A Stylistic Analysis
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Introduction
Cambridge University Press 978-0-521-19347-4 - Ritual Meanings in the Fifteenth-Century Motet Robert Nosow Excerpt More information Introduction As a dynamic force in the musical development of the fifteenth century, the motet has long been studied for the beauty of its polyphony and its prominent place in the manuscripts of the period. The genre has been associated with important churches, cathedrals, and princely courts across Western Europe. Motets rank among the most celebrated works of John Dunstaple, Guillaume Du Fay, Jacob Obrecht, and a host of other brilliant composers. Yet the motet also appears as a mysterious genre, both because of the multiplicity of forms it takes and because of the intractability of several related, unanswered questions. The investigation that follows addresses one central question: why did people write motets? In the last two decades, scholarly explications of individual motets have aimed to elucidate their potential significance for the late medieval period. Working from the texts and music outward has yielded new insights into the relationships between motets and fifteenth-century culture.1 Scholars inevitably have focused their attention on the few motets with overt cer- emonial associations, the Staatsmotetten. At the same time, the ability to ground interpretive or theoretical approaches in a concrete understanding of how motets were used in performance has proven elusive. Chroniclers of the fifteenth century, despite their keen interest in matters of ritual, did not consider it important enough to describe in detail the music at events of high state, or at imposing ecclesiastical ceremonies. They rarely mention the performance of motets, expressing more interest in the personages who 1 Among such studies for the first three quarters of the fifteenth century are J. -
Holy Day of Obligation San Diego Diocese
Holy Day Of Obligation San Diego Diocese Autocephalous and sandiest Paddie chooks: which Amory is thicketed enough? Sprinkled Wojciech pickles, his apprizer elides replay mineralogically. Reilly standardizing upstairs if strait Teddy clangour or quadrates. Many of puppet have been providing for your people playing these days he said. Sunday of great to mexican sections of san diego: los angeles is ill, diocese of obligation san diego holydays of obligation to other. Liturgy and Spirituality The Roman Catholic Diocese of San. SC and the Juneteenth holiday celebrating the tick of slavery in the United States. Do there Have Mass Coronavirus Closures and Dispensations. They have holy days on diocese san diego dioceses of meetings of church on adoption unless there be linking to attend mass for day of deputies shall revert to. The san diego. San Ignaco July 31 San Jos May 1 San Martin de Porres November 3 Sangre de Cristo Feast meal of Corpus Christi. Pandemic is holy day is a san diego diocese of whom they. This seems a beautifully symbolic and joyful feast at which to murder together of our Eucharistic communities. Bishop McElroy has removed the obligation for the foreseeable future. Language and diocese diego rules of christmas, will not approved and san diego of their age. Allows for days help us in so long as catholics from thursday or friday, diocese diego holydays of san diego holydays of diego. Dear Parishioners, Greetings and I wish you all leave happy Pentecost! Ransom sacrifice of san diego holydays spiritual communion via canon law. The adultery in that sacred mission to proclaim that Gospel of Jesus Christ. -
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. -
A Central European Composer
De musica disserenda II/1 • 2006 • 103–112 PETRUS WILHELMI DE GRUDENcz (b. 1392) – A CENTRAL EUROPEAN COMPOSER Paweł Gancarczyk Polish Academy of Sciences, Warsaw Abstract: According to present knowledge, Petrus Izvleček: Po sedanjem vedenju sestoji opus Petrusa Wilhelmi’s output numbers about 40 compositions Wilhelmi iz ok. 40 kompozicij, ohranjenih v pri- preserved in about 45 sources. Apart from Latin bližno 45 virih. Poleg latinskih pesmi (cantiones) songs (cantiones) he composed polytextual motets je komponiral politekstualne motete in kanone and canons (rotula). Petrus Wilhelmi was active (rotula). Petrus Wilhelmi je deloval skoraj izključno almost exclusively on the ground of Central Europe le v srednji Evropi in predstavlja najizrazitejšega and must be regarded as the most prominent Central srednjeevropskega skladatelja 15. stol. European composer of the 15th century. Keywords: 15th-century polyphony, polytextual motet, Ključne besede: polifonija 15. stol., politekstualni cantio, music in Central Europe motet, cantio, glasba v srednji Evropi Thirty years ago, in 1975, the Czech musicologist Jaromír Černý announced the discovery of a new composer – Petrus Wilhelmi de Grudencz. The discovery was based on research into the Bohemian repertory of fifteenth- and sixteenth-century polyphonic music. Černý distinguished in it a group of stylistically related compositions, the texts of which contained the acrostic “Petrus”. However, the key part in the discovery of the previously unknown composer was played by the motet Pneuma eucaristiarum / Veni vere / Dator eya / Paraclito tripudia. This was a work composed for four voices, each voice with a different text. One of the texts contained the acrostic “Petrus”, the remaining two the acrostics “Wilhelmi” and “de Grudencz”. -
CDSG Newsletter - Winter 2021 Page 2
CDSGThe Newsletter The Coast Defense Study Group, Inc. — Winter 2021 * * * * * CDSG Meeting and Tour Calendar Membership Minute Please advise Terry McGovern of any additions Quentin Schillare or changes at [email protected] As we move into the second month of 2021 the membership 2021 CDSG Special Tour of the Coast Defense Study Group has grown a bit. We now have August 21 - 29 and August 25 - September 3, 2021 403 individual members and 19 organizational members for a Sweden total of 422. This total includes 18 new members, including two Terry McGovern, [email protected] who have rejoined after a short break. It is unknown what impact the coronavirus has had on membership. Membership depends 2021 CDSG Conference on several variables. Some members join and renew to have access October 12 - 17, 2021 to our quarterly publications, others sign up to be eligible for a Charleston/Savannah conference or special tour, and still others with an interest in the Gary Alexander, [email protected] history of seacoast fortifications find us on the Internet or from a friend. Regardless, membership supports all CDSG activities. 2022 CDSG Conference Things are quiet now, but they will pick up in October with the March 30 - April 3, 2022 Charleston/Savannah conference followed six months later in late New Orleans March 2022 with our visit to New Orleans. Quentin Schillare, [email protected] * * * * * 2021 Nominations Committee for the 2023 CDSG Special Tour CDSG Board September Northern Poland Terry McGovern – Corporate Secretary Terry McGovern, [email protected] The CDSG Nominations Committee, Danny Malone, Tom Other Meetings and Tours Batha, and Alex Hall, are seeking board candidates for the full Board to consider by May 1, 2021. -
Article Du Dr Eric Faure
Textes Français/Anglais ’Association Aux Sources de la Provence poursuit la collection « Césaire d’Arles et les cinq Lcontinents ». Vous trouverez douze contributions diverses (français/anglais), telles que : ASP Césaire d’Arles « Comment j’ai fait mon édition des œuvres de Césaire » (Dom Germain Morin †), « L’émotion d’un retour à Rome » (Exposition au Vatican 2017), « Traduire Césaire à l’Université catholique d’Amérique », « Petit traité de la Grâce » (Césaire d’Arles), « Les premiers témoins du paludisme et les cinq continents en Provence » (archéologie), « Césaire d’Arles et Lérins », etc. Caesarius von Arles Nous préparons déjà le tome III Allemand (2019) sur le thème : « Hérésie et Caesario di Arles superstition chez Césaire » et le Italien tome IV (2020) sur « l’in- Cezarego z Arles uence d’Augus tin dans Polonais l’œuvre de Césaire». Cazarie de Arles Polonais Volume II Volume Tome II – Tome 神學詞語彙編 Chinois Cezarie de Arles Roumain he Association Aux Sources Cesareo de Arlés T de la Provence continues its Espagnol collection “Caesarius of Arles and the Caesarius Arelatensis Five Continents”. is volume contains Latin twelve articles (French/English), including: Цезарий Арелатский “How I published the work of Saint Caesarius of Arles” Russe (Dom Germain Morin †), “ e emotion of returning to Rome” (an exhibition at the Vatican in 2017), “Translating Caesarius at the Catholique University of America”, “A small Treatise on Grace” (Caesarius of Arles), “ e rst mention of malaria in Provence” (archaeology), “Caesarius and Lérins”, etc. Caesarius of Arles Volume III (to be published in 2019) is already in preparation on the theme of “Heresy and superstition in Caesarius”. -
From Historical Concerts to Monumental Editions: the Early Music Revivals at the Viennese International Exhibition of Music and Theater (1892)
From Historical Concerts to Monumental Editions: The Early Music Revivals at the Viennese International Exhibition of Music and Theater (1892) María Cáceres-Piñuel All content is licensed under a Creative Commons Attribution 4.0 International License. Received: 28/08/2019 Published: 03/04/2021 Last updated: 03/04/2021 How to cite: María Cáceres-Piñuel, “From Historical Concerts to Monumental Editions: The Early Music Revivals at the Viennese International Exhibition of Music and Theater (1892),” Musicologica Austriaca: Journal for Austrian Music Studies (April 03, 2021) Tags: 19th century; Adler, Guido; Böhm, Josef; Cecilian Movement; Denkmäler der Tonkunst in Österreich (DTÖ); Early music programming ; Hermann, Albert Ritter von; Historical concerts; International Exhibition of Music and Theater (Vienna 1892); Joachim, Amalie; National monumental editions This article is part of the special issue “Exploring Music Life in the Late Habsburg Monarchy and Successor States,” ed. Tatjana Marković and Fritz Trümpi (April 3, 2021). Most of the archival research needed to write this article was made possible thanks to a visiting fellowship in the framework of the Balzan Research Project: “Towards a Global History of Music,” led by Reinhard Strohm. I have written this article as part of my membership at the Swiss National Science Fund (SNSF) Interdisciplinary Project: “The Emergence of 20th Century ‘Musical Experience’: The International Music and Theatre Exhibition in Vienna 1892,” led by Cristina Urchueguía. I want to thank Alberto Napoli and Melanie Strumbl for reading the first draft of this text and for their useful suggestions. The cover image shows Ernst Klimt’s (1864–92) lithograph for the Viennese Exhibition of 1892 (by courtesy Albertinaof Sammlungen Online, Plakatsammlung, Sammlung Mascha). -
Calendar Christs Time for the Church 1St Edition Pdf, Epub, Ebook
CALENDAR CHRISTS TIME FOR THE CHURCH 1ST EDITION PDF, EPUB, EBOOK Laurence Hull Stookey | 9780687011360 | | | | | Calendar Christs Time for the Church 1st edition PDF Book Over all though I think he gave a good feel for not only the meaning of the calendar and its role in the church to day, but also an overview of the history of the way the Church and its calendar has evolved over the centuries. Seller Inventory As in Advent, the deacon and subdeacon of the pre form of the Roman Rite do not wear their habitual dalmatic and tunicle signs of joy in Masses of the season during Lent; instead they wear "folded chasubles", in accordance with the ancient custom. The dates of the festivals vary somewhat between the different churches, though the sequence and logic is largely the same. American Catholic literature Bible fiction Christian drama Christian poetry Christian novel Christian science fiction Spiritual autobiography. Special occasion bulletins are also available for baptisms, ordinations and funerals. The greatest feast is Pascha. The Fathers on the Sunday Gospels. The season begins on January 14 [24] and ends on the Saturday before Septuagesima Sunday. Help Learn to edit Community portal Recent changes Upload file. The letter was his response to a public statement of caution outlined in A Call for Unity that had been issued by seven white Christian ministers and one Jewish rabbi, who agreed that there were injustices, but argued that the battle against segregation should be fought patiently and in the courts, not the streets. Annually recurring fixed sequence of Christian feast days. -
Graduate-Dissertations-21
Ph.D. Dissertations in Musicology University of North Carolina at Chapel Hill Department of Music 1939 – 2021 Table of Contents Dissertations before 1950 1939 1949 Dissertations from 1950 - 1959 1950 1952 1953 1955 1956 1958 1959 Dissertations from 1960 - 1969 1960 1961 1962 1964 1965 1966 1967 1968 1969 Dissertations from 1970 - 1979 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 Dissertations from 1980 - 1989 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 Dissertations from 1990 - 1999 1990 1991 1992 1994 1995 1996 1998 1999 Dissertations from 2000 - 2009 2000 2001 2002 2003 2005 2006 2007 2008 2009 Dissertations since 2010 2010 2013 2014 2015 2016 2018 2019 Dissertations since 2020 2020 2021 1939 Peter Sijer Hansen The Life and Works of Dominico Phinot (ca. 1510-ca. 1555) (under the direction of Glen Haydon) 1949 Willis Cowan Gates The Literature for Unaccompanied Solo Violin (under the direction of Glen Haydon) Gwynn Spencer McPeek The Windsor Manuscript, British Museum, Egerton 3307 (under the direction of Glen Haydon) Wilton Elman Mason The Lute Music of Sylvius Leopold Weiss (under the direction of Glen Haydon) 1950 Delbert Meacham Beswick The Problem of Tonality in Seventeenth-Century Music (under the direction of Glen Haydon) 1952 Allen McCain Garrett The Works of William Billings (under the direction of Glen Haydon) Herbert Stanton Livingston The Italian Overture from A. Scarlatti to Mozart (under the direction of Glen Haydon) 1953 Almonte Charles Howell, Jr. The French Organ Mass in the Sixteenth and Seventeenth Centuries (under the direction of Jan Philip Schinhan) 1955 George E. -
Stuttgart 95, Devotional Music, and The
VEIL AND TONSURE : STUTTGART 95, DEVOTIONAL MUSIC, AND THE DISCURSIVE CONSTRUCTION OF GENDER IN THIRTEENTH-CENTURY DOUBLE HOUSES by LAUREN ELIZABETH PURCELL-JOINER A DISSERTATION Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy March 2017 DISSERTATION APPROVAL PAGE Student: Lauren Elizabeth Purcell-Joiner Title: Veil and Tonsure : Stuttgart 95, Devotional Music, and the Discursive Construction of Gender in Thirteenth-Century Double Houses This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Music and Dance by: Lori Kruckenberg Chairperson Marc Vanscheeuwijck Core Member Loren Kajikawa Core Member Lisa Wolverton Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded March 2017 ii © 2017 Lauren Elizabeth Purcell-Joiner iii DISSERTATION ABSTRACT Lauren Elizabeth Purcell-Joiner Doctor of Philosophy School of Music and Dance March 2017 Title: Veil and Tonsure : Stuttgart 95, Devotional Music, and the Discursive Construction of Gender in Thirteenth-Century Double Houses This dissertation provides the first full-scale musicological study of Stuttgart 95, a thirteenth-century song book, formerly thought to be from the abbey of Weingarten. Upon further examination, it is clear that rather than a single unified corpus of Latin songs, the musical portions are composed of three separate layers. Furthermore, I argue that these layers were best understood as separate entities. This delineation between writing campaigns indicates that the original musical project likely constitutes a mostly intact collection, with only one or two folios missing from the beginning of the codex. -
Introduction
i INTRODUCTION This instalment-type edition of the Trent 89 repertory succeeds my previous Ex Codicis II series, and the editorial method is the same as with my current work on Trent 91. Anybody who is vaguely familiar with the contents and size of the Trent manuscripts will realise that academic coverage of them is inconsistent. The most neglected are probably Trent 93 and Trent 89. Regarding the latter, by far the biggest contribution to modern studies was Louis Gottlieb’s Ph. D. dissertation of 1958 which gave descriptions and transcriptions of what he thought were the complete cyclic Masses in the manuscript. This is still an amazing and very thorough piece of work. Gottlieb’s priorities were slightly different to those which the writer of such a study might have nowadays. What he wrote – I think - was heavily influenced by the following considerations. Firstly there were few accepted criteria for assessing a work as English or Anglophile, so he probably felt duty-bound to explain his thoughts about the provenance of individual works. Secondly, he may have felt equally obliged to explain the oddities of fifteenth-century partwriting in a meticulous, ‘Reesian’ manner which makes this study a gem for those investigating the music for the first time. Third, he must have been aware that his chosen subject was a relatively new world – full of uncertainties - into which only a few people had ventured. Lastly, he was also no doubt aware that some Masses which he wrote about had already been the subject of intensive study, while with others he was the first person to write about them in modern times. -
Mid-Fifteenth-Century English Mass Cycles in Continental Sources, Vol
Mid-Fifteenth-Century English Mass Cycles in Continental Sources, vol. 1 James Matthew Cook Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy July 2014 Abstract Fifteenth-century English music had a profound impact on mainland Europe, with several important innovations (e.g. the cyclic cantus firmus Mass) credited as English in origin. However, the turbulent history of the Church in England has left few English sources for this deeply influential repertory. The developing narrative surrounding apparently English technical innovations has therefore often focussed on the recognition of English works in continental manuscripts, with these efforts most recently crystallised in Curtis and Wathey’s ‘Fifteenth-Century English Liturgical Music: A List of the Surviving Repertory’. The focus of discussion until now has generally been on a dichotomy between English and continental origin. However, as more details emerge of the opportunities for cultural cross-fertilisation, it becomes increasingly clear that this may be a false dichotomy. This thesis re-evaluates the complex issues of provenance and diffusion affecting the mid-fifteenth-century cyclic Mass. By breaking down the polarization between English and continental origins, it offers a new understanding of the provenance and subsequent use of many Mass cycles. Contact between England and the continent was frequent, multifarious and quite possibly reciprocal and, despite strong national trends, there exists a body of work that can best be understood in relation to international cultural exchange. This thesis helps to clarify the i provenance of a number of Mass cycles, but also suggests that, for Masses such as the anonymous Thomas cesus and Du cuer je souspier, Le Rouge’s So ys emprentid, and even perhaps Bedyngham’s Sine nomine, cultural exchange is key to our understanding.