La Caccia Nell'ars Nova Italiana
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Guillaume Du Fay Discography
Guillaume Du Fay Discography Compiled by Jerome F. Weber This discography of Guillaume Du Fay (Dufay) builds on the work published in Fanfare in January and March 1980. There are more than three times as many entries in the updated version. It has been published in recognition of the publication of Guillaume Du Fay, his Life and Works by Alejandro Enrique Planchart (Cambridge, 2018) and the forthcoming two-volume Du Fay’s Legacy in Chant across Five Centuries: Recollecting the Virgin Mary in Music in Northwest Europe by Barbara Haggh-Huglo, as well as the new Opera Omnia edited by Planchart (Santa Barbara, Marisol Press, 2008–14). Works are identified following Planchart’s Opera Omnia for the most part. Listings are alphabetical by title in parts III and IV; complete Masses are chronological and Mass movements are schematic. They are grouped as follows: I. Masses II. Mass Movements and Propers III. Other Sacred Works IV. Songs (Italian, French) Secular works are identified as rondeau (r), ballade (b) and virelai (v). Dubious or unauthentic works are italicised. The recordings of each work are arranged chronologically, citing conductor, ensemble, date of recording if known, and timing if available; then the format of the recording (78, 45, LP, LP quad, MC, CD, SACD), the label, and the issue number(s). Each recorded performance is indicated, if known, as: with instruments, no instruments (n/i), or instrumental only. Album titles of mixed collections are added. ‘Se la face ay pale’ is divided into three groups, and the two transcriptions of the song in the Buxheimer Orgelbuch are arbitrarily designated ‘a’ and ‘b’. -
PMMS Guillaume Du Fay Discography
Guillaume Du Fay Discography Compiled by Jerome F. Weber This discography of Guillaume Du Fay (Dufay) builds on the work published in Fanfare in January and March 1980. There are more than three times as many entries in the updated version. It has been published in recognition of the publication of Guillaume Du Fay, his Life and Works by Alejandro Enrique Planchart (Cambridge, 2018) and the forthcoming two-volume Du Fay’s Legacy in Chant across Five Centuries: Recollecting the Virgin Mary in Music in Northwest Europe by Barbara Haggh-Huglo, as well as the new Opera Omnia edited by Planchart (Santa Barbara, Marisol Press, 2008–14), now available at https://www.diamm.ac.uk/resources/music-editions/du-fay-opera-omnia/ Works are identified following Planchart’s Opera Omnia for the most part. Listings are alphabetical by title in parts III and IV; complete Masses are chronological and Mass movements are schematic. They are grouped as follows: I. Masses, page 2 II. Mass Movements and Propers, page 6 III. Other Sacred Works, page 11 IV. Songs (Italian, French), page 32 Secular works are identified as rondeau (r), ballade (b) and virelai (v). Dubious or unauthentic works are italicised. The recordings of each work are arranged chronologically, citing conductor, ensemble, date of recording if known, and timing if available; then the format of the recording (78, 45, LP, LP quad, MC, CD, SACD), the label and the issue number(s). Each recorded performance is indicated, if known, as: with instruments (w/i), no instruments (n/i), or instrumental only. Album titles of mixed collections are added. -
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. -
Trecento Cacce and the Entrance of the Second Voice
1 MIT Student Trecento Cacce and the Entrance of the Second Voice Most school children today know the song “Row, Row, Row Your Boat” and could probably even explain how to sing it as a canon. Canons did not start off accessible to all young children, however. Thomas Marrocco explains that the early canons, cacce, were not for all people “for the music was too refined, too florid, and rhythmically intricate, to be sung with any degree of competence by provincial or itinerant musicians.”1 The challenge in composing a caccia is trying to create a melody that works as a canon. Canons today (think of “Row, Row, Row Your Boat,” Pachelbel's “Canon in D,” or “Frère Jacques”) are characterized by phrases which are four or eight beats long, and thus the second voice in modern popular canons enters after either four or eight beats. One might hypothesize that trecento cacce follow a similar pattern with the second voice entering after the first voice's four or eight breves, or at least after the first complete phrase. This is not the case. The factors which determine the entrance of the second voice in trecento cacce are very different from the factors which influence that entrance in modern canons. In trecento cacce, the entrance of the second voice generally occurs after the first voice has sung a lengthy melismatic line which descends down a fifth from its initial pitch. The interval between the two voices at the point where the second voice enters is generally a fifth, and this is usually just before the end of the textual phrase in the first voice so that the phrases do not line up. -
Music Perception in Historical Audiences: Towards Predictive Models of Music Perception in Historical Audiences
journal of interdisciplinary music studies 2014-2016, volume 8, issue 1&2, art. #16081204, pp. 91-120 open peer commentary article Music perception in historical audiences: Towards predictive models of music perception in historical audiences Marcus T. Pearce1 and Tuomas Eerola2 1Queen Mary University of London, London E1 4NS 2Durham University, Durham DH1 3RL Background in Historical Musicology. In addition to making inferences about historical performance practice, it is interesting to ask questions about the experience of historical listeners. In particular, how might their perception vary from that of present-day listeners (and listeners at other time points, more generally) as a function of the music to which they were exposed throughout their lives. Background in Music Cognition. To illustrate the approach, we focus on the cognitive process of expectation, which has long been of interest to musicians and music psychologists, partly because it is thought to be one of the processes supporting the induction of emotion by music. Recent work has established models of expectation based on probabilistic learning of statistical regularities in the music to which an individual is exposed. This raises the possibility of developing simulations of historical listeners by training models on the music to which they might have been exposed. Aims. First, we aim to develop a framework for creating and testing simulated perceptual models of historical listeners. Second, we aim to provide simple but concrete illustrations of how the simulations can be applied in a preliminary approach. These are intended as illustrative feasibility studies to provide a springboard for further discussion and development rather than fully fledged experiments in their own right. -
Fra Andrea Dei Servi Organista E Compositore Del Trecento (?-1415)
FRA ANDREA DEI SERVI ORGANISTA E COMPOSITORE DEL TRECENTO (?-1415) P. RAFFAELE TAUCCI La storia della musica del trecento è rimasta la più indietro di tutte nel risveglio degli studi storici dei nostri tempi; e se sì mette a confronto, non dico della storia delle altre Belle Arti, al paragone della quale è poco più che bambina, ma anche a quella della musica stessa di altri periodi, sebbene più remoti, che è stata illustrata con maggior cura e maggior successo di questo, si vede quanto sia maggiormente piena di incognite e di lacune. Erano secoli che si era perduto la chiave per interpretare quei segni enigmatici; e chi era curioso di penetrarne il secreto, era costretto a rassegnarsi a far la parte dì colui che non sa leggere, e che «videt litteras in codice optime scripto, et laudat quidam apicum pulcritudinem, sed quid sibi velint, quid indicent illi apices, nescit, et est oculis laudator, mente non cognitor». L‟oblio infatti che aveva ricoperto quei canti annunziatori del Rinascimento italiano era incominciato poco dopo che se n‟era spenta l‟eco, e che s‟erano dileguati gli applausi appassionati dell‟entusiasmo suscitato fra i contemporanei, come ce ne attestano numerosi scritti dell‟epoca: ed era stato tanto profondo che perfino il più illustre fra essi, Francesco Landini, il cieco, che nel 1364 durante le feste fatte a Venezia per il riacquisto di Candia, presente Francesco Tetrarca e il doge Lorenzo Celsi, fu incoronato dal re di Cipro, Pietro il Grande, di una corona d‟alloro, come il massimo degli organisti, e che fu anche celebrato -
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. -
The National Norwegian Artistic Research Fellowships Programme
The National Norwegian Artistic Research Fellowships Programme Critical Reflection Candidate: Jostein Gundersen Project: Improvisation. Diminutions from 1350 ad. to 1700 ad. May, 2009 1. Synopsis/Short description In the revised project description, I stated that the subject of the fellowship was the practice of improvising diminutions in the period from about 1350 to about 1700. The objective of the project was to become able to improvise diminutions in three historical styles, as reflected through three historical documents: The manuscript Codex Faenza1 (ca1420), Sylvestro Ganassi´s Opera Intitulata Fontegara2 (1535) and Christopher Simpson´s The Division-Viol (1659/65).3 By and large, this corresponds to the outcome of my research period. The most important deviation from this course has been the emphasis on Codex Faenza, on the cost of the attention given to the two other sources, especially The Division-Viol. (An account of these adjustment was given in the annual reports of 2006 and 2007.) This is also reflected in the final documentation (see below). 2. Personal artistic position/work in relation to chosen subject area nationally and internationally. Contributions to professional development of the subject area. 2.1 General remarks My project belongs to the field frequently referred to as historically informed performance practice. It is often identified with "early music" and sub-divided according to historical focus. There are, however, no clear criteria for this field so far as repertoire is concerned. The performers who place themselves within that tradition have in common that various kinds of historical information are used as basis for the interpretation of different parameters of the performance. -
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. -
Sources of Donatello's Pulpits in San Lorenzo Revival and Freedom of Choice in the Early Renaissance*
! " #$ % ! &'()*+',)+"- )'+./.#')+.012 3 3 %! ! 34http://www.jstor.org/stable/3047811 ! +565.67552+*+5 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org THE SOURCES OF DONATELLO'S PULPITS IN SAN LORENZO REVIVAL AND FREEDOM OF CHOICE IN THE EARLY RENAISSANCE* IRVING LAVIN HE bronze pulpits executed by Donatello for the church of San Lorenzo in Florence T confront the investigator with something of a paradox.1 They stand today on either side of Brunelleschi's nave in the last bay toward the crossing.• The one on the left side (facing the altar, see text fig.) contains six scenes of Christ's earthly Passion, from the Agony in the Garden through the Entombment (Fig. -
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). -
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.