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PÓRTICO LIBRERÍAS www.porticolibrerias.es Muñoz Seca, 6 Tel. 976 35 70 07 50005 ZARAGOZA • España Fax (+34) 976 35 32 26 Responsable de la Sección: Concha Aguirre MÚSICA 23 de abril 2011 — Día del libro 10% de descuento para los pedidos de esta selección que se envíen entre los días 18 al 25 de abril exclusivamente por correo electrónico sin mezclar con otros títulos y citando «Día del libro». 10% discount to orders of these titles sent to us between 18 and 25 of April by e-mail separately and quoting «Día del libro». 001 ABELES, H. F. / L. A. CUSTODERO, EDS.: CRITICAL ISSUES IN MUSIC EDUCATION. CONTEMPORARY THEORY AND PRACTICE 2010 – xii + 356 pp., 4 fig. € 58,00 002 AGAWU, K.: MUSIC AS DISCOURSE. SEMIOTIC ADVENTURES IN ROMANTIC MUSIC 2009 – vii + 336 pp., 110 not. € 37,75 ÍNDICE: 1. Theory: Music as language — Criteria for analysis I — Criteria for analysis II — Bridges to free composition — Paradigmatic analysis — 2. Analyses: Liszt, Orpheus (1853-4) — Brahms, Intermezzo, op. 119 no.2 (1893), Brahms, Symphony no. 1/II (1872-76) — Mahler, Symphony no. 9/I (1908-09) — Beethoven, String quartet op. 130/I (1825-26), Stravinsky, Symphonies of wind instruments (1920) — Epilogue. 003 AGUSTONI, L. / J. B. GOESCHL: INTRODUZIONE ALL’INTERPRETAZIONE DEL CANTO GREGORIANO, 2: ESTETICA, 2 VOLS. 2009 – 836 pp. € 94,00 004 ALMEN, B.: A THEORY OF MUSICAL NARRATIVE 2008 – xiv + 248 pp., 44 not. € 34,80 ÍNDICE: 1. A Theory of Musical Narrative: An introduction to narrative analysis: Chopin’s Prelude in G major, op. 28, no. 3 — Perspectives and critiques — A theory of musical narrative: conceptual PÓRTICO LIBRERÍAS Música_23 de abril_Día del ñibro 2 considerations; analytical considerations — Narrative and topic — 2. Archetypal Narratives and Phases: Romance narratives and Micznik’s degrees of narrativity — Tradic narratives: an extended analysis of Schubert, Piano sonata in Bb major, d. 960, first movement — Ironic narratives: subtypes and phases — Comic narratives and discursive strategies — Summary and conclusionn. 005 ALVAREZ BARRIENTOS, J. / B. LOLO, EDS.: TEATRO Y MUSICA EN ESPAÑA: LOS GENEROS BREVES EN LA SEGUNDA MITAD DEL SIGLO XVIII 2008 – 526 pp., not. € 28,00 ÍNDICE: 1. Teatro breve e historiografía: J. Álvarez Barrientos: Acerca de la historiografía sobre el teatro breve del siglo XVIII. La musa y la crítica castizas como defensoras de la patria amenazada — B. Lolo: Sainetes y tonadillas con música en el Madrdid del siglo XVIII (1750-1765) — A. Le Duc: Los géneros breves: continuidad y rupturas en la primera mitad del siglo XIX — 2. Tonadilla escénica: R. Pérez Mora: El villancico de tonadilla, un digno antecedente de la «tonadilla escénica» — J. Díaz: Instrumentos musicales en la tonadilla — A. Pessarrodona: Aportaciones al estudio del uso del catalán en el teatro barcelonés del siglo XVIII a partir de la tonadilla escénica — C. I. Pina Caballero: La figura del murciano en la música escénica dieciochesca — A. Presas: Aproximación a la forma literario-musical de las seguidillas en la tonadilla escénica — M. Fernández Pan: Los hermanos Raboso y la tonadilla «Los dos hermanos» de José Lidón — E. Le Guin: Hacia una revalorización de la tonadilla tardía — L. Crespillo: Tonadillas y tonadilleras en «la novela teatral» — 3. Sainetes: A. Romero Ferrer: El sainete y la tonadilla escénica en los orígenes del costumbrismo andaluz — A. Calderone: El texto espectacular de los sainetes — M. Coulon: Müsica y sainetes. Ramón de la Cruz — M. L. Tobar: Dos sainetes representados por la compañía de Manuel Mar´tinez con la comedia de carnaval de 1774 — J. M. Sala Valldaura: Pablo Esteve, sainetero: «Despedido quien despide» y «El calderero y la vecindad» — H. Falk: La participación musical en los sainetes de Luis Moncín — C. Peytavy: Música, canto y baile en los sainetes de Sebastián Vázquez (1773-1793) — M. R. Leal Bonmati: «Las besugueras», de Gaspar Zavala y Zamora — 4. Otros géneros breves: E. Huertas: Raras pequeñas especies dramático-musicales — M. Angulo: Los melólogos de Comella-Laserna en el ideal ilustrato de expresión teatral — G. Labrador López de Azcona: MOmentos musicales en los melólogos de Laserna-Comella. Música, texto y pantomima en la escena madrileña de finales del s. XVIII — G. Mera: La danza, el baile, los saraos, la danza escsénica y los bailes populares. Notas y precisiones sobre su estado en la España ilustrada — A. Aguerri: Catalogación de los apuntes de teatro en la Biblioteca histórica municipal — A. Presas: Apéndice bibliográfico. 006 ARRIETA, E.: LA CONQUISTA DI GRANATA. DRAMMA LIRICO IN TRE ATTI. LIBRETO DE T. SOLERA. EDICION CRITICA DE R. SOBRINO Y M. E. CORTIZO 2007 – lvii + 682 pp., not. € 50,00 007 BAILEY, T.: THE CHANTS OF THE AMBROSIAN OFFERTORY: THE ANTIPHONS ‘AFTER THE GOSPEL’ AND THE OFFERENDAE 2009 – iv + 269 pp. € 79,50 ÍNDICE: The liturgical function of the antiphons ‘after the gospel’ and the offerendae — The authentic antiphonae post evangelium — The general nature, performance and distribution of the antiphonae post evangelium — Analysis of assignments I: The antiphons ‘post evangelium’ of the temporale — Analysis of the assignments II: The antiphons ‘post evangelium’ of the sanctorale — The authentic offerendae — The nature and distribution of the offerendae — Analysis of the assignments III: the offerendae of the temporale — Analysis of the assignments IV: the offerendae of the sanctorale — Offerendae, offertoria, versus, communia: some generalities and conclusions — Appendices: 1(a): The antiphonae post evangelium in liturgical order with scriptural sources — 1(b): The antiphonae post evangelium in alphabetical order with scriptural sources and assignments — 2(a): The offerendae in liturgical order with scriptural sources — 2(b): The offerendae alphabetically by caput, their scriptural sources and assignments — 3: Offerendae and verses PÓRTICO LIBRERÍAS Música_23 de abril_Día del ñibro 3 with roman-gregorian counterparts — 4(a): AMS assignments of the offertoria of the Sanctorale in liturgical order — 4(b): AMS assignments of the offertoria of the Sanctorale in alphabetical order. 008 BAJEN GARCIA, L. M.: MUSICAS DE LA TIERRA. MELODIAS, BAILES Y MUSICOS POPULARES EN LA PROVINCIA DE ZARAGOZA 2010 – 453 pp., 2 com., fot., lám.col. € 40,00 009 BALL, P.: EL INSTINTO MUSICAL. ESCUCHAR, PENSAR Y VIVIR LA MUSICA 2010 – 515 pp. € 28,00 010 BARCE, R.: LAS PALABRAS DE LA MUSICA. ESCRITOS DE RAMON BARCE. J. F. DE DIOS HERNANDEZ Y E. MARTIN, EDS. 2009 – 789 pp., fot. € 38,00 011 BARNETT, G.: BOLOGNESE INSTRUMENTAL MUSIC, 1660-1710. SPIRITUAL COMFORT, COURTLY DELIGHT, AND COMMERCIAL TRIUMPH 2008 – xix + 394 pp., 19 fig., 185 not. € 80,00 012 BARRERO BALADRON, J. M. / G. A. C. DE GRAAF: EL ORGANO DE SANTA MARINA LA REAL DE LEON Y LA FAMILIA DE ECHAVARRIA, ORGANEROS DEL REY 2004 – 290 pp., fig., 61 fot., lám.col. € 22,00 013 BENOIT, M. / E. KOCEVAR, EDS.: RECHERCHES SUR LA MUSIQUE FRANÇAISE CLASSIQUE, 31: PRATIQUES INSTRUMENTALES AUX XVIIE ET XVIIIE SIECLES 2007 – 227 pp., fig. € 46,00 ÍNDICE: Articles: J. Couture: Nouvelles perspectives sur le répertoire français pour clavecin au XVIIe siècle — M. Écochard: Anciens et nouveaux instruments dans la France du XVIIe siècle: l’exemple du hautbois — L. Charles-Dominique: Le hautbois dans la tradition ménétrière toulousaine: du symbole consulaire à l’instrument de la fête et de la danse — B. Haynes: Le ton de la chambre du roy — Documents: X. Domino: Antoine Lefebvre (1644?-1709), maître facteur d’orgues et de clavecins — D. Amann: Le séjour à Toulon d’André Campra — E. Kocevar: L’orgue du collège Louis-le-Grand au XVIIe siècle à la lumière d’un marché d’orgues inédit — J.-P. C. Montagnier: Rameau, le «Menuet en rondeau» de La Méchanique des doigts et le problème de la forme musicale — B. Scheibert: Who wrote a 1769 book that is tied to the Paris Opera? 014 BIGET-MAINFROY, M. / R. SCHMUSCH, EDS.: «L’ESPRIT FRANÇAIS» UND DIE MUSIK EUROPAS. ENTSTEHUNG, EINFLUSS UND GRENZEN EINER AESTHETISCHEN DOKTRIN / «L’ESPRIT FRANÇAIS» ET LA MUSIQUE EN EUROPE. EMERGENCE, INFLUENCE ET LIMITES D’UNE DOCTRINE ESTHETIQUE. FESTSCHRIFT FÜR HERBERT SCHNEIDER 2007 – xxix + 839 pp. € 93,60 ÍNDICE: 1. «L’esprit français» comme doctrine esthétique – théorie musicale, critique et idéologies: B. Norman: Truth and beauty, beauty and truth: is there a classical french esthetic? — A. Di Profio: «...l’opéra italien n’est pas autre chose qu’un concert...» Aventures et mésaventures d’un topos critique — F. Brusniak: Zum französischen Einfluss auf die musikalische Bildung des Philanthropisten Christian Carl André (1763- 1831) — P. Jost: Grétrys Mémories ou essais sur la musique und ihre zeitgenössischen deutschen Übersetzungen — M. Fend: Der Lexikograph auf dem Kriegspfad: Momignys Polemik gegen die PÓRTICO LIBRERÍAS Música_23 de abril_Día del ñibro 4 französische Oper in der Encyclopédie méthodique — J. Mongrédien: Entre Italie et France: malentendus et vicissitudes d’un transfert culturel — M. Brzoska: Joseph d’Ortigue. Der «Esprit» des Neokatholizismus und das «Kunstwerk der Zukunft» — C. Schneider: L’analyse au service de l’expression musicale dans les écrits théoriques de Mathis Lussy — 2. Tradition courtoise et culture aristocratique: M. Bielitz: Ist Deutschland für die Musikgeschichte des Mittelalters wichtig? — W. Frobenius: Plourés, dames. Zur Balladenmelodik Machauts — N. Schwindt: Die burgundische Formel — W. Salmen: Fontainiers und «l’orgue hydraulique» im 16. und 17 Jahrhundert — P. Béhar: La «Tragédie en musique» et la tradition de l’esthétique de cour — J. S. Powell: Music and Corneille’s Andromède — R. Harris-Warrick: Dance and representation in the operas of Lully — J. de La Gorce: La musique et la danse dans les spectacles donnés par la troupe de Rosidor à Stockholm autour de 1700 — S. Bouissou: A la cour de Parme, une chorégraphie de Jean-Philippe Delisle pour Acis et Galatée — 3. Le chant – l’art populaire: R. Schmusch: Der anamnetische Rhythmus – «Le Chant des oyseaulx» in Clément Janequins Triptychon von 1528 — F. Gétreau: Philippot le Savoyard – Portraits d’un Orphée du Pont-Neuf mêlés de vaudevilles, d’images et de vers burlesques — A.
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  • Middle English Lyrics: Lyric Manuscripts 1200–1400 and Chaucer’S Lyric

    Middle English Lyrics: Lyric Manuscripts 1200–1400 and Chaucer’S Lyric

    Middle English Lyrics: Lyric Manuscripts 1200–1400 and Chaucer’s Lyric by Emma Kate Charters Gorst A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of English University of Toronto © Copyright by Emma Kate Charters Gorst 2013 Middle English Lyrics: Lyric Manuscripts 1200–1400 and Chaucer’s Lyric Emma Kate Charters Gorst Doctor of Philosophy Department of English University of Toronto 2013 Abstract This thesis endeavours to understand late medieval lyric poetry and song from two ostensibly separate contexts: insular manuscript witnesses of English lyric from 1200 to 1400; and the narrative effects of lyric in Geoffrey Chaucer’s longer poetry, including the Canterbury Tales, the Parliament of Fowls, and the Book of the Duchess. These two contexts yield new insights about the medieval lyric. First, an overview of the manuscripts of medieval lyric from 1200 to 1400 in England suggests that about half of anonymous lyrics in this period exist in multiple witnesses and are thus in some sense connected, providing us with the insight that lyric at this time was not so much fragmentary as embedded in rich networks of meaning. The first chapter of the thesis uses network mapping software to represent some of these networks, and discusses the relationships among lyrics that appear in Maidstone, Maidstone Museum MS A.13 and related manuscripts, such as Oxford, Jesus College MS 29, and Cambridge, Emmanuel College MS 27. ii Subsequent chapters of the thesis draw out connections between lyrics and narrative events in Chaucer’s poetry, showing in a very different sense that lyric as a literary form reaches outward from the speaker to the narrative world itself, inviting narrative events to take place.
  • Satire and the Corpus Mysticum During Crises of Fragmentation

    Satire and the Corpus Mysticum During Crises of Fragmentation

    UNIVERSITY OF CALIFORNIA Los Angeles The Body Satyrical: Satire and the Corpus Mysticum during Crises of Fragmentation in Late Medieval and Early Modern France A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in French and Francophone Studies by Christopher Martin Flood 2013 © Copyright by Christopher Martin Flood 2013 ABSTRACT OF THE DISSERTATION The Body Satyrical: Satire and the Corpus Mysticum during Crises of Fragmentation in Medieval and Early Modern France by Christopher Martin Flood Doctor of Philosophy in French and Francophone Studies University of California, Los Angeles, 2013 Professor Jean-Claude Carron, Chair The later Middle Ages and early modern period in France were marked by divisive conflicts (i.e. the Western Schism, the Hundred Years’ War, and the Protestant Reformation) that threatened the stability and unity of two powerful yet seemingly fragile social entities, Christendom and the kingdom of France. The anxiety engendered by these crises was heightened by the implicit violence of a looming fragmentation of those entities that, perceived through the lens of the Pauline corporeal metaphor, were imagined as corpora mystica (mystical bodies). Despite the gravity of these crises of fragmentation, ii each met with a somewhat unexpected and, at times, prolific response in the form of satirical literature. Since that time, these satirical works have been reductively catalogued under the unwieldy genre of traditional satire and read superficially as mere vituperation or ridiculing didacticism. However, when studied against the background of sixteenth- century theories of satire and the corporeal metaphor, a previously unnoticed element of these works emerges that sets them apart from traditional satire and provides an original insight into the culture of the time.
  • A New Look at Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564

    A New Look at Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564

    A New Look at Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564 A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Music Michael C. Evans March 2011 © 2011 Michael C. Evans. All Rights Reserved. 2 This thesis titled A New Look at Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564 by MICHAEL C. EVANS has been approved for the School of Music and the College of Fine Arts by Richard D. Wetzel Professor of Music History and Literature Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT EVANS, MICHAEL C., M.M., March 2011, Music History and Literature A New Look At Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564 Director of Thesis: Richard D. Wetzel The ars subtilior is a medieval style period marked with a high amount of experimentation and complexity, lying in between the apex of the ars nova and the newer styles of music practiced by the English and the Burgundians in the early fifteenth century. In scholarly accounts summarizing the period, however, musicologists and scholars differ, often greatly, on the precise details that comprise the style. In this thesis, I will take a closer look at the music of the period, with special relevance to the Codex Chantilly (F-CH-564), the main source of music in the ars subtilior style. In doing so, I will create a more exact definition of the style and its characteristics, using more precise language.
  • Mid-Fifteenth-Century English Mass Cycles in Continental Sources, Vol

    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.