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At the of the With ABSTRACTS of PAPERS READ at the FORTY-SIXTH ANNUAL MEETING of the AMERICAN MUSICOLOGICAL SOCIETY meeting jointlY with the SOCIETY FOR MUSIC THEORY DENVER, COLOMDO 6-9 NOVEMBER 1980 A.I,I .S. PAPERS Edited by Craig lvlonson, Yale Unlvers ity CONTENTS Thursday, November 6 3:00-6:00 p.n. Renaissance Topics 1 Musical Theater in 18th-Century France 3 Beethoven : Mendelssohn 6 Study Session: The Future of Debussy Research 8 Friday, November 7 9:00 a.rn, -12:00 Italianate Chant 10 Renaissance Styles and Sources 13 Italian and Spanish Keyboard Music 15 Ronantic Topics 18 Friday, November 2:00-5:00 p.n. The Church: The Trope z0 Studies in Italian Music 23 The Classical Period: New Directions for Research 25 AMS/SMT Late 19th-Century and Early 2Oth-Century Manuscript Studies z7 Saturday, Novenber 9:00 a.n.-12:00 Studies in the English Renaissance z9 Special Studies 31 Musica Speculativa 34 Brahms : -Wagner 36 Saturday, November 2:00-5:00 p.rn, Mozart: Haydn: Beethoven 59 Baroque Performance Practices 42 Ars Nova Topics 45 AM--S/eMS-A1 te rnat ive Car ee r s 47 Sunday, Novernber 9 9:00 a.n. -12:00 Italian Musical Institutions 48 Ancient and Medieval Topics 50 Studies in American Music 53 Baroque Topics 56 Tndex of Authors 61 RENAISSANCE TOPICS, November 6, 3:00 p.m. CENTRAL EUROPEAN NOTATIONAL PRACTICES OF THE EARLY 15TH CENTURY Tom R. Ward UniversitY of Illinois Several theoretical treatises preserve a notational practice which seems to have been widely known in central Europe during the first half of the fifteenth century. Although these treatises have been published individually over the last 100 years, their origins and interrelation- ships have not been sufficiently explored. More important, the existence of a specific nuslcal repertory notated according to the system presented by these treatises has gone unnoticed. Fina11y, the pieces provided as exarnples of notation or rnusical forms in the treatises have not been thoroughly investigated. On the basis of sources and internal evidence the treatises can be shown to contain a Late fourteenth- and early fifteenth-century tradition known in Prague, and possibly in Vienna as we11. The specific pieces of music cited in the treatises occur in rnanuscripts of Gerrnan or centTal European origin, and in sone cases the particular version of the piece only survives in these sources. The music which uses this notational systen appears in the oldest layers of Munich, Bayerische Staatsbibliothek MS. Iat. 14274. The genres and styles represented are rather broad, possibly indicating that nuslc in general, not just of a single type or style, was expressed in this system by a parti-u1ar group of musicians. Evidence of repertory and scribes indicates that this manuscript may have been copied, at least in part, in Vienna or its environs. Thus, portions of the book serve as the practical analog to the theoretical sources. This relationship, along with other available evi- dence, provides possible answers about the origin of Munich L4274 and a clearer picture of the nusical environment in which it was copied. THE MUSlC AND MUSICiANS OF ANNE DE BRETAGNE (I477 -I5L4) Stephen Boni-rne New York, N.Y. As the last Tuler of an independent Brittany and twice- crowned queen of France, Anne de Bretagne gave generous support to musicians and other artists. At least six corn- posers returned the favor ln the forrn of eight musical pieces: two rondeaux based on her notto, one anonymous and the other by Hilaire Daleo (Turleron) ; a rnotet by Agricola praising her faithfulness to Louis XII, her second royal husband, during z his grave illness; rnotets by F6vin and Mouton on her rnother- THE FROTTOLA AND THE UNWR]TTEN TMDITION: hood; and three laments on her death--one by Moulu, and two IMPROVISORS AND FROTTOLISTS AT NORTH ITALIAN COURTS settings of Quis dabit oculis by Festa and Mouton. William Prizer Anne ernployed a contingent of instrumentalists and Uni.versity of California, Santa Barbara maintained her own nusic chapel distinct fron the Chapelle Royale of her husbands. It includcd the singer and conposer Pietrequin Bonnel, the prestigious organist Pierre Mouton, The problern of the "unwritten tradition" in fifteenth- de chape1le. century Italy has drawn the attention of nany scholars, but and Jean Mouton as maistre principally that of Nino Pirrotta, who both defined the prob- 1en and pointed toward a solution. Pirrotta has ca11ed the This paper focuses on the musical compositions and rnanu- and sound" standing scripts written for Anne de Bretagne, the nusicians she unwritten tradition "a sea of colors patronized, and the music perforrned for her three cerernonial between the "is1and" of Trecento rnusic and the "nainland" of passages through Paris--both coronation entr6es and her funeral' written masterworks whicFEe Ttalians produced fron the ihe cornpositions for Anne have already attraEtea the attenti-on sixteenth century onwards. On the basis of literary sources, of nany-musicologists, but the rest of the information for the docurnents, and paintings, as well as musical sources, it is research in the libraries and archives possible to denonstrate that the frottola of Mantua and other paper derives fron recent North Italian courts began as a direct outgrowth of this of Paris and Nantes. previously improvised tradition. This paper will show that the practice of playing the A LOST GUIDE TO TINCTORISI TEACHINGS RECOVERED lute polyphonically, an apparent characteristic of frottola J. Blackburn perfornance, was known in Mantua by L470 and nust have been Bonnie used by the irnprovisors. Two letters written by a Mantuan Chicago, I11i-nois student of the great Ferrarese inprovisor Pietrobono, which list the works the master lutenist taught hin, represent a In his Practica musicae of 1497, Franchinus Gafurius particularly irnportant discovery in this regard. With only ref ers to a m-EgTstralfFlnotetus, a "pedagogical motet," by one exception, these works can be found in the frottola proper to notate rnodus repertory, linking inextricably the inprovised practice with Johannes TinctoriS-E[aT 5h-owsthe way the frottola. by rneans of pauses. The motet, Difficiles alios delectat-iflfficult pitrgete ("He composing- other cantus takes delighT--in Having established the early frottola as the notated songFT, was widely known, as is denonstrated in the Spataro this study Correspondence (Rone, Biblioteca Apostolica Vaticana, MS. Vat. record of the previously unwritten tradition, 1at. 5318). There it is discussed by Giovanni Spataro, attenpts to describe the style of the later improvisors, not da Legge in only through docurnents and paintings, but also through an Giovanni del Lago, and the organist Giovanni- exanination of the approximately thirty anonynous settings letters to Pietro Aaron and Lorenzo Gazio. It served as a da11'Aquila rnodel for the solution of knotty problens of nensural usage, of the strambotti of the poet-improvisor Serafi.no imperfection, alteration, coloration, and proportions. in NortilTfallan sources of 1490 to 1500. By combining con- Although the work nust then have been about fifty years o1d, tenporary descriptions of Serafino's performances with the keenly interested in it. stylistic characteristics of these strarnbotti, it may be musicians and theorists were sti1l posslble to see sornething of the sty-IE--end-ctua1 rnusical content of the works of the later improvisors. The rnotet does not appear in Tinctoris' Opera 9IL!1, nor is it found arnong the exarnples in his treatises. For four hundred years it 1ay dornant arnong the rnusical exarnples of an early 16th-century rnanuscript, Perugia, Biblioteca Comunale Augusta, M. 1013. The three-voice motet is longer and far I{USICAL THEATER IN 18TH-CENTURY FRANCE, November 6, 3:00 p.m. noie cornplicated than any of the illustrations in Tinctoris' treatisei. Tinctoris conposed it as a practical example of his teachings, especially as expounded in his four tracts on note values, irnpeifection, alteration, and proportions, and OPERA_CON{IQUE IN TRANSITION: provided it with rneticulous marginal annotations. EGIDIO DUNfTS LE PFIMRE AMOUREUX DE SON MODELE Kent M. Snith Cornell University In one of two substantial nineteenth-century articles on Egidio Duni, Arthur Pougin described the composer as "1e cr6aieur v6ritable de 1'op6ra-comique. " Since then, Duni's role in the developrnent of ej-ghteenth-century op6ra-conique z his grave illness; rnotets by F6vin and Mouton on her rnother- THE FROTTOLA AND THE UNWR]TTEN TMDITION: hood; and three laments on her death--one by Moulu, and two IMPROVISORS AND FROTTOLISTS AT NORTH ITALIAN COURTS settings of Quis dabit oculis by Festa and Mouton. William Prizer Anne ernployed a contingent of instrumentalists and Uni.versity of California, Santa Barbara maintained her own nusic chapel distinct fron the Chapelle Royale of her husbands. It includcd the singer and conposer Pietrequin Bonnel, the prestigious organist Pierre Mouton, The problern of the "unwritten tradition" in fifteenth- de chape1le. century Italy has drawn the attention of nany scholars, but and Jean Mouton as maistre principally that of Nino Pirrotta, who both defined the prob- 1en and pointed toward a solution. Pirrotta has ca11ed the This paper focuses on the musical compositions and rnanu- and sound" standing scripts written for Anne de Bretagne, the nusicians she unwritten tradition "a sea of colors patronized, and the music perforrned for her three cerernonial between the "is1and" of Trecento rnusic and the "nainland" of passages through Paris--both coronation entr6es and her funeral' written masterworks whicFEe Ttalians produced fron the ihe cornpositions for Anne have already attraEtea the attenti-on sixteenth century onwards. On the basis of literary sources, of nany-musicologists, but the rest of the information for the docurnents, and paintings, as well as musical sources, it is research in the libraries and archives possible to denonstrate that the frottola of Mantua and other paper derives fron recent North Italian courts began as a direct outgrowth of this of Paris and Nantes.
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