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Revisiting the Origins of the Italian Madrigal Using Machine Learning
Revisiting the Origins of the Italian Madrigal (with machine learning) Julie E. Cumming Cory McKay Medieval and Renaissance Music Conference Maynooth, Ireland, July 6, 2018 1 The origins of the madrigal Current consensus • The madrigal emerges as a new genre of Italian-texted vocal music in the 1520s • The Italian-texted works by Verdelot are madrigals • It originated in Florence (and Rome?) in the 1520s But where did it come from? • The frottola (Einstein 1949) • The chanson and motet (Fenlon and Haar 1988) • Florentine song: carnival song, and improvised solo song (A. Cummings 2004) 2 Finding the origins: what happened before Verdelot? • Verdelot arrived in Florence in 1521 • Earliest sources of the madrigal New focus: Florence, 1515-1522 Music Printsbefore Verdelot Thanks to I. Fenlon, J. Haar, and A. Cummings Naming of Genres: Canzona in 1520s; Madrigale 1530 Prints (in or near Rome) • Pisano, Musica sopra le Canzone del petrarcha (partbooks, Petrucci, Fossombrone, 1520) (all Madrigals) • Motetti e Canzone I (partbooks, Rome, 1520) • Libro primo de la croce, choirbook, c. 1522 (surviving copy, later ed., Rome, Pasoti & Dorico, 1526) • Mix of frottole, villotte, and madrigals 4 Music MSS before Verdelot Thanks to I. Fenlon, J. Haar, and A. Cummings Florentine Manuscripts (all from Florence) • Florence, Basevi 2440, choirbook, c. 1515-22; 2 sections: • music with multiple stanzas of text (frottole) • through-composed works (madrigals & villotte) • Florence, BNC 164-167, partbooks, c. 1520-22 (4 sections) • Florence 164 or F 164 henceforth 5 My hypothesis The madrigal was deliberately created as a • high-style genre of secular music • that emulates the style of the motet Why? • Musical sources • Texts • Musical style • Cultural context (not today) 6 What do sources tell us? Madrigals are the first secular genre to be treated like Latin-texted motets in prints and manuscripts Copied and printed in partbooks (previously used only for Masses and motets) • Motetti e Canzone I (Rome, 1520), partbooks • Florence 164 (c. -
The Power of the Popes
THE POWER OF THE POPES is eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at hp://www.gutenberg.org/license. Title: e Power Of e Popes Author: Pierre Claude François Daunou Release Date: Mar , [EBook #] Language: English Character set encoding: UTF- *** START OF THIS PROJECT GUTENBERG EBOOK THE POWER OF THE POPES*** Produced by David Widger. ii THE POWER OF THE POPES By Pierre Claude François Daunou AN HISTORICAL ESSAY ON THEIR TEMPORAL DOMINION, AND THE ABUSE OF THEIR SPIRITUAL AUTHORITY Two Volumes in One CONTENTS TRANSLATORS PREFACE ADVERTISEMENT TO THE THIRD EDITION, ORIGINAL CHAPTER I. ORIGIN OF THE TEMPORAL POWER OF THE POPES CHAPTER II. ENTERPRIZES OF THE POPES OF THE NINTH CENTURY CHAPTER III. TENTH CENTURY CHAPTER IV. ENTERPRISES OF THE POPES OF THE ELEVENTH CEN- TURY CHAPTER V. CONTESTS BETWEEN THE POPES AND THE SOVEREIGNS OF THE TWELFTH CENTURY CHAPTER VI. POWER OF THE POPES OF THE THIRTEENTH CENTURY CHAPTER VII. FOURTEENTH CENTURY CHAPTER VIII. FIFTEENTH CENTURY CHAPTER IX. POLICY OF THE POPES OF THE SIXTEENTH CENTURY CHAPTER X. ATTEMPTS OF THE POPES OF THE SEVENTEENTH CEN- TURY CHAPTER XII. RECAPITULATION CHRONOLOGICAL TABLE ENDNOTES AND iv TO THE REV. RICHARD T. P. POPE, AT WHOSE SUGGESTION IT WAS UNDERTAKEN, THIS TRANSLATION OF THE PAPAL POWER IS INSCRIBED, AS A SMALL TRIBUTE OF RESPET AND REGARD BY HIS AFFECTIONATE FRIEND, THE TRANSLATOR. TRANSLATORS PREFACE HE Work of whi the following is a translation, had its origin in the trans- T actions whi took place between Pius VII. -
Reception of Josquin's Missa Pange
THE BODY OF CHRIST DIVIDED: RECEPTION OF JOSQUIN’S MISSA PANGE LINGUA IN REFORMATION GERMANY by ALANNA VICTORIA ROPCHOCK Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. David J. Rothenberg Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2015 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Alanna Ropchock candidate for the Doctor of Philosophy degree*. Committee Chair: Dr. David J. Rothenberg Committee Member: Dr. L. Peter Bennett Committee Member: Dr. Susan McClary Committee Member: Dr. Catherine Scallen Date of Defense: March 6, 2015 *We also certify that written approval has been obtained for any proprietary material contained therein. TABLE OF CONTENTS List of Tables ........................................................................................................... i List of Figures .......................................................................................................... ii Primary Sources and Library Sigla ........................................................................... iii Other Abbreviations .................................................................................................. iv Acknowledgements ................................................................................................... v Abstract ..................................................................................................................... vii Introduction: A Catholic -
The Dating and Provenance of Bologna, Civico Museo Bibliografico Musicale, MS Q 19
The Dating and Provenance of Bologna, Civico Museo Bibliografico Musicale, MS Q 19 ROBERT NOSOW It ha, now been mm·e than twenty yea" 'ince the publication of Edward E. Lowinsky's edition of the Medici Co dex.' The theses presented by Lowinsky concerning the Medici Co dex and concerning Bologna, Civico Museo Bibliografico Musicale, 92 MS Q 19, "the Rusconi Codex," have occasioned much comment and stimulated substantial new research. Most of the discussion concern ing Q 19 has been tied to the hypotheses set out by Lowinsky, and less has been said about the general problems presented by the manu script.2 In view of the recent publication of the manuscript in the Garland series of Renaissance Music in Facsimile, the time is ripe to synthesize some of the subsequent research findings-mostly pub lished as reviews of or responses to Lowinsky-and to add new evi dence that may present a solution to the problems of dating and provenance.'~ The question of the provenance of Q 19 has aroused a great deal of debate not only because of the importance of the collection, but because it offers so many different clues. I will deal briefly with the relevant aspects of physical structure and organization. The manu script comprises 211 paper folios, with 7 preliminary folios, 202 folios with original numeration in ink on the top right hand corner of each ' Edward E. Lowinsky, ed., The Medici Codex of 1518 (Chicago and London, 1968), published as vols. III-V of Monuments of Renaissance Music, 8 vols. to date, general editor Edward E. -
Universiv Microtlms International 300 N
INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note w ill appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper left hand comer o f a large sheet and to continue from left to right in equal sections with small overlaps. I f necessary, sectioning is continued again-beginning below the first row and continuing on until complete. -
Heinrich Finck Missa in Summis Stuttgart 1511 Württembergische Landesbibliothek
GIOMAR GARCIA STHEL Heinrich Finck MISSA IN SUMMIS Stuttgart 1511 Württembergische Landesbibliothek Giomar Garcia Sthel (Brésil) Direction Claudia Habermann (Brésil) Soprano Tobias Knaus (Allemagne) Alto Andrès Montilla-Acurero (Venezuela) Ténorino Daniel Issa (Brésil) Ténor Georg Gädker (Allemagne) Basse Florian Küppers (Allemagne) Basse Patrick Denecker (Belgique) Flûte à bec et doulciane Rachel Heymans (Belgique) Flûte à bec et bombarde Kentaro Nakata (Japon) Viole de gambe Martin Chiang (Taiwan) Doulciane Elina Veronese (Italie) Trombone ténor Audrey Christensen (USA) Trombone basse Francesco Tomasi (Italie) Luth Andreas Plattner (Allemagne) Tambour Montbéliard Temple Saint-Martin Vendredi 4 juillet 2014 20 h 30 Heinrich Finck (Bamberg 1445 - Vienne 1527)1 L’un des grands polyphonistes cathédrale de Salzbourg, près du allemands. Son élève Thomas Stoltzer prince-archevêque Matthäus Lang. (1480-1526) et le Suisse Ludwig Senfl L’année de sa mort, au couvent des (1488-1543) mis à part, aucun maître Écossais de Vienne, il venait de recevoir allemand d’importance n’avait avant le poste envié de maître de chapelle du Finck écrit dans le style vocal qui était futur empereur Ferdinand Ier. alors à l’honneur en Europe occidentale On connaît de lui six messes ou et où excellaient les Franco-Flamands fragments de messe, quarante et les Italiens. Son style pourrait être motets, vingt-huit hymnes et trente- situé entre celui d’Ockeghem et celui huit Deutschelieder, lesquels figurent de Josquin des Prés. Prêtre, il vécut parmi ses meilleures compositions. plusieurs dizaines d’années comme Retenons le nom de deux de ses élèves chantre et maître de chapelle à ou continuateurs : Johann Zanger Cracovie, à la cour des rois de Pologne : (1517-1587) et Rupert Unterholzer (né Jean-Albert Ier(1492), Alexandre (1501) vers 1505-1510). -
1. Humanism and Honour in the Making of Alessandro Farnese 35
6 RENAISSANCE HISTORY, ART AND CULTURE Cussen Pope Paul III and the Cultural Politics of Reform of Politics Cultural the and III Paul Pope Bryan Cussen Pope Paul III and the Cultural Politics of Reform 1534-1549 Pope Paul III and the Cultural Politics of Reform Renaissance History, Art and Culture This series investigates the Renaissance as a complex intersection of political and cultural processes that radiated across Italian territories into wider worlds of influence, not only through Western Europe, but into the Middle East, parts of Asia and the Indian subcontinent. It will be alive to the best writing of a transnational and comparative nature and will cross canonical chronological divides of the Central Middle Ages, the Late Middle Ages and the Early Modern Period. Renaissance History, Art and Culture intends to spark new ideas and encourage debate on the meanings, extent and influence of the Renaissance within the broader European world. It encourages engagement by scholars across disciplines – history, literature, art history, musicology, and possibly the social sciences – and focuses on ideas and collective mentalities as social, political, and cultural movements that shaped a changing world from ca 1250 to 1650. Series editors Christopher Celenza, Georgetown University, USA Samuel Cohn, Jr., University of Glasgow, UK Andrea Gamberini, University of Milan, Italy Geraldine Johnson, Christ Church, Oxford, UK Isabella Lazzarini, University of Molise, Italy Pope Paul III and the Cultural Politics of Reform 1534-1549 Bryan Cussen Amsterdam University Press Cover image: Titian, Pope Paul III. Museo di Capodimonte, Naples, Italy / Bridgeman Images. Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout isbn 978 94 6372 252 0 e-isbn 978 90 4855 025 8 doi 10.5117/9789463722520 nur 685 © B. -
The Sources and the Performing Traditions. Alexander Agricola: Musik Zwischen Vokalität Und Instrumentalismus, Ed
Edwards, W. (2006) Agricola's songs without words: the sources and the performing traditions. Alexander Agricola: Musik zwischen Vokalität und Instrumentalismus, ed. Nicole Schwindt, Trossinger Jahrbuch für Renaissancemusik 6:pp. 83-121. http://eprints.gla.ac.uk/4576/ 21th October 2008 Glasgow ePrints Service https://eprints.gla.ac.uk Warwick Edwards Agricola’s Songs Without Words The Sources and the Performing Traditions* In 1538 the Nuremberg printer Hieronymus Formschneider issued a set of part- books entitled Trium vocum carmina1 and containing a retrospective collection of one hundred untexted and unattributed three-voice compositions, six of which can be assigned to Agricola. Whoever selected them and commissioned the publication added a preface (transcribed, with English translation in Appendix pp. 33–4) that offers – most unusually for the time – a specific explanation for leaving out all the words. This turns out to have nothing to do with performance, let alone the possible use of instruments, which are neither ruled in nor ruled out. Nor does it express any worries about readers’ appetites for texts in foreign languages, or mention that some texts probably never existed in the first place. Instead, the author pleads, rather surprisingly, that the appearance of the books would have been spoilt had words variously in German, French, Italian and Latin been mixed in together. Moreover, the preface continues, the composers of the songs had regard for erudite sonorities rather than words. The learned musician, then, will enjoy the -
THE POCKET GUIDE to the Popes
THE POCKET GUIDE TO the Popes RICHARD P. McBRIEN Contents Introduction 1 The Popes 11 Index of Names 339 About the Author Other Books by Richard P. McBrien Credits Cover Copyright About the Publisher introduction This book contains the abridged profiles of all of the popes of the Catholic Church organized chronologically according to the dates of their respective terms of office. For the complete profiles, readers should consult the full edition, originally published in hard cover by HarperSanFrancisco in 1997, subsequently released in paperback in 2000, and finally issued in an updated edi- tion that includes Pope Benedict XVI in 2006. The full edition contains many original features; this abridged edition is limited to profiles of individual popes that rely upon secondary source material for their factual and historical content. For a listing of these sources and an explanation of how they were incorporated into the pro- files, the reader should consult the Preface and the Select Bibliography of the full edition. WHAT IS A POPE? The offi ce occupied by the pope is known as the papacy. The pope’s principal title is Bishop of Rome. In addition to his immediate pastoral responsibilities as Bishop of Rome, the pope also exercises a special ministry on be- half of the universal Church. It is called the Petrine min- istry, because the Catholic Church considers the pope to be the successor of the Apostle Peter. As such, he has the 2 the pocket guide to the popes duty to preserve the unity of the worldwide Church and to support all of his brother bishops in the service of their own respective dioceses. -
The Articulation of Cultural Identity Through Psalm Motets, Augsburg 1540–1585
THE ARTICULATION OF CULTURAL IDENTITY THROUGH PSALM MOTETS, AUGSBURG 1540–1585 Megan K. Eagen A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2016 Approved by: Anne MacNeil Tim Carter John Nádas David Crook Ruth von Bernuth © 2016 Megan K. Eagen ALL RIGHTS RESERVED ii ABSTRACT Megan K. Eagen: The Articulation of Cultural Identity through Psalm Motets, Augsburg 1540–1585 (Under the direction of Anne MacNeil) In this dissertation, I analyze the social and religious climate in Augsburg from 1540–1585 through the lens of psalm motets. The period between the initial shockwave of the Reformation and the sociocultural upheavals that ultimately produced the Thirty Years War may be characterized as one of intense negotiations regarding religious freedoms. The environment encouraged and even necessitated the development of materials oriented toward specific confessional groups. At the same time, residents of biconfessional cities such as Augsburg needed to find subtle or nonconfrontative ways to express their views. Despite both nascent and deep-seated differences, Catholics and Protestants of diverse sects all used the Psalter. This study interprets selections and centonizations of musically set psalm texts as indicators of multireligious communal identities. Source materials consulted for this project include over one hundred prints and manuscripts of motets held at the Augsburg State and City Library and at the Bavarian State Library in Munich. The makeup of this repertory is defined by Augsburg’s close connection to the Habsburg dynasty: composers represented in these volumes were active almost exclusively within the bounds of the Holy Roman Empire, and many composed for imperial courts. -
Matthaeus Pipelare's "Fors Seulement Chanson (II)" and Its Related Motet and Mass Performance Editions and Commentary George H
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Matthaeus Pipelare's "Fors seulement chanson (II)" and its related motet and mass performance editions and commentary George H. Black, Jr. Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Black, Jr., George H., "Matthaeus Pipelare's "Fors seulement chanson (II)" and its related motet and mass performance editions and commentary" (2003). LSU Doctoral Dissertations. 1444. https://digitalcommons.lsu.edu/gradschool_dissertations/1444 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. MATTHAEUS PIPELARE’S FORS SEULEMENT (II) CHANSON AND ITS RELATED MOTET AND MASS PERFORMANCE EDITIONS AND COMMENTARY A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music By George H. Black, Jr. B.M.E., Mississippi State University M.S.M., Southern Methodist University December 2003 ©Copyright 2003 George Herman Black, Jr. All rights reserved ii ACKNOWLEDGMENTS Thanks and appreciation are gratefully expressed to those who have assisted me in the completion of this project: To Dr. Kenneth Fulton and Dr. Sara Lynn Baird who have provided such knowledge and assistance throughout my studies; To Dr. William Grimes and Dr. -
Medren Basel 2019 Program.Pdf
MedRen 2019 Basel 3-6 July 2019 Table of contents 1 Program Committee 2 2 Program 4 3 Abstracts 19 4 Practical information 141 5 Concerts & events 144 6 Supporters 152 Mailing list 153 1 MedRen 2019 Basel 3-6 July 2019 1 Program Committee Dr. Christelle Cazaux-Kowalski (Schola Cantorum Basiliensis) Prof. Dr. Felix Diergarten (Hochschule für Musik Freiburg) Prof. Dr. Inga Mai Groote (Universität Zürich) JProf. Dr. Irene Holzer (Universität Hamburg) Prof. Dr. Martin Kirnbauer (Schola Cantorum Basiliensis) Dr. Agnese Pavanello (Schola Cantorum Basiliensis) Prof. Dr. Katelijne Schiltz (Universität Regensburg) Prof. Dr. Thomas Schmidt (University of Huddersfiled) PD Dr. Hana Vlhovà-Wörner (Universität Basel / Academy of Sciences of the Czech Republic) Organization, coordination and support Birgit Knab Helpers Darina Ablogina Christoph Ballmer Kimon Barakos Leonardo Bortolotto Simon Burri Cathrin Dux Andreas Eng Christine Eng Robin Furger Helen Gebhart Hausdienst der Musik-Akademie Basel Simone Hutmacher-Oesch Kathrin M. Menzel Meike Olbrich Jonas Prina Isabelle Rohner Claudia Schärli Charlotte Schneider Iris Simon Andreas Westermann Arthur Wilkens Aliénor Wolteche 2 MedRen 2019 Basel 3-6 July 2019 Grüezi! Welcome! Liebe Kolleginnen und Kollegen, chers collègues, dear colleagues, Grüezi! We are delighted to welcome you to the «47th Medieval and Renaissance Music Conference 2019» on the Campus of the Musik-Akademie in Basel. Basel is proud to host this important meeting of scholars devoted to Medie- val and Renaissance Music – for the first time in Switzerland. MedRen 2019 has been organised by an association formed from members of the Schola Cantorum Basiliensis / FHNW and the Musicology Seminar of the University of Basel.