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Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support. -
Exploring Implications of the Double Attribution of the Madrigal “Canzon Se L’Esser Meco” to Andrea Gabrieli and Orlande De Lassus
A 16th Century Publication Who-Dun-it: Exploring implications of the double attribution of the madrigal “Canzon se l’esser meco” to Andrea Gabrieli and Orlande de Lassus. Karen Linnstaedter Strange, MM A Double Attribution Why was a single setting of “Canzon se l’esser meco” published in 1584 and 1589 under different composers’ names? For centuries, music history has ascribed this setting of a text from a Petrarchan madrigale to either Orlande de Lassus or Andrea Gabrieli, depending on the publication. It has been assumed the two original publications contain distinct creations of “Canzon se l’esser meco,” and to support this confusion, slight differences in notation between the two modern editions induce an initial perception that the two pieces differ. (See Figures 1A & 1B.). With a few moments of comparison, one can see that the madrigal published under Orlande de Lassus’ name in 1584 is the same piece attributed to Andrea Gabrieli by a different publisher five years later. In fact, no difference exists in the original publications beyond incidental choices by the two publishers, such as the number of notes printed per line and the notation for repeated accidentals. 1 (See Figures 2-5 A & B.) Suppositions and Presumptions The exactness of the two publications provokes interesting questions about issues of personal composer relations and influence, study by copying, and misattribution. In exploring all the possibilities, some quite viable, others farfetched, we can perhaps gain a clearer overview of the issues involved. On the less viable side, perhaps the piece was written simultaneously by each composer and, through some miracle, the two pieces turned out to be exactly the same. -
For OCKEGHEM
ss CORO hilliard live CORO hilliard live 2 Producer: Antony Pitts Recording: Susan Thomas Editors: Susan Thomas and Marvin Ware Post-production: Chris Ekers and Dave Hunt New re-mastering: Raphael Mouterde (Floating Earth) Translations of Busnois, Compère and Lupi by Selene Mills Cover image: from an intitial to The Nun's Priest's Tale (reversed) by Eric Gill, with thanks to the Goldmark Gallery, Uppingham: www.goldmarkart.com Design: Andrew Giles The Hilliard Ensemble David James countertenor Recorded by BBC Radio 3 in St Jude-on-the-Hill, Rogers Covey-Crump tenor Hampstead Garden Suburb and first broadcast on John Potter tenor 5 February 1997, the eve of the 500th anniversary Gordon Jones baritone of the death of Johannes Ockeghem. Previously released as Hilliard Live HL 1002 Bob Peck reader For Also available on coro: hilliard live 1 PÉROTIN and the ARS ANTIQUA cor16046 OCKEGHEM 2007 The Sixteen Productions Ltd © 2007 The Sixteen Productions Ltd N the hilliard ensemble To find out more about CORO and to buy CDs, visit www.thesixteen.com cor16048 The hilliard live series of recordings came about for various reasons. 1 Kyrie and Gloria (Missa Mi mi) Ockeghem 7:10 At the time self-published recordings were a fairly new and increasingly 2 Cruel death.... Crétin 2:34 common phenomenon in popular music and we were keen to see if 3 In hydraulis Busnois 7:50 we could make the process work for us in the context of a series of public concerts. Perhaps the most important motive for this experiment 4 After this sweet harmony... -
Multiple Choice
Unit 4: Renaissance Practice Test 1. The Renaissance may be described as an age of A. the “rebirth” of human creativity B. curiosity and individualism C. exploration and adventure D. all of the above 2. The dominant intellectual movement of the Renaissance was called A. paganism B. feudalism C. classicism D. humanism 3. The intellectual movement called humanism A. treated the Madonna as a childlike unearthly creature B. focused on human life and its accomplishments C. condemned any remnant of pagan antiquity D. focused on the afterlife in heaven and hell 4. The Renaissance in music occurred between A. 1000 and 1150 B. 1150 and 1450 C. 1450 and 1600 D. 1600 and 1750 5. Which of the following statements is not true of the Renaissance? A. Musical activity gradually shifted from the church to the court. B. The Catholic church was even more powerful in the Renaissance than during the Middle Ages. C. Every educated person was expected to be trained in music. D. Education was considered a status symbol by aristocrats and the upper middle class. 6. Many prominent Renaissance composers, who held important posts all over Europe, came from an area known at that time as A. England B. Spain C. Flanders D. Scandinavia 7. Which of the following statements is not true of Renaissance music? A. The Renaissance period is sometimes called “the golden age” of a cappella choral music because the music did not need instrumental accompaniment. B. The texture of Renaissance music is chiefly polyphonic. C. Instrumental music became more important than vocal music during the Renaissance. -
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557864bk Philips US 11/7/06 3:05 pm Page 4 Elizabeth Farr Peter Elizabeth Farr specialises in the performance of keyboard music of the seventeenth and eighteenth centuries. She has performed solo recitals on the harpsichord, organ, and pedal harpsichord to critical acclaim throughout the United States and in Germany. Her PHILIPS performances as a collaborative artist, concerto soloist, and basso-continuo player have (1560/61–1628) also earned high praise. Her recording of Elisabeth-Claude Jacquet de La Guerre’s Suites Nos. 1-6 for Harpsichord (Naxos 8.557654-55) was awarded the Preis der deutschen Schallplattenkritik, Bestenliste 1/2006. Elizabeth Farr holds degrees in harpsichord and organ performance from Stetson University, the Juilliard School, and Harpsichord Works the University of Michigan, having studied with Paul Jenkins, Vernon de Tar, and Edward Parmentier. Currently she is on the faculty of the University of Colorado where Fantasia in F • Bonjour mon cœur • Io partirò she teaches harpsichord and organ, conducts the Early Music Ensemble, and offers classes in performance practices and basso-continuo playing. Elizabeth Farr The Harpsichord Jerome de Zentis was a consummate musical instrument-maker. He built instruments first in Rome, then in Florence for the Medici family, London as the ‘King’s Virginal Maker’, Stockholm as the instrument-maker to the court, Viterbo for the Pope, and finally in Paris for the King of France. The instrument used in this recording is one he made upon his return to Italy after ten years in Sweden as the instrument-maker royal to Queen Christina. This instrument is unusual because it is clearly an Italian instrument, but appears to have been made by a North German maker, or at least an Italian maker who was fully informed of the Northern European harpsichord-making practices and materials. -
Chapter 9 5, Or 7, by Reading Clefs and Adding Accidentals to Avoid Franco-Flemish Composers, 1450-1520 the Tritone
17 10. Briefly explain the principal of Missa cuiusvis toni. It's a mass in any mode, so it can be transposed to mode 1, 3, Chapter 9 5, or 7, by reading clefs and adding accidentals to avoid Franco-Flemish Composers, 1450-1520 the tritone 1. [190] What was the style for composers born around 11. Ockeghem's Missa __________ is a double mensuration 1420? (old and new) 1470? (late) canon. Old: formes fixes, cantus firmus works Prolationem New: wider ranges, equality between voices, more imitation Late: end of formes fixes, imitative and homophonic textures, 12. (194) Any questions about the notation and word painting transcription? What are the different procedures of canon? 2. Composers/musicians still depended on _________. Inversion, retrograde England became ________. (189) The rest of Europe (especially the map legend), by marriage or war, was 13. (195) SR: What is a lament? divided into three large areas: Remembrance, eulogy Patrons; insular; Spain, France, Holy Roman Empire 14. What are two important Ockeghem traits? (Germany) Note: It's important to know history, but for Long phrases; elided or overlapping cadences our purposes this section is enough. It gives us a sense of what is going on (and there's a lot of it). 15. (196) Who are the composers of the next generation? Jacob Obrecht (1457-1505), Henricus [Heinrich] Isaac 3. (190) Name the two composers who follow Du Fay. TQ: (c. 1450-1517), Josquin Desprez (c. 1450-1521) [des Any thoughts about the variant spellings? TQ: How Prez in the 8th edition] about pronunciations? Johannes Ockeghem (c.1420-97) and Antoine Busnois 16. -
Music History Lecture Notes Renaissance & Reformation 1450 AD – 1600 AD
Music History Lecture Notes Renaissance & Reformation 1450 AD – 1600 AD This presentation is intended for the use of current students in Mr. Duckworth’s Music History course as a study aid. Any other use is strictly forbidden. Copyright, Ryan Duckworth 2010 Images used for educational purposes under the TEACH Act (Technology, Education and Copyright Harmonization Act of 2002). All copyrights belong to their respective copyright holders, This Unit We Will Take Coded Notes: • If you need to take Cornell notes for another class (e.g. AVID), this method of note taking will still work. • As you take notes, underline all names and dates. • At the end of the unit, you will go back and highlight key concepts. The Renaissance • Literally means: Rebirth • High Renaissance 1450-1500 C.E. • 1453 Turks conquer Constantinople – Byzantine scholars take Greek artifacts back to Italy • Transitional Renaissance 1550- 1600 • Great renewal of European interests in Ancient Greek & Roman Cultures Constantinople Europe around 1500 AD The Renaissance • A new concept emerges • Humanism – A dedication to human, instead of spiritual ideals and values – Salvation after death is no longer the only goal – Fulfillment in life and enjoyment the pleasures of the senses Important Renaissance Artists • Michaelangelo • Leonardo Da Vinci • Raphael • Shakespeare Art by Michelangelo Michelangelo’s Sistine Chapel Sistine Detail Art by Raphael Lady with Unicorn, St. George & the Dragon Raphael’s “The Crucifixion” and “A Knight’s Dream” Art by Leonardo Da Vinci Madonna of the -
Renaissance Terms
Renaissance Terms Cantus firmus: ("Fixed song") The process of using a pre-existing tune as the structural basis for a new polyphonic composition. Choralis Constantinus: A collection of over 350 polyphonic motets (using Gregorian chant as the cantus firmus) written by the German composer Heinrich Isaac and his pupil Ludwig Senfl. Contenance angloise: ("The English sound") A term for the style or quality of music that writers on the continent associated with the works of John Dunstable (mostly triadic harmony, which sounded quite different than late Medieval music). Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Fauxbourdon: A musical texture prevalent in the late Middle Ages and early Renaissance, produced by three voices in mostly parallel motion first-inversion triads. Only two of the three voices were notated (the chant/cantus firmus, and a voice a sixth below); the third voice was "realized" by a singer a 4th below the chant. Glogauer Liederbuch: This German part-book from the 1470s is a collection of 3-part instrumental arrangements of popular French songs (chanson). Homophonic: A polyphonic musical texture in which all the voices move together in note-for-note chordal fashion, and when there is a text it is rendered at the same time in all voices. Imitation: A polyphonic musical texture in which a melodic idea is freely or strictly echoed by successive voices. A section of freer echoing in this manner if often referred to as a "point of imitation"; Strict imitation is called "canon." Musica Reservata: This term applies to High/Late Renaissance composers who "suited the music to the meaning of the words, expressing the power of each affection." Musica Transalpina: ("Music across the Alps") A printed anthology of Italian popular music translated into English and published in England in 1588. -
Este Libro Es De Don Luis Rossi Monteverdi Bassani De Macque Trabaci Gesualdo
ESTE LIBRO ES DE DON LUIS ROSSI MONTEVERDI BASSANI DE MACQUE TRABACI GESUALDO ENSEMBLE POÏESIS MARION FOURQUIER MENU TRACKLIST TEXTE EN FRANÇAIS ENGLISH TEXT DEUTSCH KOMMENTAR ALPHA COLLECTION 67 ESTE LIBRO ES DE DON LUIS ROSSI MONTEVERDI, BASSANI, DE MACQUE, TRABACI, GESUALDO 1 FRANCESCO LAMBARDO (1587-1642) HARP TOCCATA 2’17 2 JACOPO PERI (1561-1633) TENOR, HARP, LIRONE TU DORMI 6’32 3 GIOVANNI DE MACQUE (c.1550-1614) HARP SECONDE STRAVAGANZE 1’54 4 CARLO GESUALDO (1566-1613) HARP CANZON FRANCESE DEL PRINCIPE 5’21 5 ORAZIO BASSANI, DETTO ORAZIO DELLA VIOLA (c.1540/1550-1615, AFTER ORLANDE DE LASSUS) VIOL, HARP SUSANNA UN GIORNO 6’38 6 GIOVANNI DE MACQUE HARP, LIRONE PRIMA STRAVAGANZE 1’45 7 CLAUDIO MONTEVERDI (1567-1643) SOPRANO, VIOL, HARP, LIRONE LAMENTO D’OLIMPIA 9’47 4 ESTE LIBRO ES DE DON LUIS ROSSI MENU MONTEVERDI, BASSANI, DE MACQUE, TRABACI, GESUALDO 8 GIOVANNI MARIA TRABACI (c.1575-1647, AFTER ARCADELT) HARP ANCIDETEMI PUR PER L’ARPA* 7’33 9 FABRITIO FILLIMARINO (?-1594) HARP CANZON CROMATICA 3’50 10 ANONYMOUS TENOR, VIOL, HARP, LIRONE DEL BEL ORIENTE 4’16 11 ORAZIO BASSANI, DETTO ORAZIO DELLA VIOLA (c.1540/1550-1615, AFTER GIACHES DE WERT) VIOL, HARP, LIRONE CARA LA VITA MIA 8’46 12 GIOVANNI DE MACQUE HARP CAPRICCIO SOPRA RÈ, FÀ, MI, SOL 5’37 13 CLAUDIO MONTEVERDI SOPRANO, HARP LAMENTO D’ARIANNA 9’37 * PIECE NOT INCLUDED IN MANUSCRIPT ADD. 30491 TOTAL TIME: 75’05 5 ENSEMBLE POÏESIS MARION FOURQUIER TRIPLE HARP AND DIRECTION CRISTIANA PRESUTTI SOPRANO LUCIEN KANDEL TENOR MARTIN BAUER VIOLA DA GAMBA PAULINA VAN LAARHOVEN LIRONE MENU « TOUS CES FRANÇAIS COMPOSITEURS Dès que fut signalée son existence, NOUS RAMÈNENT AUX Il libro de don Luis Rossi fut considéré par CERCLES NAPOLITAINS les spécialistes comme une source de FRÉQUENTÉS PAR première importance pour la musique ita- JEAN DE MACQUE, lienne du début du XVIIe siècle. -
Aj. Orlando Di Lasso's Missa Ad Imitationem Moduli Doulce
379 A/8/J /AJ. ORLANDO DI LASSO'S MISSA AD IMITATIONEM MODULI DOULCE MEMOIRE: AN EXAMINATION OF THE MASS AND ITS MODEL DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfilment of the Requirements For the Degree of Doctor of Musical Arts By Jan Hanson Denton, Texas August, 1986 d • i Hanson, Jan L., Orlando di Lasso's Missa Doulce Memoire: An Examination of the Mass and Its Model, Doctor of Musical Arts (Conducting), August, 19b6, pp. 33, 3 figures, 10 examples, bibliography, 37 titles. Orlando di Lasso is regarded as one of the great polyphonic masters of the Renaissance. An international composer of both sacred and secular music, his sacred works have always held an important place in the choral repertory. Especially significant are Lasso's Parody Masses, which comprise the majority of settings in this genre. The Missa Ad Imitatiomem Moduli Doulce Memoire and its model, the chanson Doulce Memoire by Sandrin, have been selected as the subject of this lecture recital. In the course of this study, the two works have been compared and analyzed, focusing on the exact material which has been borrowed from the chanson. In addition to the borrowed material, the longer movements, especially the Gloria and the Credo, exhibit considerable free material. This will be considered in light of its relation to the parody sections. Chapter One gives an introduction to the subject of musical parody with definitions of parody by several contemporary authors. In addition, several writers of the sixteenth century, including Vicentino, Zarlino, Ponzio, and Cerone are mentioned. -
A Late Renaissance Music Manuscript Unmasked
A Late Renaissance Music Manuscript Unmasked Richard Charteris The British Library makes considerable efforts to ensure that information about its new music manuscripts are made available to readers. The first point of reference is a folder located on the open shelves in the Rare Books and Music Reading Room. The folder encompasses purchases, bequests, donations, and loans, and items are progressively added to the online manuscripts catalogue. One of its sections, a ‘Handlist of Music Manuscripts at Printed Pressmarks’, comprises relevant listings in Augustus Hughes-Hughes, Catalogue of Manuscript Music in the British Museum, 3 vols (London, 1906–09; reprinted 1964–66), in Pamela J. Willetts, Handlist of Music Manuscripts Acquired 1908–67 (London, 1970), pp. 86–98, and in a card index that was formerly located in the Music Room (British Museum), as well as materials discovered by individual scholars, which to date consist of Robin Alston, Nicolas J. Bell, and Andrew Wathey.1 In addition, the Library also owns a number of incomplete early music editions that were subsequently supplied with their missing materials in manuscript. Some of the latter manuscripts attract brief mention with the descriptions of the editions in Laureen Ballie and Robert Balchin (eds.), The Catalogue of Printed Music in the British Library to 1980, 62 vols (London, 1981–1987) and occasionally in the online catalogue. I would like to express my gratitude to the music curators of the British Library, London (especially Dr Nicolas J. Bell), for their kind assistance during my work in the Library, for responding helpfully to my requests for information and photographic material, and for their constructive comments. -
Ockeghem's Missa Mi-Mi As Hypophrygian Exemplar In
Ockeghem’s Missa Mi-mi as Hypophrygian Exemplar in Fifteenth-Century Vocal Polyphony Master’s Thesis Presented To The Faculty of the Graduate School of Arts and Sciences Brandeis University Department of Music Seth Coluzzi, Advisor In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in Musicology by Ian Lorenz May 2014 Copyright by Ian Lorenz © 2014 Acknowledgements I would like to thank Dr. Chafe and Dr. Keiler for their helping me to grow as a musicologist, and I would especially like to thank my advisor Dr. Seth Coluzzi for all the time and effort that he has given me on mode and modal theory. I would also like to thank my friends and family for all their love and support throughout this process. iii ABSTRACT Ockeghem’s Missa Mi-mi as Hypophrygian Exemplar in Fifteenth-Century Vocal Polyphony A thesis presented to the Music Department Graduate School of Arts and Sciences Brandeis University Waltham, Massachusetts By Ian Lorenz Ockeghem’s Missa Mi-mi has intrigued and puzzled scholars for many centuries after its creation. A great amount of research has been dedicated to the ambiguous title ascribed to the mass and what it may have represented during the latter part of the fifteenth century. One area that has not been covered in such detail is that the mass itself is exemplary through the use of the Hypophrygian mode, a mode that had been hardly used in polyphony throughout the fifteenth century. This study, then, critically examines the secular output of contemporary foremost composers Guillaume Dufay, Gilles Binchois, Antoine Busnois, Johannes Ockeghem, and Johannes Tinctoris in order to establish a stylistic paradigm of the Phrygian modes.