D $t r " Phi% s phy in the s#b(e$t " M#si$ H ar)ard * ni)ersity Ca!brid'e+ Massa$h#setts A#'#st ,--. / ,--.+ Mi$hae% S$ tt C#thbert A%% ri'hts reser)ed0 Pr "0 Th !as F rrest 1 e%%y+ advisor Mi$hae% S$ tt C#thbert Tre$ent Fra'!ents and P %yph ny Bey nd the C de2 Abstract This thesis see3s t #nderstand h 4 !#si$ s #nded and "#n$ti ned in the 5ta%ian tre6 $ent based n an e2a!inati n " a%% the s#r)i)in' s #r$es+ rather than n%y the ! st $ !6 p%ete0 A !a( rity " s#r)i)in' s #r$es " 5ta%ian p %yph ni$ !#si$ "r ! the peri d 788-9 7:,- are "ra'!ents; ! st+ the re!nants " % st !an#s$ripts0 Despite their n#!eri$a% d !i6 nan$e+ !#si$ s$h %arship has )ie4 ed these s #r$es as se$ ndary <and "ten ne'%e$ted the! a%t 'ether= " $#sin' instead n the "e4 %ar'e+ retr spe$ti)e+ and pred !inant%y se$#%ar $ di6 $es 4 hi$h !ain%y ri'inated in the F% rentine rbit0 C nne$ti ns a! n' !an#s$ripts ha)e been in$ !p%ete%y e2p% red in the %iterat#re+ and the !issi n is a$#te 4 here re%ati nships a! n' "ra'!ents and a! n' ther s!a%% $ %%e$ti ns " p %yph ny are $ n$erned0 These s!a%% $ %%e$ti ns )ary in their $ nstr#$ti n and $ ntents>s !e are n t rea%%y "ra'!ents at a%%+ b#t sin'%e p %yph ni$ 4 r3s in %it#r'i$a% and ther !an#s$ripts0 5ndi)id#6 a%%y and thr #'h their )ery n#!bers+ they present a 4 ider )ie4 " 5ta%ian !#si$a% %i"e in the " #rteenth $ent#ry than $ #%d be 'ained "r ! e)en the ! st $are"#% s$r#tiny " the inta$t !an#s$ripts0 E2a!inin' the "ra'!ents e!b %dens #s t as3 &#esti ns ab #t musical style, popularity, scribal practice, and manuscript transmission: questions best answered through a study of many different sources rather than the intense scrutiny of a few large sources.
    [Show full text]
  • Madrigal, Lauda, and Local Style in Trecento Florence
    Madrigal, Lauda, and Local Style in Trecento Florence BLAKE McD. WILSON I T he flowering of vernacular traditions in the arts of fourteenth-century Italy, as well as the phenomenal vitality of Italian music in later centuries, tempts us to scan the trecento for the earliest signs of distinctly Italianate styles of music. But while the 137 cultivation of indigenous poetic genres of madrigal and caccia, ac- corded polyphonic settings, seems to reflect Dante's exaltation of Italian vernacular poetry, the music itself presents us with a more culturally refracted view. At the chronological extremes of the four- teenth century, musical developments in trecento Italy appear to have been shaped by the more international traditions and tastes associated with courtly and scholastic milieux, which often combined to form a conduit for the influence of French artistic polyphony. During the latter third of the century both forces gained strength in Florentine society, and corresponding shifts among Italian patrons favored the importation of French literary and musical culture.' The cultivation of the polyphonic ballata after ca. 1370 by Landini and his contem- poraries was coupled with the adoption of three-part texture from French secular music, and the appropriation of certain French nota- tional procedures that facilitated a greater emphasis on syncopation, Volume XV * Number 2 * Spring 1997 The Journal of Musicology ? 1997 by the Regents of the University of California On the shift in patronage and musical style during the late trecento, see Michael P. Long, "Francesco Landini and the Florentine Cultural Elite," Early Music History 3 (1983), 83-99, and James Haar, Essays on Italian Poetry and Music in the Renaissance, 1350-1600 (Berkeley, CA, 1986), 22-36.
    [Show full text]
  • Bells and Trumpets, Jesters and Musici: Sounds and Musical Life in Milan Under the Visconti
    Lorenzo Tunesi – Bells and Trumpets, Jesters and Musici 1 Bells and Trumpets, Jesters and Musici: Sounds and Musical life in Milan under the Visconti Or questa diciaria, Now [I conclude] my speech, perché l’Ave Maria since the Ave Maria sona, is ringing, serro la staciona I shut up shop nén più dico1 and I won’t talk anymore These verses, written by the Milanese poet and wealthy member of the ducal chancellery Bartolomeo Sachella, refer to a common daily sound in late Medieval Milan. The poet is quickly concluding his poem, since the Ave Maria is already sounding. When church-bells rang the Ave Maria, every citizen knew, indeed, that the working-day was over; thus, probably after the recitation of a brief prayer in honour of the Virgin, shops closed and workers went home. Church-bells were only one of the very large variety of sounds characterising Medieval cities. Going back over six-hundred years, we could have been surrounded by city-criers accompanied by trumpet blasts, people playing music or singing through the streets, beggars ringing their bells asking for charity, mothers’ and children’s voices, horses’ hoofs and many other sounds. All these sounds created what musicology has defined as ‘urban soundscape’, which, since the pioneering study by Reinhard Strohm, Music in Late Medieval Bruges (1985), has deeply intrigued music historians. The present essay aims to inquire into the different manifestations of musical phenomena in late Medieval Milan, relating them to the diverse social, cultural and historical contexts in which they used to take place. My research will focus on a time frame over a century, ca.
    [Show full text]
  • Pietro Aaron on Musica Plana: a Translation and Commentary on Book I of the Libri Tres De Institutione Harmonica (1516)
    Pietro Aaron on musica plana: A Translation and Commentary on Book I of the Libri tres de institutione harmonica (1516) Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Joseph Bester, B.A., M.A. Graduate Program in Music The Ohio State University 2013 Dissertation Committee: Graeme M. Boone, Advisor Charles Atkinson Burdette Green Copyright by Matthew Joseph Bester 2013 Abstract Historians of music theory long have recognized the importance of the sixteenth- century Florentine theorist Pietro Aaron for his influential vernacular treatises on practical matters concerning polyphony, most notably his Toscanello in musica (Venice, 1523) and his Trattato della natura et cognitione de tutti gli tuoni di canto figurato (Venice, 1525). Less often discussed is Aaron’s treatment of plainsong, the most complete statement of which occurs in the opening book of his first published treatise, the Libri tres de institutione harmonica (Bologna, 1516). The present dissertation aims to assess and contextualize Aaron’s perspective on the subject with a translation and commentary on the first book of the De institutione harmonica. The extensive commentary endeavors to situate Aaron’s treatment of plainsong more concretely within the history of music theory, with particular focus on some of the most prominent treatises that were circulating in the decades prior to the publication of the De institutione harmonica. This includes works by such well-known theorists as Marchetto da Padova, Johannes Tinctoris, and Franchinus Gaffurius, but equally significant are certain lesser-known practical works on the topic of plainsong from around the turn of the century, some of which are in the vernacular Italian, including Bonaventura da Brescia’s Breviloquium musicale (1497), the anonymous Compendium musices (1499), and the anonymous Quaestiones et solutiones (c.1500).
    [Show full text]
  • Song As Literature in Late Medieval Italy Lauren Lambert Jennings A
    TRACING VOICES: SONG AS LITERATURE IN LATE MEDIEVAL ITALY Lauren Lambert Jennings A DISSERTATION in Music Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy 2012 Supervisor of Dissertation Emma Dillon, Professor of Music and Chair of the Department Graduate Group Chairperson Timothy Rommen, Associate Professor of Music and Director of Graduate Studies Dissertation Committee Emily Dolan, Assistant Professor of Music Kevin Brownlee, Professor of Romance Languages Fabio Finotti, Mariano DiVito Professor of Italian Studies Tr acing Voices: Song as Literature in Late Medieval Italy © 2012 Lauren Lambert Jennings iii A cknowledgement I owe a deep debt of gratitude to all who have offered me guidance and assistance throughout my graduate studies at the University of Pennsylvania. First and foremost, this project could never have come to fruition without the support and encouragement of my advisor, Emma Dillon, who took me under her wing the moment I arrived in Philadelphia. Her seminars sparked my interest in the study of manuscripts as material objects and were the starting point for this project. I am especially grateful for the guidance she has offered throughout the dissertation process, reading drafts of the proposal, grant applications, and chapters. Her suggestions and comments have pushed me to clarify my thoughts and to investigate questions I might otherwise have left aside. The rest of my committee deserves recognition and many thanks as well. Emily Dolan has been an invaluable mentor as both a scholar and a teacher throughout my time at Penn. Outside of the music department, I am indebted to Kevin Brownlee for his constant support of my work and for his seminars, which helped to shape the literary side of my dissertation, as well as for his assistance with the translations in Chapter 1.
    [Show full text]
  • „Faccend'ognitoscan Di Te Tremare“: Resonanzen Politischer
    chapter 10 „Faccend’ogni Toscan di te tremare“: Resonanzen politischer Kontroversen in Florentiner Liedsätzen um 1400 Signe Rotter-Broman Zwischen 1300 und 1430 etabliert sich in Italien eine neue Form spätmittelalter- licher Liedkunst, die von Musikhistorikern gemeinhin als Kernrepertoire einer eigenständigen Epoche namens Trecento oder Ars nova Italiana verstanden wird.1 Das damit abgesteckte Repertoire besteht aus mehrstimmig, genauer: aus in zwei beziehungsweise drei Stimmen überlieferten weltlichen Liedsät- zen.2 Deren Texte wurden gezielt für die Vertonung verfasst; schon die Zeit- genossen verstanden diese Gedichte als Poesia per musica.3 Die primären poetisch-musikalischen Gattungen sind in der Spätphase des Trecento vor allem Madrigal und Ballata. Die musikalischen Quellen, mindestens sieben erhaltene, zum Teil umfangreiche Handschriften4 sowie eine erhebliche und durch jüngste Entdeckungen stetig anwachsende Zahl von Fragmenten, stam- men – bis auf eine Ausnahme – aus der Zeit um und nach 1400. Sie zeich- nen die Musik nach Tonhöhe und Rhythmus präzise in Mensuralnotation auf. Aufgrund der besagten Ausnahme, des erst in den 1920er Jahren entdeckten Codex Rossi (ca. 1350),5 konnte man die eigenständige Ausprägung dieser mehr- stimmigen Kompositionsweise schon für die Mitte des 14. Jahrhunderts bele- gen. 1 Vgl. Baumann (1999). 2 Erst in jüngster Zeit ist der Blick auch auf weltliche Motetten und geistliche Kompositionen, insbesondere auf einzelne Messensätze, gerichtet worden. 3 Ziino (1995) 455–458. 4 Florenz, Biblioteca Nazionale Centrale, Ms. Panciatichi 26 (FP), Faksimile: Gallo (1981); Lon- don, British Library, Additional 29987 (Lo), Faksimile: Reaney (1965); Lucca, Archivio di Stato, Ms. 184 und Perugia, Biblioteca comunale Augusta, Ms. 3065 (Luc), Faksimile: Nádas und Ziino (1990); Paris, Bibliothèque Nationale, Ms.
    [Show full text]
  • La Caccia Nell'ars Nova Italiana
    8. Iohannes Tinctoris, Diffinitorium musice. Un dizionario Il corpus delle cacce trecentesche rappresenta con «La Tradizione Musicale» è una collana promossa di musica per Beatrice d’Aragona. A c. di C. Panti, 2004, ogni probabilità uno dei momenti di più intenso dal Dipartimento di Musicologia e Beni Culturali pp. LXXIX-80 e immediato contatto tra poesia e musica. La viva- dell’Università di Pavia, dalla Fondazione Walter 9. Tracce di una tradizione sommersa. I primi testi lirici italiani cità rappresentativa dei testi poetici, che mirano Stauffer e dalla Sezione Musica Clemente Terni e 19 tra poesia e musica. Atti del Seminario di studi (Cre mona, alla descrizione realistica di scene e situazioni im- Matilde Fiorini Aragone, che opera in seno alla e 20 febbraio 2004). A c. di M. S. Lannut ti e M. Locanto, LA CACCIA Fonda zione Ezio Franceschini, con l’intento di pro- 2005, pp. VIII-280 con 55 ill. e cd-rom mancabilmente caratterizzate dal movimento e dalla concitazione, trova nelle intonazioni polifo- muovere la ricerca sulla musica vista anche come 13. Giovanni Alpigiano - Pierluigi Licciardello, Offi - niche una cassa di risonanza che ne amplifica la speciale osservatorio delle altre manifestazioni della cium sancti Donati I. L’ufficio liturgico di san Do nato di cultura. «La Tradizione Musicale» si propone di of- portata. L’uso normativo della tecnica canonica, de- Arezzo nei manoscritti toscani medievali, 2008, pp. VIII-424 NELL’ARS NOVA ITALIANA frire edizioni di opere e di trattati musicali, studi 8 finita anch’essa ‘caccia’ o ‘fuga’, per l’evidente me- con ill. a colori monografici e volumi miscellanei di alto valore tafora delle voci che si inseguono, si dimostra 16.
    [Show full text]
  • Subtilitas in the Tonal Language of Fumeux Fume
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DigitalCommons@University of Nebraska University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of 5-1988 Subtilitas in the tonal language of Fumeux fume Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicfacpub Part of the Music Commons Lefferts, Peter M., "Subtilitas in the tonal language of Fumeux fume" (1988). Faculty Publications: School of Music. 46. https://digitalcommons.unl.edu/musicfacpub/46 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in Early Music, Vol. 16, No. 2 (May, 1988), pp. 176-183. Copyright © 1988 Oxford University Press. Used by permission. Subtilitas in the tonal language of Fumeux fume Peter M. Lefferts Figure 1. Groups of singers depicted in the manuscript containing Fumeux fume (Chantilly, Musée Condé, Ms lat 1047, f.37) he late 14th-century French repertory contains mu- a new edition, together with a defense of its idiosyncra- Tsic characterized by an ingenuity and great subtle- cies. Of necessity, such an edition constitutes a version ty whose terms of reference are entirely derived from that irons out the source’s ambiguities, and interprets within the art itself. One of the best-known French chan- its pitch notation as an indication of how this chanson sons of the period, the rondeau Fumeux fume by Solage, was meant to go.
    [Show full text]
  • Le Ray Au Soleyl
    Le Ray au Soleyl Musica alla corte dei Visconti alla fine del XIV secolo B © fra bernardo,f Wien 2011 LE RAY AU SOLEYL Musica alla corte dei Visconti alla fine del XIV secolo «... quando un’anima riceve un’impressione di bellezza non sensibile non in modo astratto, ma attraverso un’impressione reale e diretta, come quella avvertita quando si percepisce un canto» Simone Weil «Il canto è un animale aereo» Marsilio Ficino Verso la CORTE Del CoNTE DI VIRTÙ, sulle orme DI PETrarCA Nell’ultimo trentennio del Trecento e nei primi anni del Quattrocento il medioevo splende come una foglia d’autunno che sta per cadere e rivela colori impredicibili e irripetibili poiché conseguenza della sua estate e non di altre. L’Ars nova sembra arrivare a una fase di incandescenza, di ebbrezza per gli incredibili conseguimenti notazionali, che si accompagnano a una perizia estrema nell’arte del contrappunto e a una padronanza dell’intenzione retorica che ancora oggi si è soliti concedere solo ad epoche assai posteriori. Eminente- mente in Francia e in Italia, fioriscono maestri che raffinano l’arte musicale conducendola a vette da cui è difficile immaginare di poter muovere un solo passo ulteriore. Essi infatti giungono alle soglie della modernità, si affacciano arditamente sul Tempo Nuovo, ma per morirvi quasi senza eredità. Le prime testimonianze che legano il nome dei Visconti alla musica e ai musicisti sono più antiche di qualche decennio rispetto a questa sta- gione ultima. Risalgono infatti al II quarto del XIV secolo e ai primi maestri dell’Ars nova italiana: in particolare a Maestro Piero, Giovanni da Cascia e Jacopo da Bologna.
    [Show full text]
  • Course Title Credit MUHL M306 History of Western Art Music I 3 Credits
    Course Title Credit MUHL M306 History of Western Art Music I 3 credits Fall semester 2019 What’s going on here? The guy on the left who’s gesturing—who is he? (You probably don’t know his name, but what can you tell about him?) What’s the guy on the right doing? And what’s up with that bird?? Stay tuned! (image from the Hartker Antiphoner, Abbey of St-Gall, Cod. Sang. 390, copied c. 990-1000; http://www.e- codices.unifr.ch/en/csg/0390/13/medium ) Classes MWF 9:30-10:20 (section 001) or 11:30-12:20 (section 002), CM 204g Bulletin description This course is the first part of a two-semester survey of western art music, this semester covering music and ideas about music from antiquity to the mid-eighteenth century. Where relevant, we will consider influences on western art music from other cultures and styles. Prerequisites MUTH M103 (Theory II) and MUHL M106 (Introduction to Music Literature), or permission of instructor. Note that both Theory III and History I are prerequisites for History II, so students in this class should have completed or be concurrently enrolled in Theory III, and students who have not passed Theory III may not take History II in the spring. If you have any questions, please ask. Course objectives and learning outcomes This class will cover western art music composed before c. 1750. We will consider not only the history of musical style, but also as appropriate how music was composed, performed, transmitted, and used as part of broader culture.
    [Show full text]
  • An Analysis of Guillaume De Machaut's "Le Lay De La Fonteinne" in Cultural Context Patricia A
    The University of Maine DigitalCommons@UMaine Electronic Theses and Dissertations Fogler Library 12-2001 Words and music in communion: an analysis of Guillaume de Machaut's "Le Lay de la Fonteinne" in cultural context Patricia A. Turcic Follow this and additional works at: http://digitalcommons.library.umaine.edu/etd Part of the French and Francophone Language and Literature Commons Recommended Citation Turcic, Patricia A., "Words and music in communion: an analysis of Guillaume de Machaut's "Le Lay de la Fonteinne" in cultural context" (2001). Electronic Theses and Dissertations. 486. http://digitalcommons.library.umaine.edu/etd/486 This Open-Access Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of DigitalCommons@UMaine. WORDS AND MUSIC IN COMMUNION: AN ANALYSIS OF GUILLAUME DE MACHAUT’S “LE LAY DE LA FONTEINNE” IN CULTURAL CONTEXT By Patricia A. Turcic B.A. Colby College, 1977 M.A. Bowling Green State University, 1988 B.M. University of Maine, 1996 A THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts (in Liberal Studies) The Graduate School The University of Maine December, 200 1 Advisory Committee: Cathleen Bauschatz, Professor of French, Advisor Kristina Passman, Associate Professor of Classical Language and Literature Beth Wiemann, Assistant Professor of Music Copyright 200 1 Patricia A. Turcic All Rights Reserved .. 11 WORDS AND MUSIC IN COMMUNION: AN ANALYSIS OF GUILLAUME DE MACHAUT’S “LE LAY DE LA FONTEINNE” IN CULTURAL CONTEXT By Patricia Turcic Thesis Advisor: Dr.
    [Show full text]
  • Margaret Bent Publication List.Pdf
    Margaret Bent Classified list of publications (excluding short reviews) (last updated September 2009) Counterpoint, musica ficta, compositional process , musical grammar Counterpoint, Composition, and Musica Ficta (New York: Routledge, 2002). A collection of eleven essays related to compositional techniques, all but two previously published over the last thirty years, to which I have added a substantial new introduction updating my views and answering critics. Includes items marked * below. *"Musica Recta and Musica Ficta", Musica Disciplina 26 (1972), 73-100. Reprinted as pp. 1-28 in The Garland Library of the History of Western Music; Medieval Music II: Polyphony, ed. Ellen Rosand (New York: Garland, 1985). *"Some Factors in the Control of Consonance and Sonority: Successive Composition and the Solus tenor", pp. 625-34 in International Musicological Society: Report of the Twelfth Congress, Berkeley 1977, ed. Daniel Heartz and Bonnie Wade (Kassel: Bärenreiter, 1981). *"Resfacta and Cantare super librum", Journal of the American Musicological Society 36 (1983), 371-91. A shorter version appeared as "Resfacta und Cantare super librum", Schweizer Jahrbuch für Musikwissenschaft/ Annales Suisses de Musicologie, n. s. 3 (1983), 47-52. *"Diatonic Ficta", Early Music History 4 (1984), 1-48. French translation as "Musica ficta: une procédure diatonique", pp. 15-78 in Lire, composer, analyser à la Renaissance, Introduction and translation by Annie Coeurdevey (Minerve, CESR "Ricercar", Tours, 2003). *"Diatonic ficta revisited: Josquin's Ave Maria in context", Music Theory Online, September 1996 (http://www.societymusictheory.org/mto/): response to Roger Wibberley, "Josquin's Ave Maria: Musica Ficta versus Mode", Music Theory Online, 2.5, 1996. My article includes an essential corrective to "Diatonic Ficta".
    [Show full text]