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Paper for Tivoli
Edinburgh Research Explorer Giovanni Maria Nanino and the Roman confraternities of his time Citation for published version: O'Regan, N 2008, Giovanni Maria Nanino and the Roman confraternities of his time. in G Monari & F Vizzacarro (eds), Atti e memorie della Società Tibertina di storia e d’arte: Atti della Giornata internazionale di studio, Tivoli, 26 October 2007. vol. 31, Tivoli, pp. 113-127. Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Atti e memorie della Società Tibertina di storia e d’arte Publisher Rights Statement: © O'Regan, N. (2008). Giovanni Maria Nanino and the Roman confraternities of his time. In G. Monari, & F. Vizzacarro (Eds.), Atti e memorie della Società Tibertina di storia e d’arte: Atti della Giornata internazionale di studio, Tivoli, 26 October 2007. (Vol. 31, pp. 113-127). Tivoli. General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 GIOVANNI MARIA NANINO AND THE ROMAN CONFRATERNITIES OF HIS TIME NOEL O’REGAN, The University of Edinburgh Giovanni Maria Nanino was employed successively by three of Rome’s major institutions: S. -
Improvisation in Vocal Contrapuntal Pedagogy
Performance Practice Review Volume 18 | Number 1 Article 3 Improvisation in Vocal Contrapuntal Pedagogy: An Appraisal of Italian Theoretical Treatises of the Sixteenth and Early Seventeenth Centuries Valerio Morucci California State University, Sacramento Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Morucci, Valerio (2013) "Improvisation in Vocal Contrapuntal Pedagogy: An Appraisal of Italian Theoretical Treatises of the Sixteenth and Early Seventeenth Centuries," Performance Practice Review: Vol. 18: No. 1, Article 3. DOI: 10.5642/perfpr.201318.01.03 Available at: http://scholarship.claremont.edu/ppr/vol18/iss1/3 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Improvisation in Vocal Contrapuntal Pedagogy: An Appraisal of Italian Theoretical Treatises of the Sixteenth and Early Seventeenth Centuries Valerio Morucci The extemporaneous application of pre-assimilated compositional paradigms into musical performance retained a central position in the training of Medieval and Renais- sance musicians, specifically within the context of Western polyphonic practice.1 Recent scholarship has shown the significance of memorization in the oral transmission of plainchant and early polyphony.2 Attention has been particularly directed to aspects of orality and literacy in relation to “composition” (the term here applies to both written and oral), and, at the same time, studies correlated to fifteenth- and sixteenth-century contra- puntal theory, have mainly focused on the works of single theorists.3 The information we 1. -
Contrapuntally Crafted, Harmonically Eloquent : Corelli's Sonatas and the Compositional Process in the Late 17Th Century
Contrapuntally crafted, harmonically eloquent : Corelli's sonatas and the compositional process in the late 17th century Autor(en): Sanna, Alberto Objekttyp: Article Zeitschrift: Basler Jahrbuch für historische Musikpraxis : eine Veröffentlichung der Schola Cantorum Basiliensis, Lehr- und Forschungsinstitut für Alte Musik an der Musik-Akademie der Stadt Basel Band (Jahr): 37 (2013) PDF erstellt am: 10.10.2021 Persistenter Link: http://doi.org/10.5169/seals-868876 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte -
Cuadernos Cervantinos
Cuadernos Cervantinos Sociedad Cervantina Depósito Legal CR 1002-2017 ISSN 2531-0356 de Alcázar de San Juan NÚMERO 17 Abril-Junio 2021 ISSN 2530-3406 Ruta cervantin@lcazar con Alonso Quijano como asistente CONTENIDOS DE ESTE NÚMERO: • Ruta cervantin@lcazar con Alonso Quijano como asistente • Tu cita con Cervantes • Paisaje y territorio en el Quijote • Los escenarios del Quijote en la Mancha • ¡Qué pena de azulejos quijotescos del parque Cervantes! • ¡A soslayo! • «Hideputa», el vino de la Sociedad Cervantina de Alcázar de San Juan • Carrascosa el pasodoble que eclipsó al torero. Encuadrada en la programación de propia época del bautismo de Miguel que Retrospectiva del matador de reses bravas Laurentino “Rutas y visitas primavera 21” del tuvo lugar en la iglesia de Santa María de Carrascosa Peñuela y del Ayuntamiento de Alcázar de San nuestra ciudad y que se atestigua por la pasodoble que le dedicó Juan ubicación de la casa donde vivió el Jaime Texidor escritor en una plaza que lleva su Alcázar de San Juan, 11 de abril de nombre. • El décimo brindis 2021.- Con la afluencia de público prevista para el desarrollo de la Esta ruta se enmarca en la programación actividad, reducida en esta ocasión a 9 de las rutas y visitas primavera21 que personas y Alonso Quijano que organiza el Ayuntamiento en escuchaba atentamente, ha tenido lugar colaboración con diversas asociaciones y el domingo 11 de abril una nueva edición entidades culturales de la ciudad. de la ruta cervantin@alcazar que estuvo coordinada por la Sociedad Cervantina Los asistentes conocieron, entre otras de esta ciudad. -
J\Ihq [Aj0j{6^~- Major Professor X
A RECITAL MJS Acr NEAL E. A LLSUP ( B- M- E-i Wartburg College, 1985 A MASTER'S REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music KANSAS STATE UNIVERSITY Manhattan, Kansas 1988 Approved by: j\ihQ [aJ0J{6^~- Major Professor X p TABLE OF CONTENTS PROGRAM 1 FELICE ANERIO: CHRI5TUS FACTU5 EST 3 JOHANN GEORG REUTTER: JESU, JESU DULCISSIME 9 THOMAS MORLEY: FIRE, FIRE MY HEART 14 SERGEI RACHMANINOFF: AVE MARIA 20 WOLFGANG AMADEUS MOZART: AVE VERUM 22 JOHANN SEBASTIAN BACH: MOTET VI 24 EGIL HOVLAND: SAUL 34 BENJAMIN BRITTEN: CHORAL DANCES FROM GLORIANA 37 ROBERT H. YOUNG: TWO LOVESONGS 40 JESTER HAIRSTON: HOLD ON 44 JAMES FRITSCHEL: IN PEACE AND JOY 49 APPENDI 53 BIBLIOGRAPHY 61 ) icsur Department of Music KANSAS STATE Graduate Series UNIVERSITY Season 198^-88 presents NEAL E. ALLSUP, Conductor B.M.E. Wartburg College, 1985 and the GRADUATE RECITAL CHORALE Don Livingston. Accompanist Wednesday, March 23. 1988 All Faiths Chapel Auditorium 8:00 p.m. PROGRAM Christus factus est Felice Anerio (1560-1614) Jesu, Jesu Dulcissime Johann Georg Reutter (1709-1772) Fire, Fire Mv Heart Thomas Morlex (1557-1603) Ave Maria Sergei Rachmaninoff (1873-1943) Ave Verum Wolfgang Amadeus Mozart (1756-1791) Lobet den Herrn- Motet VI BWV 230 Johann Sebastian Bach (1685-1750) INTERMISSION Saul Egil Hovland Narrator, Col. Joe Armistead (b. 1924) Choral Dances from Gloriana Benjamin Britten Time (1913-1976) Concord Time and Concord Two Love Songs Robert H. Young For Thy Sweet Love (b . 1 923 Sequel Hold On arr. Jester Hairston In Peace and Joy James Fritschel (b. -
El Repertorio En La Música Para Las Fiestas De Moros Y Cristianos (1882-2000)
EL REPERTORIO EN LA MÚSICA PARA LAS FIESTAS DE MOROS Y CRISTIANOS (1882-2000) Comunicación presentada por Pedro Joaquín Francés Sanjuán al “I ENCONTRE DE COMPOSITORS DE MÚSICA PER A MOROS I CRISTIANS” celebrado en Muro el 5 y 6 de mayo de 2001. INTRODUCCION En 1974 el gran festero sajeño Joaquín Barceló Verdú, después de un trabajo exhaustivo du- rante varios años, publicó, con motivo del Primer Congreso de Moros y Cristianos celebrado en Vi- llena, el libro titulado HOMENAJE A LA MÚSICA FESTERA. En él están reflejadas buena parte de las biografías y la relación de obras de la mayoría de los Compositores hasta aquel momento, como también lo están los nombres de la Bandas de Música dedicadas a este género y el de sus componen- tes. Otros autores, como después veremos, han escrito e investigado sobre la Música de Moros y Cristianos, bien a nivel local o general lo que nos ha permitido conocer, al menos, el título y el autor de buena parte del ya extenso patrimonio musical que posee la Fiesta de Moros y Cristianos aunque, por desgracia, la mayoría de ese patrimonio es totalmente desconocido y duerme en los archivos de muchas Bandas de Música esperando, durante demasiados años, a que alguien lo desempolve. La inmensa mayoría de las partituras mueren, como algunas flores, el mismo día que nacen y, mientras tanto, siguen sonando, una y otra vez, las mismas piezas hasta la saciedad en tanto que, muy pocos, incluidos músicos y festeros, son capaces de aceptar lo novedoso o inédito. De un repertorio estimado de mas de tres mil obras escritas ex profeso para la fiesta de Moros y Cristianos que constituye, sin lugar a dudas, su mayor y más extenso patrimonio cultural, apenas se han utilizado, durante los más de cien años de la existencia de este género, algo mas de un centenar de obras para amenizar entradas, desfiles y otros actos festeros, por lo que sería deseable repasar los archivos de vez en cuando, y no dejar en el olvido obras que pueden resultar interesantes, al tiempo que damos la oportunidad a los nuevos valores. -
Theory and Practice in the Works of Pietro Pontio
219 MO. 3/^1 THE VOICE OF THE COMPOSER: THEORY AND PRACTICE IN THE WORKS OF PIETRO PONTIO VOLUME I DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By Russell Eugene Murray, Jr., B.A., B.M.E., M.M.E, Denton, Texas December, 1989 Murray, Russell Eugene, Jr., The Voice of the Composer: Theory and. Practice in the Works of. Pietro Pontio. Doctor of Philosophy (Musicology), December, 1989, 2 vol- umes, 427 + 211 pp., 22 tables, 4 figures, 3 plates, 46 musical examples, bibliography, 213 titles, works list, documents, music. The life, music, and theoretical writings of Pietro Pontio (1532-1596) yield considerable insight into questions of theory and practice in the late sixteenth century. The dissertation places Pontio within his musical and cultural milieu, and assesses his role as both theorist and composer. The first two chapters present an expanded biography based on new archival evidence. The course of Pontio's career is detailed, and corrections such as his exact date of death and his location and employment for the years 1569- 1574 are presented. The documents also uniquely detail the working conditions and pedagogical methods and concerns of the sixteenth-century maestro di cappella. Chapter Three surveys Pontio's two treatises, the Ragionamento (1588) and the Dialogo (1595), outlining impor- tant issues addressed by Pontio. Chapter Four presents a brief survey of Pontio's music, hitherto unstudied, showing his work to be of consistent quality and inventiveness. Chapter Five discusses issues from the Ragionamento. -
Andrea Gabrieli's Music in Milan: Dissemination, Adaptation
Musica Iagellonica 2017 ISSN 1233–9679 Marina Toffetti (University of Padua) Andrea Gabrieli’s music in Milan: dissemination, adaptation, assimilation Strange as it may seem, the name of Andrea Gabrieli appears very rarely in studies on music in Milan between the end of the 16th century and the start of the 17th, 1 and is also infrequent in those on the repertory commonly known as “lombardo-padano”. 2 And yet there are various clues pointing to the fact that his fame had reached Milan during his lifetime, and how several local composers had succumbed to the charm of his music, sometimes taking it as a starting point, borrowing techniques and procedures and re-using them in the course of their own compositions. This article intends to follow up these clues and reflect on some aspects of the transmission and reception of Andrea Gabrieli’s music in Milan, taking into consideration firstly the “positive” ele- ments, regarding the reprinting in Milan of some of his collections and the presence of his compositions in local music publications, and then moving on 1 Andrea Gabrieli is not mentioned even once in the book by Robert L. Kendrik, The Sounds of Milan, 1585–1650 (Oxford: Oxford University Press, 2002), and is mentioned just once, with regards the characteristics of his Psalms of David, in his previous book Celestial Sirens. Nuns and their Music in Early Modern Milan (Oxford: Clarendon Press, 1996). 2 Suffice it to glance through the indexes of the numerous volumes that the A.M.I.S (Antiquae Musicae Italicae Studiosi), devoted to Barocco Padano, published under the editing of Alberto Colzani, Andrea Luppi and Maurizio Padoan from 2002 and then regularly every two years, to realize just how little the figure of Andrea Gabrieli appears in the studies of the repertory in question. -
ITEC Program Book
ITEC 2019 Program Addendum Voxman Building Notes - The Voxman School of Music’s facilities will be open every day from 7am – 10pm for the duration of the conference - The registration desk will be available on the 2000 level in the Pearl West Lobby from 8am-8pm for the duration of the conference - Instrument storage will be available in the Stark Opera Theater (0151) from Tuesday through Saturday, 8am-8pm and for 30 minutes after the end of the evening concerts o Exception: instrument storage will close at 4:30pm on Thursday to allow volunteers time to prepare for and attend the Banquet - No instruments or cases are allowed in the Concert Hall or Recital Hall audience during performances - No food or drink (except water) in any classroom or performance space - Lessons with students under 18 years of age require a parent or guardian in the room Schedule Corrections Monday, May 27 Correction 9:00am – Recital Hall (2301) – Competition: Mock Band - Tuba Incorrectly listed as taking place in Stark Opera Theater (pg. 17, pg. 27) Correction 9:00am – Stark Opera Theater (0151) – Competition: Electronics Incorrectly listed as starting at 5:00pm (pg. 27) Correction 3:00pm – Recital Hall (2301) – Competition: Young Artist Euphonium Final Round Incorrectly listed as Artist Euphonium Final Round (pg. 27) Correction 3:30pm – Concert Hall (2101) – Competition: Ensemble Final Round Incorrectly listed as starting at 3:00pm (pg. 17, omitted on pg. 27) Tuesday, May 28 Cancellation 9:00am – James Dixon Room (0002) – Presentation: Samuel Adler – David Saltzman (pg. 18, 32) Correction 2:00pm – James Dixon Room (0002) – Presentation: Young at Heart – Velvet Brown and Roger Bobo (pg. -
Spelman College Archives Willis Lawrence James Collection
Spelman College Archives Willis Lawrence James Collection Box 1- Music 1. The Nightingale- Thomas Weelkes 2. Al l The Things You Are- Jerome Kern 3. De San’man’s Song- Howard D. McKinney 4. Echo Song- Paul Bliss 5. Cradle Song of the Virgin- Johannes Brahms 6. Lucia Di Lammermoor- Donizetti 7. The Singing Leaves- Frances McCollin 8. To My Jesus Do I Cling- J.S. Bach 9. He’s Gone Away- Appalachian Folk-Song 10. Search Me, O Lord- Edward Margetson 11. The Night is Calm- Sir Arthur S. Sullivan 12. The Shepherd To His Love- Joseph H. Soifer 13. The Lass with the Delicate Air- Michael Arne 14. The Indian Bride- P.E. Fletcher 15. The Trysting Place- J. Brahms 16. An Annapolis Lullaby- Gustav Klemm 17. Little David, Play on Your Harp –arr. Carl R. Diton 18. Daniel- Harvey Enders 19. Landate Dominum- Mozart 20. God of the Open Air- Noble Cain 21. Now Start We With a Godly Song- Hans Leo Hasler 22. The Earth, O Lord, Is Blessed by Three- A. Fuleihan 23. Bragging Dan- George Morgan 24. Dearest, Believe- arr. Daniel Protheroe 25. As The Hart Pants- Felix Mendelssohn-Batholdy 26. On the Road to Mandalay- Oley Speaks 27. Barter- W.C. MacFarlane 28. Adoramus Te, Christe- G. Corsi 29. Ave Maria- Bach Gounod Huntley 30. Hast Thou Forgot- Gordon Nevin 31. Now Sleeps the Crimson Petal- E. Margetson 32. The Silver Lanterns of the Night- J.Redding 1 33. Daughter of Jairus- John Stainer 34. The Master- Singers of Nuremberg- Richard Wagner 35. -
Giovanni Maria Nanino-Richard Schuler
Giovanni Maria Nanino-Richard Schuler VOLUME 90, NO,. 2 SUMMER, 1963 CAECILIA Published four times a year, Spring, Summer, Autumn and Winter. Second·Class Postage Paid at Omaha, Nebraska Subscription Price-$3.00 per year All articles for publication must be in the hands of the editor, 3558 Cass St., Omaha 31, Nebraska, 30 days before month of publication. Business Manager: Norbert Letter Change of address should be sent to the circulation manager: Paul Sing, 3558 Cass St., Omaha 31, Nebraska Postmaster: Form 3579 to Caecilia, 3558 Cass St., Omaha 31, Nebr. caeci la TABLE OF CONTENTS Editorial " " .c -_ - - .. - ___ __ __ _ 43 Life of Giovanni Maria Nanino . .____________________________________________ 46 11th Annual Boys Town Liturgical Music Workship________________________________ 69 William Ripley Dorr c .. ~______________________________ 74 Sounds of Te Deum ~ ._________________________________________ 77 Reviews-Masses . .. 84 Other Music . ~ 86 Organ Music .______________________________________________________________________________________ 94 Music Received. .... .---- 96 VOLUME 90, NO. 2 SUMMER, 1963 RONCKA BROS.~OMAHA.NEBR. CAECILIA A Quarterly Reyiewdeyoted to the lit.urgical music apostolate. Published with ecclesiastical approval by the Society of Saint Caecilia in Spring, Swnmer, Autumn and Winter. Established in 1874 by John B. Singenberger,K.C.S.G., K.C.S.S. (1849-1924). Editor -------------------------- Very Rev. Msgr. Francis P. Schmitt CONTRIBUTING EDITORS Francis A. Brunner, C.Ss.R. Elmer Pfeil Louise Cuyler Richard Schuler David Greenwood Lavern Wagner Paul Koch Roger Wagner Paul Manz Rembert Weakland, O.S.B. Alex Peloquin James Welch CAECILIA ASSOCIATES Dr. Caspar Koch, Pittsburgh, Pa. The Hon. Arthur Reilly, Boston, Mass. Sr. Alphonse· Marie, C.P.P.S., Joseph Leahy, Notre Dame, Ind. -
TOC 0235 CD Booklet.Indd
GIOVANNI MARIA NANINO, FORGOTTEN ROMAN MASTER by Maurizio Pastori and Michela Varvaro Giovanni Maria Nanino was one of the most important musicians in the Roman tradition of late-Renaissance polyphony, both as teacher and as composer, but the passage of time and the prominence of Palestrina have combined to cast him into obscurity. Nanino was born in Tivoli, north-east of Rome, in 1544, to a family originally from Vallerano in the province of Viterbo, rather further to the north-west. He probably sang as a child in the cappella of the cathedral in his home town and, afer spending some time in the service of Cardinal Ippolito II d’Este (creator of the famous Villa d’Este in Tivoli), probably only in 1562, he sang in the Cappella Giulia in the Vatican (1566–68), and was later maestro di cappella in the Basilica of Santa Maria Maggiore (1569–75) and the Church of San Luigi dei Francesi (1575–77). On 28 October 1577 he was admitted to the College of Papal Singers as a tenor and from 1580 his compositions entered the repertoire of the papal chapel; during his thirty years of activity there he was elected magister cappellae for at least three years (1598, 1604 and 1605, and perhaps also in 1597), his duties involving the management and representation of the College. Nanino took part in the cultural and musical life of late-Renaissance Rome, attending carefully to the mirabili concerti – sacred concerts for the period of Lent – which were held at Trinità dei Pellegrini; he was a singer and maestro di cappella of the music for several confraternities1 and took part in the creation of the Confraternita de’ musici di Roma sotto l’invocazione di Santa Cecilia, the original nucleus of the present Accademia Nazionale di Santa Cecilia.