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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”. -
Sacred Music and Female Exemplarity in Late Medieval Britain
UNIVERSITY OF CALIFORNIA Los Angeles The Iconography of Queenship: Sacred Music and Female Exemplarity in Late Medieval Britain A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Gillian Lucinda Gower 2016 © Copyright by Gillian Lucinda Gower 2016 ABSTRACT OF THE DISSERTATION The Iconography of Queenship: Sacred Music and Female Exemplarity in Late Medieval Britain by Gillian Lucinda Gower Doctor of Philosophy in Musicology University of California, Los Angeles, 2016 Professor Elizabeth Randell Upton, Chair This dissertation investigates the relational, representative, and most importantly, constitutive functions of sacred music composed on behalf of and at the behest of British queen- consorts during the later Middle Ages. I argue that the sequences, conductus, and motets discussed herein were composed with the express purpose of constituting and reifying normative gender roles for medieval queen-consorts. Although not every paraliturgical work in the English ii repertory may be classified as such, I argue that those works that feature female exemplars— model women who exemplified the traits, behaviors, and beliefs desired by the medieval Christian hegemony—should be reassessed in light of their historical and cultural moments. These liminal works, neither liturgical nor secular in tone, operate similarly to visual icons in order to create vivid images of exemplary women saints or Biblical figures to which queen- consorts were both implicitly as well as explicitly compared. The Iconography of Queenship is organized into four chapters, each of which examines an occasional musical work and seeks to situate it within its own unique historical moment. In addition, each chapter poses a specific historiographical problem and seeks to answer it through an analysis of the occasional work. -
A Stylistic Analysis
THE POLYPHONIC INTROITS OF TRENTO, ARCHIMO CAPITOLARE, MS 93: A STYLISTIC ANALYSIS Briao Edward Powcr A tbesis submitted ia conformity witb the requirements for the degree of Doetor of Philosopby Graduate Department of Music University of Toronto 8 Copyrigbt by Brian Edward Power 1999 National Library Bibliothéque nationale B+B of Canada du Canada Acqiiisitions and Acquisitions et Bibliographic Services services bibliogiaphiques 395 Wellington Street 395. rue Wellington Otîawa ON KiA ON4 Ortawa ON K1AW Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive Licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfichelfilm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT The Polyphonie latroits of Tnnto, Archivio Copiolure, M.93: A Stylistic Analysis Doctor of Philosophy, 1999 Brian Edward Power Graduate Department of Music, University of Toronto Trent 93, the most recently discovered of the Trent Codices (a large and well- preserved source of fifteenthcenhuy sacred polyphony) contains a lengthy grouping of polyphonic settings of introits, the first item in the Proper of the Mass. -
Margaret Bent Publication List.Pdf
Margaret Bent Classified list of publications (excluding short reviews) (last updated September 2009) Counterpoint, musica ficta, compositional process , musical grammar Counterpoint, Composition, and Musica Ficta (New York: Routledge, 2002). A collection of eleven essays related to compositional techniques, all but two previously published over the last thirty years, to which I have added a substantial new introduction updating my views and answering critics. Includes items marked * below. *"Musica Recta and Musica Ficta", Musica Disciplina 26 (1972), 73-100. Reprinted as pp. 1-28 in The Garland Library of the History of Western Music; Medieval Music II: Polyphony, ed. Ellen Rosand (New York: Garland, 1985). *"Some Factors in the Control of Consonance and Sonority: Successive Composition and the Solus tenor", pp. 625-34 in International Musicological Society: Report of the Twelfth Congress, Berkeley 1977, ed. Daniel Heartz and Bonnie Wade (Kassel: Bärenreiter, 1981). *"Resfacta and Cantare super librum", Journal of the American Musicological Society 36 (1983), 371-91. A shorter version appeared as "Resfacta und Cantare super librum", Schweizer Jahrbuch für Musikwissenschaft/ Annales Suisses de Musicologie, n. s. 3 (1983), 47-52. *"Diatonic Ficta", Early Music History 4 (1984), 1-48. French translation as "Musica ficta: une procédure diatonique", pp. 15-78 in Lire, composer, analyser à la Renaissance, Introduction and translation by Annie Coeurdevey (Minerve, CESR "Ricercar", Tours, 2003). *"Diatonic ficta revisited: Josquin's Ave Maria in context", Music Theory Online, September 1996 (http://www.societymusictheory.org/mto/): response to Roger Wibberley, "Josquin's Ave Maria: Musica Ficta versus Mode", Music Theory Online, 2.5, 1996. My article includes an essential corrective to "Diatonic Ficta". -
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. -
Cpo 777 937-2 Booklet.Indd 1 08.07.2015 09:18:16 STIMMWERCK (© Photo: Werner Pees)
Flos virginum Motets of the 15th Century STIMMWERCK cpo 777 937-2 Booklet.indd 1 08.07.2015 09:18:16 STIMMWERCK (© Photo: Werner Pees) cpo 777 937-2 Booklet.indd 2 08.07.2015 09:18:16 Flos virginum Motetten und Cantionen Johannes Brassart (c. 1400–05; d. before 22 Oct 1455) 1 O rex Fridrice – In tuo adventu 5'51 Johannes Touront (fl. [flourished] c.1450–75) 2 O florens rosa 4'00 [?] Forest (fl. first half of the 15th century) 3 Anima mea liquefacta est 4'46 Johannes de Sarto (fl. c.1430–40) 4 Romanorum rex 4'56 Johannes Martini (c.1430–40; d. 1497) 5 Flos virginum 2'04 Anonymus (Nikolaus Leopold Codex) 6 O propugnator 4'23 cpo 777 937-2 Booklet.indd 3 08.07.2015 09:18:16 Johannes Puillois (?-1478) 7 Flos de spina 4'53 Anonymus (Nikolaus Leopold Codex) 8 Ave mundi spes / In Gottes Namen 2'04 Guillaume Dufay (? 1397- 1474) 9 Missa S. Georgii: Alleluia 4'05 Anonymus (Trent Codices) 10 Dies est letitie 1'24 Anonymus (Trent Codices) 11 O beata infantia 5'28 Ludovicus Krafft (fl. c.1460) 12 Novus annus 3'12 Johannes Roullet (fl. c.1435–45) 13 Laus tibi 8'45 Anonymus (Trent Codices) 14 Advenisti desiderabilis 3'07 cpo 777 937-2 Booklet.indd 4 08.07.2015 09:18:16 Ludovicus Krafft (Trent Codices) 15 Terribilis est 1'24 Anonymus (Trent Codices) 16 Christus surrexit 1'46 T.T.: 62'10 STIMMWERCK Franz Vitzthum – Kontratenor Klaus Wenk – Tenor Gerhard Hölzle – Tenor Marcus Schmidl – Bassbariton Guest: David Erler – Kontratenor cpo 777 937-2 Booklet.indd 5 08.07.2015 09:18:16 Motetten und Cantionen 1442 er die Motette „O rex Fridrice – In tuo adventu“ komponierte. -
Guide to Early Music in Flanders
GUIDE TO EARLY MUSIC IN FLANDERS SECOND EDITION 2009 CONTENTS 6 PREFACE 7 INTRODUCTION: A Devil and a Pederast: On historical performance practice in Flanders and its international ramifications PART 1 ARTISTS 14 Ensembles 30 Orchestras 34 Conductors 41 Soloists Singers 42 Sopranos 45 Tenors / Countertenors 47 Baritones / Bass Instrumentalist 50 Players of Keyboard Instruments 56 Players of String Instruments 60 Players of Wind Instruments PART 2 ORGANISATIONS AND STRUCTURES 68 Concert Organisations 69 Arts Centres and Concert Halls 71 Festivals 73 Research Institutions, Documentation Centres and Libraries 79 Music Education 80 Conservatories 81 Postgraduate Education 81 Universities 82 Media 85 Booking Agencies 86 Publishers 87 Record Companies 88 Instrument Makers PART 3 ADDITIONAL INFORMATION 93 ‘Flemish’ Music from the Middle Ages until circa 1750 97 On Cultural Policy in Flanders 4 FLANDERS? GATEWAY TO EUROPE Belgium is a federal state in the heart of Europe. Flanders is the northern, Dutch-speaking part of Belgium. The Flemish Community counts more than 6 million inhabitants and is run by a government of its own with a number of specific competences, such as culture, education, media… Brussels, capital of Belgium and of Flanders as well, is home to the European Commission and many international cultural institutions. 5 PREFACE Smaller than a postage stamp! That’s how minute Flanders looks on a map of the world, if you can discover it at all. However, a felicitous turn of his- tory has made this region into an exciting crossroads of different cultures. This is why Flanders is so rich in creative talent and abundant with cultural activities. -
Thesis Final
Wycliffite Music: Theological and Aesthetical Critiques of Compositional Practices within the Wycliffite Movement by Kieran Alexander Foss Bachelor of Music, University of Ottawa, 2014 Master of Music, University of Victoria, 2019 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the School of Music ©Kieran Alexander Foss, 2021 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Wycliffite Music: Theological and Aesthetical Critiques of Compositional Practices within the Wycliffite Movement by Kieran Alexander Foss Bachelor of Music, University of Ottawa, 2014 Master of Music, University of Victoria, 2019 Supervisory Committee Dr. Joseph Salem, Supervisor Department of Fine Arts Dr. Maria Virginia Acuña, Departmental Member Department of Fine Arts iii Abstract In his article “The vision of music in a Lollard florilegium: Cantus in the Middle English Rosarium theologie,” Bruce W. Holsinger acknowledges the need for musicological attention to be given to the fourteenth- century English Christian heresy known as Wycliffism. The Wycliffites embraced the theological criticisms of John Wyclif (c. 1328-1384), who promoted biblical text as the true source of Christian faith and rejected performative practices such as saint worship, idolatry, imagery, and ornamentation. A chronological survey and literary analysis of Wycliffite commentaries on music demonstrate a rhetorical arc that transitions from a reformist to a revolutionary to a compromising position. Wycliffite tracts like Of Feigned Contemplative Life and The Lanterne of Lizt denote categories of musical criticism that enable a comparative analysis between these writings and contemporaneous musical compositions. -
Heldinnengalerie – Sch¨Onheitengalerie
Heldinnengalerie – Schonheitengalerie¨ Studien zu Genese und Funktion weiblicher Bildnisgalerien 1470-1715 Inaugural-Dissertation zur Erlangung der Doktorwurde¨ der Philosophisch-historischen Fakultat¨ der Ruprecht-Karls-Universitat¨ Heidelberg, Kunsthistorisches Institut vorgelegt bei Professor Dr. Michael Hesse von Michael Wenzel M.A. aus Bad Hersfeld Inhaltsverzeichnis Vorwort......................................... 9 Einleitung . ...................................... 11 1 Die Heldinnengalerie: Von Beruhmten¨ Frauen und Beruhmten¨ Mannern¨ in Bilden- der Kunst und Literatur 21 1.1 Grundlagen in der antiken Literatur ....................... 21 1.2 Mittelalterliche Tradition und fruhhumanistische¨ Vitenliteratur in Bildzyklen des Trecento und des Quattrocento: Boccaccio, Neuf Preux und Neuf Preuses, Petrarca ...................................... 23 1.2.1 Die Thematik der Beruhmten¨ Frauen zwischen Hof und fruhem¨ Burger-¨ tum.................................... 23 1.2.2 Der Fruhhumanismus¨ und sein Einfluß auf die Ikonographie der Ber uhm-¨ ten Frauen ................................. 40 1.3 Femmes fortes? – Ausstattungsprogramme der Appartements von Frauen: He- roinen und das Identifikationsportrat¨ im 16. und 17. Jahrhundert ........ 46 1.3.1 Die Grotta der Isabella d’Este, das Quartiere di Eleonora und die The- matik der Beruhmten¨ Frauen in der italienischen Literatur des 16. Jahr- hunderts . ............................... 47 1.3.2 Elisabeth I. von England und Katharina de’ Medici . ........ 55 1.3.3 Vom Palais du Luxembourg nach -
Source Study and the Recreation of Medieval Music Practices
Interpreting Data, Constructing Performance: Source Study and the Recreation of Medieval Music Practices International Medieval Meeting Lleida 2019 Universitat de Lleida, 26 june 2019 Abstracts Marie-Virginie Cambriels (Le-Puy-en-Velay, France) A Cantiga Like a Motetus? The Case of Cantiga 341, Com’ a gran pesar a Virgen The Cantigas de Santa Maria are a collection of more than four hundred monophonic religious songs composed in the court of Alfonso X of Castile during the second half of the 13th century. Unfortunately, even though the collection presents some of the most interesting and beautiful melodies of the period, the songs are generally considered to be rather simple and even archaic specially when compared to the contemporaneous motet (a type of composition described by Johannes de Grocheio as being highly intellectual). But, could a simple monophonic Cantiga de Santa Maria also hide a subtle kind of polyphony and polytextuality? Is it possible to find some influence of the intellectual game of the motetus in some cantigas? With the use of contrafactum, musical and textual quotations, references, allusions, could a melody ideally become a piece as complex as a four voice motet? Through the analysis of the compositional elements of the Cantiga de Santa Maria 341, I propose to open the door to other ways of considering the Cantigas' monophonic repertoire, and consequently, perhaps also new performance possibilities. Oriol Casadevall i Crespo (Girona, Catalonia) Ben che sia antico è molto buono: La música del trecento segons Simone de’ Prodenzani Des del Decameron de Giovanni Bocaccio de mitjans del segle XIV, són nombroses les fonts literàries toscanes que retraten moments musicals, de les quals podem extreure nombrosa informació, tant del repertori, com de la praxis musical. -
A Music Book for Mary Tudor, Queen of France
A MUSIC BOOK FOR MARY TUDOR, QUEEN OF FRANCE Item Type Article Authors Brobeck, John T. Citation A MUSIC BOOK FOR MARY TUDOR, QUEEN OF FRANCE 2016, 35:1 Early Music History DOI 10.1017/S0261127916000024 Publisher Cambridge University Press Journal Early Music History Rights © Cambridge University Press 2016. Download date 24/09/2021 21:57:16 Item License http://rightsstatements.org/vocab/InC/1.0/ Version Final accepted manuscript Link to Item http://hdl.handle.net/10150/621897 Brobeck - 1 <special sorts: {#} (space); flat sign ({fl} in file); sharp sign ({sh} in file); natural sign ({na} in file); double flat sign ({2fl} in file [these flats are close together, not spaced]); mensuration sign cut-C ({C/} in file; see pdf> <running heads: John T. Brobeck | A Music Book for Mary Tudor, Queen of France> Early Music History (2016) Volume 35. © Cambridge University Press doi: 10.1017/S0261127916000024 JOHN T. BROBECK Email: [email protected] _________________________________________________________________________________________ A MUSIC BOOK FOR MARY TUDOR, QUEEN OF FRANCE Frank Dobbins in memoriam In 1976 Louise Litterick proposed that Cambridge, Magdalene College, Pepys Library MS 1760 was originally prepared for Louis XII and Anne of Brittany of France but was gifted to Henry VIII of England in 1509. That the manuscript actually was prepared as a wedding gift from Louis to his third wife Mary Tudor in 1514, however, is indicated by its decorative and textual imagery, which mirrors the decoration of a book of hours given by Louis to Mary and the textual imagery used in her four royal entries. Analysis of the manuscript’s tabula and texts suggests that MS 1760 was planned by Louis’s chapelmaster Hilaire Bernonneau (d.