Stile Antico Program Notes
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Quodlibet by John Pendleton Kennedy
Quodlibet by John Pendleton Kennedy CHAPTER I. ANTIQUITIES OF QUODLIBET—MICHAEL GRANT'S TANYARD DESTROYED BY THE CANAL—CONSEQUENCES OF THIS EVENT—TWO DISTINGUISHED INDIVIDUALS TAKE UP THEIR RESIDENCE IN THE BOROUGH—ESTABLISHMENT OF THE PATRIOTIC COPPERPLATE BANK— CIRCUMSTANCES WHICH LED TO AND FOLLOWED THAT MEASURE— MICHAEL GRANT'S OBJECTIONS TO IT. It was at the close of the year 1833, or rather, I should say, at the opening of the following spring, that our Borough of Quodlibet took that sudden leap to greatness which has, of late, caused it to be so much talked about. Our folks are accustomed to set this down to the Removal of the Deposits. Indeed, until that famous event, Quodlibet was, as one might say in common parlance, a place not worth talking about—it might hardly be remarked upon the maps. But since that date, verily, like Jeshurun, it has waxed fat. It has thus come to pass that "The Removal" is a great epoch in our annals—our Hegira—the A. U. C. of all Quodlibetarians. Michael Grant, a long time ago—that is to say, full twenty years—had a tanyard on Rumblebottom Creek, occupying the very ground which is now covered by the canal basin. Even as far back as that day he had laid up, out of the earnings of his trade, a snug sum of money, which sufficed to purchase the farm where he now lives at the foot of the Hogback. Quodlibet, or that which now is Quodlibet, was then as nothing. Michael's dwelling house and tanyard, Abel Brawn's blacksmith-shop, Christy M'Curdy's mill, and my school-house, made up the sum-total of the settlement. -
Róża Różańska
Kwartalnik Młodych Muzykologów UJ No. 32 (4/2017), pp. 59–78 DOI 10.4467/23537094KMMUJ.17.010.7839 www.ejournals.eu/kmmuj Róża Różańska JAGIELLONIAN UNIVERSITY IN KRAKÓW Leone Leoni as a Forgotten Composer of the Early Baroque Era Abstract The article is a pioneer attempt in Polish literature to develop a syn- thetic resume and the characteristics of the work of the Italian Baroque composer Leone Leoni. Leoni was highly valued in his time; also, he is said to be one of the creators of dramma per musica genre, and his religious compositions served as model examples of counterpoint for many centuries. The first part of the text presents the state of research concerning the life and work of the artist; then, the second part con- tains his biography. The last part discusses Leoni’s works. Finally, the rank of his output is regarded. Keywords Leone Leoni, small-scale concerto, madrigal, early Baroque The following article is a pioneer attempt in Polish literature to develop a synthetic resume of life and art of Leone Leoni (ca. 1560–1627), an Italian composer. Today forgotten, he was a highly valued artist in his epoch. He is regarded as one of the pioneers of dramma per musica and, 59 Kwartalnik Młodych Muzykologów UJ, No. 32 (1/2017) through the centuries, his church music was used by music theorists as models of music rhetoric and concertato style in the compositions for small ensemble. The paper has been planned as an introduction to the cycle of arti- cles dedicated to Leone Leoni, and because of that it is general in the character. -
Música Dispersa Apropiación, Influencias, Robos Y Remix En La Era De
Música dispersa Apropiación, influencias, robos y remix en la era de la escucha digital Rubén López Cano Editorial: Musikeon Books (Barcelona) Año de publicación. 2018 ISBN: 978-84-945117-1-4 Palabras clave: Identidad y modos de existencia de las piezas musicales. Apropiación. Reciclaje musical. Intertextualidad. Préstamos e influencia. Reutilización. Plagio. Música grabada. Autenticidad y discursos de legitimación. Covers y versiones. Remix. Sampleo. Mashup. Memes musicales. Escucha digital. Pacto perceptual. Contenido 1. Introito: de la epifanía al trabajo colaborativo 2. Ser, parecer, aparecer, acceder y conocer la música 2.1. ¿Dónde están las sinfonías cuando no suenan? 2.2. Una obra y muchos seres 2.3. El rock y sus dilemas existenciales 2.4. El jazz: ¿obras o eventos? 2.5. Límites de la ontología musical 3. Fragmentación y dispersión de la unidad musical: Apropiaciones, influencias, préstamos, intertextualidad y reciclaje. 3.1. ¿De quién es la canción? Apropiaciones 3.2. Lo intertextual: una "obra" es un momento de la red 3.3. Reciclaje: del préstamo a la influencia 3.4. Intertextualidad en la música popular urbana 3.5. Intertextualidad en la música de arte occidental 3.6. Rangos de procesos y funciones intertextuales 3.7. Citas 3.8. Reutilización 3.9. Citas expandidas 3.10. Capital musical, idiolectos, campos semióticos 3.11. Intertexto vocal como diccionario 3.12. Intertexto vocal y paseos inferenciales 3.13. Crossover y referencias enmudecidas 3.14. Modelización y alusión 3.15. Inserción por ensamblaje. Quodlibet, Popurrí, Pasticcio, Patchwork, Collage 3.16. Intervención en una pieza preexistente: revisiones, versiones, contrafacta, paráfrasis e intervenciones conceptuales 3.17. -
Trent 91; First Steps Towards a Stylistic Classification (Revised 2019 Version of My 2003 Paper, Originally Circulated to Just a Dozen Specialists)
Trent 91; first steps towards a stylistic classification (revised 2019 version of my 2003 paper, originally circulated to just a dozen specialists). Probably unreadable in a single sitting but useful as a reference guide, the original has been modified in some wording, by mention of three new-ish concordances and by correction of quite a few errors. There is also now a Trent 91 edition index on pp. 69-72. [Type the company name] Musical examples have been imported from the older version. These have been left as they are apart from the Appendix I and II examples, which have been corrected. [Type the document Additional information (and also errata) found since publication date: 1. The Pange lingua setting no. 1330 (cited on p. 29) has a concordance in Wr2016 f. 108r, whereti it is tle]textless. (This manuscript is sometimes referred to by its new shelf number Warsaw 5892). The concordance - I believe – was first noted by Tom Ward (see The Polyphonic Office Hymn[T 1y4p0e0 t-h15e2 d0o, cpu. m21e6n,t se suttbtinigt lneo] . 466). 2. Page 43 footnote 77: the fragmentary concordance for the Urbs beata setting no. 1343 in the Weitra fragment has now been described and illustrated fully in Zapke, S. & Wright, P. ‘The Weitra Fragment: A Central Source of Late Medieval Polyphony’ in Music & Letters 96 no. 3 (2015), pp. 232-343. 3. The Introit group subgroup ‘I’ discussed on p. 34 and the Sequences discussed on pp. 7-12 were originally published in the Ex Codicis pilot booklet of 2003, and this has now been replaced with nos 148-159 of the Trent 91 edition. -
Cappella Pratensis Royal Exequies: Music for the Funeral of Philip the Fair
Williams College Department of Music Cappella Pratensis Royal Exequies: Music for the Funeral of Philip the Fair Part 1: Backdrop Lecture-Demonstration by M. Jennifer Bloxam and the Singers of Cappella Pratensis ***Intermission*** Part 2: Royal Exequies Procession to the Church Responsorium: Subvenite sancti Dei Plainsong from the Office for the Dead The Requiem Mass Introitus: Requiem eternam Pierre de la Rue (c.1460-1518) Kyrie Pierre de la Rue Graduale: Si ambulem Plainsong from the Mass for the Dead Tractus: Sicut cervus Pierre de la Rue Offertorium: Domine Jesu Christe Pierre de la Rue Sanctus Pierre de la Rue Agnus Dei Pierre de la Rue Communio: Lux eterna Pierre de la Rue Requiescat in pace Plainsong from the Mass for the Dead Motet: Delicta Juventutis Pierre de la Rue Final Prayers for Absolution Antiphon: Aperite mihi Plainsong from the Burial Liturgy Motet: Absolve quesumus, Domine Josquin des Prez (c.1450/55-1521) Saturday, February 22, 2014 8:00 p.m. Thompson Memorial Chapel Williamstown, Massachusetts Please turn off cell phones. No photography or recording is permitted. Cappella Pratensis Artistic leader: Stratton Bull Superius: Stratton Bull, Andrew Hallock Altus: Christopher Kale, Lior Leibovici Tenor: Olivier Berten, Peter de Laurentiis Bassus: Lionel Meunier, Pieter Stas Project collaborator: M. Jennifer Bloxam, Professor of Music,Williams College Fellow in Sacred Music, Worship, and the Arts, Yale Institute of Sacred Music Cappella Pratensis The Dutch-based vocal ensemble Cappella Pratensis – literally ‘Cappella des prés’– champions the music of Josquin des Prez and the polyphonists of the 15th and 16th centuries. The group combines historically informed performance practice with inven- tive programmes and original interpretations based on scholarly research and artistic insight. -
Pierre De La Rue's Missa Pourquoy
Pierre de la Rue’s Missa Pourquoy non: A Case for Re-Evaluation William Kempster he last twenty-five years have yielded The naming of Masses according to the original significant insights into the life, times title of the pre-existing material on which and—most importantly—the music of they were based has long been the accepted the Habsburg-Burgundian master Pierre de la scholarly practice. Honey Meconi has thoroughly T 1 Rue. All the sacred works are now available in documented this for the Masses of la Rue, so no scholarly editions, and many fine recordings of further discussion on conventions relating to the his music have been committed to compact disc. practice is necessary here. What is interesting, La Rue has also attracted a good deal of scholarly however, is the rejection by modern scholars— attention, even controversy, and his place as a Meconi included—of a sixteenth-century major figure at the time of Josquin is now surely ascription indicating that the Mass in question secure. There is still much work to be done, is based on the Pourquoy non chanson, and however, and not only with the secular music that therefore justifying it being named accordingly. has yet to be compiled and edited in its entirety. Even the Masses, the core of la Rue’s output, are only superficially known. Of the thirty In the preface to his edition of this Mass, Mass settings that are securely attributed to la T. Herman Keahey identifies the work as 2 Rue, nearly a third have never been recorded, Missa Almana, and addresses the issue of the and recordings of half of the remaining Masses 1 are either no longer available or problematic for Honey Meconi, “Habsburg-Burgundian Manuscripts, Borrowed Material, and the Practice of Naming” in Early other reasons. -
“Copies Without Originals”: Manipulation, Mediation, and Mediatization in Performance and Recording Practices
\Copies Without Originals": Manipulation, Mediation, and Mediatization in Performance and Recording Practices by Alyssa Michaud Thesis submitted to the Faculty of Graduate and Postdoctoral Studies In partial fulfillment of the requirements for the M.A. degree in Musicology School of Music Faculty of Arts University of Ottawa c Alyssa Michaud, Ottawa, Canada, 2012 Abstract This thesis examines case studies and historical accounts taken from different periods of the history of recording technology, and addresses questions concerning the impact of mediatization, manipulation, and mediation on listeners' and performers' approaches to music. The project considers the development of the idea of \copies without orig- inals," and of the ideological frameworks that have been used to describe and classify recorded sound. The first case study covers the early days of the phonograph and its de- velopment in Victorian society, then contrasts the values and motivations of those early years with modern-day rock performance and its own value systems. Moving into the mid-twentieth-century, a chapter of this thesis is devoted to the work of Glenn Gould, and the possibilities for tape manipulation that the Canadian pianist explored during the period of his career that was focused on the recording studio. Lastly, this project examines the innovative, user-driven methods of music-making that are gaining momen- tum today, including Bj¨ork's Biophilia app album, and the emergence of a new genre of popular music in Asia that uses vocal synthesizers in place of live performers. By exploring these case studies alongside the works of scholars in musicology, media studies, sound theory, film and television, and popular music studies, this thesis demonstrates how cultural need, individual innovation, and social involvement interact to direct the development and application of emerging media technologies. -
BOONE-DISSERTATION.Pdf
Copyright by Christine Emily Boone 2011 The Dissertation Committee for Christine Emily Boone Certifies that this is the approved version of the following dissertation: Mashups: History, Legality, and Aesthetics Committee: James Buhler, Supervisor Byron Almén Eric Drott Andrew Dell‘Antonio John Weinstock Mashups: History, Legality, and Aesthetics by Christine Emily Boone, B.M., M.M. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2011 Acknowledgements I want to first acknowledge those people who had a direct influence on the creation of this document. My brother, Philip, introduced me mashups a few years ago, and spawned my interest in the subject. Dr. Eric Drott taught a seminar on analyzing popular music where I was first able to research and write about mashups. And of course, my advisor, Dr. Jim Buhler has given me immeasurable help and guidance as I worked to complete both my degree and my dissertation. Thank you all so much for your help with this project. Although I am the only author of this dissertation, it truly could not have been completed without the help of many more people. First I would like to thank all of my professors, colleagues, and students at the University of Texas for making my time here so productive. I feel incredibly prepared to enter the field as an educator and a scholar thanks to all of you. I also want to thank all of my friends here in Austin and in other cities. -
Kreuzspiel, Louange À L'éternité De Jésus, and Mashups Three
Kreuzspiel, Louange à l’Éternité de Jésus, and Mashups Three Analytical Essays on Music from the Twentieth and Twenty-First Centuries Thomas Johnson A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2013 Committee: Jonathan Bernard, Chair Áine Heneghan Program Authorized to Offer Degree: Music ©Copyright 2013 Thomas Johnson Johnson, Kreuzspiel, Louange, and Mashups TABLE OF CONTENTS Page Chapter 1: Stockhausen’s Kreuzspiel and its Connection to his Oeuvre ….….….….….…........1 Chapter 2: Harmonic Development and The Theme of Eternity In Messiaen’s Louange à l’Éternité de Jésus …………………………………….....37 Chapter 3: Meaning and Structure in Mashups ………………………………………………….60 Appendix I: Mashups and Constituent Songs from the Text with Links ……………………....103 Appendix II: List of Ways Charles Ives Used Existing Musical Material ….….….….……...104 Appendix III: DJ Overdub’s “Five Step” with Constituent Samples ……………………….....105 Bibliography …………………………………........……...…………….…………………….106 i Johnson, Kreuzspiel, Louange, and Mashups LIST OF EXAMPLES EXAMPLE 1.1. Phase 1 pitched instruments ……………………………………………....………5 EXAMPLE 1.2. Phase 1 tom-toms …………………………………………………………………5 EXAMPLE 1.3. Registral rotation with linked pitches in measures 14-91 ………………………...6 EXAMPLE 1.4. Tumbas part from measures 7-9, with duration values above …………………....7 EXAMPLE 1.5. Phase 1 tumba series, measures 7-85 ……………………………………………..7 EXAMPLE 1.6. The serial treatment of the tom-toms in Phase 1 …………………………........…9 EXAMPLE 1.7. Phase two pitched mode ………………………………………………....……...11 EXAMPLE 1.8. Phase two percussion mode ………………………………………………....…..11 EXAMPLE 1.9. Pitched instruments section II …………………………………………………...13 EXAMPLE 1.10. Segmental grouping in pitched instruments in section II ………………….......14 EXAMPLE 1.11. -
Musica Da Venezia
Musica da Venezia Église St-Matthias, Westmount Le 3 mai 2014 / May 3, 2014 Cinta di fior Maddalena Casulana (c. 1544 – c. 1590) Signora Maddalena Antonio Molino (c. 1495 – c. 1571) Donna zendila Antonio Molino Paxe no trovo Lodovico Agostini (1534 – 1590) Sassi, palae Andrea Gabrieli (1533 – 1585) Vecchie letrose Adrian Willaert (1490 – 1562) Sempre mi ride sta Adrian Willaert O dolce mia vita Adrian Willaert Un giorno mi pregò Adrian Willaert Entracte / Intermission Musica dulci sono Cipriano de Rore (1515/16 – 1565) O socii Cipriano de Rore Dulces exuviae Adrian Willaert Passer mortuus est Giovanfrancesco Malipiero (1882 – 1973) Rimanti in pace Claudio Monteverdi (1567 – 1643) Labra amorose e care Adrian Willaert Dormiva dolcemente Giovanni Gabrieli (c. 1557 – 1612) Les Chanteurs d’Orphée Les Chanteurs d'Orphée forment un chœur de chambre accompli et se consa- crent à un répertoire d’œuvres complexes et peu connues qui embrasse toute la période du quinzième au vingtième siècle. Depuis sa fondation il y a trente ans, le chœur a participé à plusieurs concours où il s'est particulièrement dis- tingué. Sous la direction de Peter Schubert, l’ensemble a en effet été finaliste à cinq reprises au Concours pour chorales d’amateurs de la Société Radio- Canada; il a été lauréat en 1996 et a remporté le second prix en avril 2004. Soucieux d’innover dans le domaine des œuvres chorales, les Chanteurs d'Or- phée ont créé des pièces de plusieurs compositeurs contemporains dont Anne Lauber, Jacques Faubert, Bengt Hambraeus, Bob Beart et David Scott Lytle. L'ensemble a également participé à l'enregistrement des compositions de Frie- drich Nietzsche. -
Christopher Phalen, Graduate Conducting Recital Abstract
University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2018 Christopher Phalen, graduate conducting recital abstract Christopher Richard Phalen University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2018 Christopher Richard Phalen Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Music Performance Commons Recommended Citation Phalen, Christopher Richard, "Christopher Phalen, graduate conducting recital abstract" (2018). Dissertations and Theses @ UNI. 568. https://scholarworks.uni.edu/etd/568 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. CHRISTOPHER PHALEN, GRADUATE CONDUCTING RECITAL ABSTRACT An Abstract of a Recital Submitted In Partial Fulfillment Of the Requirements for the Degree Master of Music Christopher Richard Phalen University of Northern Iowa May, 2018 ii This Study by: Christopher Richard Phalen Entitled: Christopher Phalen, Graduate Conducting Recital has been approved as meeting the recital abstract requirement for the Degree of Master of Music ___________ _____________________________________________________ Date Dr. John Len Wiles, Chair, Thesis Committee ___________ _____________________________________________________ Date Dr. Amy Kotsonis, Thesis Committee Member ___________ _____________________________________________________ -
TEXAS ARLY MUSIC PROJECT DANIEL JOHNSON, ARTISTIC DIRECTOR E Dutch Treat: the Golden Age in the Netherlands
TEXAS ARLY MUSIC PROJECT DANIEL JOHNSON, ARTISTIC DIRECTOR E Dutch Treat: The Golden Age in the Netherlands PROGRAMMA THE NEW YEAR HET NIEUWE JAAR Met dezen nieuwen Jaar (Guilielmus Messaus, 1589-1640; Cantiones natalitiae, 1629; arr. D. Johnson, 2012) Jenifer Thyssen, Gitanjali Mathur, & Paul D’Arcy, soloists With Voices & Instruments Ave Maria (Nicolas Gombert, c.1495-c.1560) Choir Die werelt hielt mi in haer gewout (chant by Suster Bertken, c.1427–1514; arr. D Johnson, 2005, 2013) Jenifer Thyssen, Gitanjali Mathur, & Jenny Houghton, soloists With Women Singers & Bass Viols THE TAVERN ON THE SQUARE IN THE SPRING DE HERBERG OP HET PLEIN IN HET VOORJAAR Tsat een cleyn meskin (Jacob Obrecht, c.1453-1505) Viol Consort Mijn hert altyt heeft verlanghen (Pierre de la Rue, c.1460-1518) Singers Passe et medio (Tielman Susato, c. 1510 - after 1570; Dansereye; Antwerp; 1551) Viol Consort & Lute Mijn herteken heeft altyts verlanghen (Benedictus Ducis, a.k.a. Benedictus Hertoghs, c.1492-1544) Jenifer Thyssen, soloist, with Viol Concert Bransle Dit le Bourguignon (Anonymous; Harmonice Musices Odhecaton; Venecia, 1501) Instruments Laet varen alle fantasie (Ludovicus Episcopius, c.1520-1595) Singers TORMENT IN THE SPRING LEED IN HET VOORJAAR Nu dobbert mijn Liefje op de Ree (Constantijn Huygens, 1596-1687; arr. D Johnson, 2016) Cayla Cardiff, soloist With Meredith Ruduski & Stephanie Prewitt, and Instruments Miserere mei, Domine (Philippe de Monte, 1521-1603) Choir Super flumina Babylonis (Philippe de Monte) Choir PAUZE FROM SUMMER TO FALL VAN