Introduction
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
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). -
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. -
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. -
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. -
Anonymous Missa Caput
Anonymous Missa Caput Edited by Alejandro Enrique Planchart Marisol Press Santa Barbara, 2006 © Copyright 1983, 2006 by Alejandro Enrique Planchart, all rights reserved Notes Sources. All except Coventry in white and black notation, Coventry in black and red notation. Coventry, The Coventry Corporation, MS A 3, copied ca 1450, perhaps near Ely, fols. 1r-1v, Agnus 1-2 (tenor and contratenor), Agnus 3 (superius and tenor 2). Ascription, if any, lost. London, British Library, Additional MS 54324, copied ca. 1460-65, perhaps in London, fols. 6r-6v, Kyrie (section 1, contratenor and tenor 2 on 5r; section 2, superius and tenor). Ascription, if any, lost. Lucca, Archivio di Stato, MS 238, copied ca. 1460 in Bruges by a certain Waghe or Waghes, fols. 17v-20v, Kyrie, Gloria, section 1, superius and tenor; section 2, contratenor and tenor; Agnus 1-2, superius and tenor, Agnus 3. Anonymous. Trento, Biblioteca Capitolare, MS B.L. (= Trent 93), copied ca. 1453 in southern Germany, fols. 126r-128r, 236v- 238r, 297v-299r, Gloria, Credo, Sanctus. Anonymous Trento, Castello del Buonconsiglio, Monumenti e Collezioni Provinciale, MS 1375 (= Trent 88), copied ca. 1460 in Trento by Johannes Wiser, fols. 31v-35r, Kyrie and Agnus. Duffay. Trento, Castello del Buonconsiglio, Monumenti e Collezioni Provinciale, MS 1376 (= Trent 89), copied ca. 1463-65 in Trento by Johannes Wiser, fols. 246r-256r. Duffay (ascription erased but readable). Trento, Castello del Buonconsiglio, Monumenti e Collezioni Provinciale, MS 1377 (= Trent 90), copied ca 1453-57 (partly from Trent 93) in Munich and Trento by Johannes Wiser, fols. 96r-98r, 168v-170r, 228v-230r. -
Die Bedeutung Der Trienter Codices in Der Geschichte Tirols
Sonderdrucke aus der Albert-Ludwigs-Universität Freiburg CHRISTIAN BERGER Die Bedeutung der Trienter Codices in der Geschichte Tirols Originalbeitrag erschienen in: Musikgeschichte Tirols. Bd. 1: Von den Anfängen bis zur Frühen Neuzeit / Hrsg. von Kurt DREXEL und Monika FINK. Innsbruck : Wagner, 2001 (Schlern-Schriften ; 315), S. 615-627. CHRISTIAN BERGER Die Bedeutung der Trienter Codices in der Geschichte Tirols Die sogenannten Trienter Codices umfassen 7 Handschriftenbände des 15. Jahrhunderts. Sechs davon, die Franz Xaver Haberl in den 1880er Jahren im Trienter Domarchiv entdeckte, werden heute unter der Signatur 1374 bis 1379 im Museo Provinciale d‘Arte im Trienter Castello del Buonconsiglio aufbewahrt. Ein weiterer Band, der erst 1920 von Rudolf von Ficker entdeckt wurde, wird unter der Signatur 93* im Trienter Archivio capitolare verwahrt. Diese 7 Bände, die in der musikwissenschaftlichen Literatur meist mit ihren alten Signaturen 87-93 bezeichnet werden, sind von unschätzbarer Bedeutung für die Musikgeschichte des 15. Jahrhunderts. Aufgrund der immensen Handschriftenverluste, die in den zahlreichen kriegerischen Auseinandersetzungen jener Zeit begründet liegen, gibt es aus jener Zeit keine vergleichbare Sammlung dieses Umfangs und dieser Bedeutung. Die 7 Papierbände umfassen etwa 1600 Stücke, die meisten davon Vertonungen des Messordinariums, zu denen zahlreiche Motetten und weltliche Werke hinzukommen. Die Herkunft der Stücke reicht von England über den flämisch-niederländischen Raum, Frankreich, Italien und Deutschland bis hin -
AMS Philadelphia 2009 Abstracts
American Musicological Society American Musicological American ASHGATENew Music Titles from Musicological Ashgate Publishing… Society Program & Abstracts 2009 Come visit our booth in the book exhibit! www.ashgate.com/music Abstracts Philadelphia − November AMS Abstracts Contents Thursday afternoon, 12 November 28 Athanasius Kircher 30 Bicoastal America 32 Chansons and Chansonniers 35 Death and Transfiguration 37 Jazz Migrations 41 Music and Philosophy 43 Players and Listeners 47 Reds Thursday evening, 12 November 51 Music in Jewish Life During and After the Third Reich 52 Music for the Common Man: Handel, Purcell, and London’s Eighteenth-Century Entertainments Friday morning, 13 November 53 Ars Antiqua Ars Nova 57 From Singer to Editor: Implications of Transferal 60 Looking Forward, Looking Back 64 Policing Music 67 Popular Genres in the Early Twentieth Century 70 Tracing the Path Friday noon, 13 November 74 Piano Masterworks of Mexican Nationalism 75 Un deluvio di lagrime: The Lirone and the Seventeenth-Century Roman Lament 76 Presenting the Past: Historically Inspired Improvisation in the style galant Friday afternoon, 13 November 78 Chant Topics 80 Men and Music 81 Performing Under Suspicion: Generic Conventions and African American Female Singers 86 Renaissance Italy 89 Schumann and Mendelssohn 93 Seventy-Five Years of AMS: Why Now is the Time for Ecomusicology 94 Stagings 97 World War II and its Aftermath Friday evening, 13 November 101 Debating Musical Identity: Shifts in Aesthetic Understandings in Mexico from the Seventeenth -
Critical Commentary to Nos 22-28
976 CRITICAL COMMENTARY TO NOS 22-28 22. Missa Te Deum Kyrie (Trent 89 ff. 71r-72r, unicum, DTȌ VII inventory no. 546). Text; the Tenor cantus firmus of this Mass is the start of a ‘Tonus simplex’ version of the hymn (sometimes known as the Ambrosian hymn) sung at the end of Matins on days when the Gloria is part of the Mass. Throughout, the chant used is unelaborated but is subjected to mensural transformation. The text (traditionally attributed to St. Ambrose) is originally fourth-century but has later accretions. For the chant see LU 1997 pp. 1834-1837, which is a fourth lower than the Trent 89 cantus firmus. [Superius]; 1: the m sign is given before the first stave, and the order of voices on f. 71r for the first Kyrie is as follows: Superius, Contratenor, Tenor bassus and Tenor / 6: b ind before 5,5 / 12,3: uc due to lacuna / 15,2: corr from col err / 19: cs om / 23: m sign given before the first stave of the Christe in both Superius & Contratenor / 31: 1 uc / 33,4: corr from col err / 39,3-41,1: uc due to lacuna / 62,1-2 & 84,1: likewise / 85: a colored divisi L G is given below 1, which does not make musical sense. In any case, the same G is given as a divisi in the Contratenor at what seems to be its proper place (at 87). / 88: 1 uc / 89: 3 uc / 91: uc due to lacuna / 94: sharp ind under 93,4 / 95: 4-6 uc due to lacuna / 101: natural ind by sharp / 105: 3 dtd / 104: cs om. -
Missa Se La Face Ay Pale
Guillaume Du Fay Opera Omnia 03/04 Missa Se la face ay pale Edited by Alejandro Enrique Planchart Marisol Press Santa Barbara, 2008 Guillaume Du Fay Opera Omnia Edited by Alejandro Enrique Planchart 01 Cantilena, Paraphrase, and New Style Motets 02 Isorhythmic and Mensuration Motets 03 Ordinary and Plenary Mass Cycles 04 Proper Mass Cycles 05 Ordinary of the Mass Movements 06 Proses 07 Hymns 08 Magnificats 09 Benedicamus domino 10 Songs 11 Plainsongs 12 Dubious Works and Works with Spurious Attributions © Copyright 2011 by Alejandro Enrique Planchart, all rights reserved. Guillaume Du Fay, Missa Se la face ay pale: 1 03/04 Missa Se la face ay pale Kyrie = Guillaume Du Fay Cantus Ky ri e e lei son, Ky ri Contratenor 8 Ky ri e e lei son, Ky ri [ ] Crescit in duplo Tenor 1 8 Se la face ay pale Tenor 2 Ky ri e e lei son, Ky 9 e e lei son, e lei son, Ky 8 e e lei son, e lei son, 8 ri e e lei son, e lei son, 15 ri e e lei son, e lei son, 8 Ky ri e e lei son, e lei son Ky ri 8 Ky ri e e lei son, e lei son, Ky 23 Ky ri e e lei son, e lei son, Ky ri 8 e, Ky ri e e lei son, e lei son, Ky ri 8 ri e e lei son, Ky ri D-OO Guillaume Du Fay, Missa Se la face ay pale: 2 31 e lei son, Ky ri e e lei son. -
Canada Du Canada Acquisilions and Direclion Des Acquisitions Ct Bibliographie Services Branch Des Services Bibliographiques 395 Wellington Slrcct 395
Nalional Library Bibliothèque nationale 1+1 of Canada du Canada Acquisilions and Direclion des acquisitions ct Bibliographie Services Branch des services bibliographiques 395 Wellington Slrcct 395. rue Wellington Ottawa, ontano Ollawa (Onlnrk» K1AON4 K1AON4 NOTICE AVIS The quality of this microform is La qualité de cette microforme heavily dependent upon the dépend grandement de la qualité quality of the original thesis de la thèse soumise au submitted for microfilming. microfilmage. Nous avons tout Every effort has been made to fait pour assurer une qualité ensure the highest quality of supérieure de reproduction. re!,roduction possible. If pages are missing, contact the S'il manque des pages, veuillez university which granted the communiquer avec l'université degree. qui a conféré le grade. Some pages may have indistinct La qualité d'impression de print especially if the original certaines pages peut laisser à pages were typed with a poor désirer, surtout si les pages typewriter ribbon or if the originales ont été university sent us an inferior dactylographiées à l'aide d'un photocopy. ruban usé ou si l'université nous a fait parvenir une photocopie de qualité inférieure. Reproduction in full or in part of La reproduction, même partielle, this microform is governed by de cette microforme est soumise the Canadian Copyright Act, à la Loi canadienne sur le droit R.S.C. 1970, c. C-30, and d'auteur, SRC 1970, c. C-30, et subsequent amendments. ses amendements subséquents. Canada • CHRONOLOGY AND STYLE IN THE LABORDE CHANSONNIER Miriam H. Tees Department of Theory Faculty of Music McGill University, Montreal. -
Guillaume Du Fay, Missa Se La Face Ay Pale – Gloria Selafagepalay [Superius] Mensura = H
Guillaume Du Fay Missa Se la face ay pale Edited with an introduction by Peter Woetmann Christoffersen April, 2018 ISBN 978-87-93815-06-3 © 2018 Peter Woetmann Christoffersen http://sacred.pwch.dk/Ma_Duf02.pdf Guillaume Du Fay Missa Se la face ay pale Edited with an introduction by Peter Woetmann Christoffersen Preface This edition started in the mid 1980s as a performance score, written by hand in equidistant notation without modern barlines. My intention was to make the structure of the music and its easy flow more accessible to the singers than it was in existing editions. When I in 1998 started at the University of Copenhagen as associate professor in musicology, this score was transformed into a digital format and rechecked against the sources. My very first seminar at the Department of Musicology was on Missa Se la face ay pale and its musi- cal surroundings. The only easily accessible editions were the ones by Heinrich Besseler, which completely screwed up the rhythmical relations between the sections of the mass because of his faulty reduction of the note values.1 Moreover, the Gloria of the mass in Besseler’s edition was the only mass section of the entire 15th century, which was repro- duced in the then obligatory music anthology for first year students, and the complete mass in the same edition appeared in the anthology for more advanced students.2 This misinformation made it difficult to present a balanced picture of the period’s sacred music. For my students I had to produce small leaflets of my edition in folded A4-format, duplicated on photocopiers, in order to clarify the exceptional structure of the mass.