Guillaume De Machaut (Ca. 1300-1377)
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The Trecento Lute
UC Irvine UC Irvine Previously Published Works Title The Trecento Lute Permalink https://escholarship.org/uc/item/1kh2f9kn Author Minamino, Hiroyuki Publication Date 2019 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Trecento Lute1 Hiroyuki Minamino ABSTRACT From the initial stage of its cultivation in Italy in the late thirteenth century, the lute was regarded as a noble instrument among various types of the trecento musical instruments, favored by both the upper-class amateurs and professional court giullari, participated in the ensemble of other bas instruments such as the fiddle or gittern, accompanied the singers, and provided music for the dancers. Indeed, its delicate sound was more suitable in the inner chambers of courts and the quiet gardens of bourgeois villas than in the uproarious battle fields and the busy streets of towns. KEYWORDS Lute, Trecento, Italy, Bas instrument, Giullari any studies on the origin of the lute begin with ancient Mesopota- mian, Egyptian, Greek, or Roman musical instruments that carry a fingerboard (either long or short) over which various numbers M 2 of strings stretch. The Arabic ud, first widely introduced into Europe by the Moors during their conquest of Spain in the eighth century, has been suggest- ed to be the direct ancestor of the lute. If this is the case, not much is known about when, where, and how the European lute evolved from the ud. The presence of Arabs in the Iberian Peninsula and their cultivation of musical instruments during the middle ages suggest that a variety of instruments were made by Arab craftsmen in Spain. -
A History of Mandolin Construction
1 - Mandolin History Chapter 1 - A History of Mandolin Construction here is a considerable amount written about the history of the mandolin, but littleT that looks at the way the instrument e marvellous has been built, rather than how it has been 16 string ullinger played, across the 300 years or so of its mandolin from 1925 existence. photo courtesy of ose interested in the classical mandolin ony ingham, ondon have tended to concentrate on the European bowlback mandolin with scant regard to the past century of American carved instruments. Similarly many American writers don’t pay great attention to anything that happened before Orville Gibson, so this introductory chapter is an attempt to give equal weight to developments on both sides of the Atlantic and to see the story of the mandolin as one of continuing evolution with the odd revolutionary change along the way. e history of the mandolin is not of a straightforward, lineal development, but one which intertwines with the stories of guitars, lutes and other stringed instruments over the past 1000 years. e formal, musicological definition of a (usually called the Neapolitan mandolin); mandolin is that of a chordophone of the instruments with a flat soundboard and short-necked lute family with four double back (sometimes known as a Portuguese courses of metal strings tuned g’-d’-a”-e”. style); and those with a carved soundboard ese are fixed to the end of the body using and back as developed by the Gibson a floating bridge and with a string length of company a century ago. -
The Renaissance Cittern
The Renaissance Cittern Lord Aaron Drummond, OW [email protected] 1. HISTORY,DEVELOPMENT, CONSTRUC- while chromatic citterns are more associated with Italian TION and English music. [3] As far as the body of the instrument goes, citoles and ear- The Renaissance cittern most likely developed from the lier citterns had the back, ribs and neck carved from a single medieval citole. The citole was a small, flat-backed instru- block of wood with the soundboard and fingerboard being ment with four strings. It was usually depicted as having added. Later citterns were constructed from a flat back, frets and being plucked with a quill or plectrum. The citole bent ribs and separately carved neck, which cut down on in turn may have developed from a kind of ancient lyre called the materials cost. [10] Constructed citterns differ in con- a kithara by adding a fingerboard and then gradually remov- struction from lutes in that in citterns the back is made ing the (now redundant) arms. [1] The cittern may have been from a single flat piece of wood, whereas the lute has a large viewed as a revival of the ancient Greek instrument despite number (typically ten or more) of ribs which must be sep- being quite different in form. The word kithara also evolved arately bent and joined to the achieve the \bowl" shape. into the modern word guitar. This made lutes substantially more difficult to build as well Some modern instruments such as the German waldzither as more delicate than the cittern. Internally there are braces (literally `forest-cittern') and various Iberian instruments to strengthen the back and the soundboard, but like the lute, (Portuguese guitar, bandurria, etc) claim some descent from guitar, viol, etc there is no soundpost or bass bar. -
Mirrors and Music in the Decameron
Heliotropia 7.1-2 (2010) http://www.heliotropia.org Mirrors and Music in the Decameron t the end of the First Day of Boccaccio’s Decameron, Queen Pam- pinea urges the brigata to make music. Emilia promptly sings “In mine own beauty take I such delight That to no other love could I A 1 my fond affections plight,” a ditty about finding pleasure in one’s own ref- lection. She continues, “why seek out past delights, or new ones try When all content within my glass I find?”2 Scholars have interpreted Emilia’s mirror in myriad ways: as a symbol of truth, of God’s presence, or of Grammar, one of the Liberal Arts.3 In this essay, I will examine the mirror in relation to music, first investigating its significance in the Decameron, followed by a study of parallel examples in the Divine Comedy, visual im- ages of the period, including those by Lorenzetti, Cimabue and Giotto, and Trecento compositions by Lorenzo Masini. In so doing, I will establish that the mirror thoroughly enriched the primary texts in which it was imbed- ded, serving as a symbol of balance, judgment and transcendence. The Decameron’s most prominent mirror appears in Story 8 of the Sixth Day. Emilia, the singer of the mirror song in the First Day, also tells the story of a vainglorious woman: Cesca, the niece of Fresco da Celatico, spends much of her time criticizing others and trumpeting her own vir- tues. At the end of the story, her exasperated uncle implores: “If you can’t bear the sight of horrid people, my girl, I advise you for your own peace of mind, never to look at yourself in the glass” (466).4 This is followed by the 1 Decameron, translated by G. -
Jeremy Montagu Some Mss. in the British Library with Instruments Page 1 of 2
Jeremy Montagu Some Mss. In the British Library with Instruments Page 1 of 2 Some Manuscripts in the British Library with Illustrations of Musical Instruments and a few other sources that I have found FoMRHIQ 2, January 1976,Comm. 8 Arundel 83. Conflation of two English Psalters, East Anglia, c.1310. The second half is known as the de Lisle Psalter. Good source. Includes: long trumpets, harps, citole, bagpipe, bells, fiddle, portative, psaltery, duct flute, pipe & tabor. Cotton, Tib.C.vi. Psalter, mid 11th c. f.30 is well-known; the rest is the usual Boethius improbabilities of the period. Egerton 1139. Queen Melissander’s Psalter, Latin Kingdom of Jerusalem, c.1140. The only instrument is a good harp, available asa postcard. The ivory cover is well known: King David playing what might be a dulcimer. Harley 2804. German Bible, 1148. f.3 has a not very good David and musicians. Harley 4425. La Roman de la Rose, pre-1500. 2 folios with music parties. Royal 2.A.xvi. Psalter time of Henry VIII, with annotations by him. Harp, pipe& tabor, short trumpet, dulcimer. Interesting that Henry is one of the musicians (and his fool shuts his ears to avoid his playing). Royal 2.A.xxii. The Westminster Psalter, late 12th c. David with harp and bells (postcard available), another harp. Interesting in that Westminster Abbey has a very similar hemi- spherical bell in the Undercroft exhibition room. Royal 2.B.vii. The Queen Mary Psalter, English early 14th c. well known source with a lot of material, but none quite as good and clear as in other East Anglian psalters (e.g. -
LOVE & DEVOTION in MEDIEVAL ENGLAND the DUFAY COLLECTIVE & VOICE WILLIAM LYONS Director
LOVE & DEVOTION IN MEDIEVAL ENGLAND THE DUFAY COLLECTIVE & VOICE WILLIAM LYONS director The Dufay Collective: Jon Banks, William Lyons, Rebecca Austen-Brown 2 I have set my hert so hy Love & devotion in medieval England 1 Blowe, northerne wynd (Lyons) 4.01 Source: London, British Library, Harley MS 2253, f.72v [lyric only] 2 I have set my hert so hy (Anon.) 2.52 Oxford, Bodleian Library, MS Douce 381, f.20 3 Plus pur l’enoyr (Anon.) 2.14 Cambridge University Library, Add. MS 5943, f.163v 4 Bryd one brere (Anon., arr. Lyons) 2.54 Cambridge, King’s College, Muniment Roll 2 W.32v 5 Le grant pleyser (Anon.) 2.37 Cambridge University Library, Add. MS 5943, f.165v 6 Maiden in the mor lay (Lyons) 5.01 Oxford, Bodleian Library, MS Rawlinson D.913, flyleaf [lyric only] 7 Wel wer hym that wyst (Anon.) 3.12 Cambridge University Library, Add. MS 5943, f.162v 8 Esperance (Anon.) 2.24 Cambridge University Library, Add. MS 5943, f.165r 9 Adam lay ibowndyn (Lyons) 2.26 MS Sloane 2593, ff.10v–11 [lyric only] 3 10 Danger me hath, unskyfuly (Anon.) 1.30 Cambridge University Library, Add. MS 5943, f.166r 11 Alysoun (Lyons) 6.21 London, British Library, Harley MS 2253, f.63v [lyric only] 12 Ye have so longe kepe schepe (Anon.) 4.22 Oxford, Bodleian Library, MS Douce 381, f.20v 13 Wyth ryth al my herte (Anon.) 4.29 Oxford, Bodleian Library, MS Douce 381, f.22 14 Nowel: owt of youre sleep aryse (Anon.) 4.37 Oxford, Bodleian Library, MS Arch. -
The Guitar in the Middle Ages and Renaissance by Julie Carmen for Tournaments Illuminated, Issue #129, Winter, 1999 (Pre-Print)
Central Washington University ScholarWorks@CWU Library Scholarship James E. Brooks Library Winter 1999 The uitG ar in the Middle Ages and Renaissance Julie D. Carmen Central Washington University, [email protected] Follow this and additional works at: https://digitalcommons.cwu.edu/libraryfac Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, and the History of Science, Technology, and Medicine Commons Recommended Citation Carmen, Julie D., "The uitG ar in the Middle Ages and Renaissance" (1999). Library Scholarship. 62. https://digitalcommons.cwu.edu/libraryfac/62 This Article is brought to you for free and open access by the James E. Brooks Library at ScholarWorks@CWU. It has been accepted for inclusion in Library Scholarship by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. 1 The Guitar in the Middle Ages and Renaissance By Julie Carmen For Tournaments Illuminated, Issue #129, Winter, 1999 (pre-print) In the Society for Creative Anachronism (SCA) world there are high standards for recovering and reconstructing the truth in history. Recorded history determines how we re-create the Middle Ages, and it is with much determination that we search for as many facts as possible for each of our varied interests. This article seeks to clarify the historical authenticity of one of the most popular musical instruments, the guitar. In preparation for this search, guidelines had to be set as to what the Society deems “authentic”. Is it more aesthetically pleasing -
Guitar in Oxford Music Online
Oxford Music Online Grove Music Online Guitar article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/43006 Guitar (Fr. guitare; Ger. Gitarre; It. chitarra; Sp. guitarra; Port.viola; Brazilian Port. violão). A string instrument of the lute family, plucked or strummed, and normally with frets along the fingerboard. It is difficult to define precisely what features distinguish guitars from other members of the lute family, because the name ‘guitar’ has been applied to instruments exhibiting a wide variation in morphology and performing practice. The modern classical guitar has six strings, a wooden resonating chamber with incurved sidewalls and a flat back. Although its earlier history includes periods of neglect as far as art music is concerned, it has always been an instrument of popular appeal, and has become an internationally established concert instrument endowed with an increasing repertory. In the Hornbostel and Sachs classification system the guitar is a ‘composite chordophone’ of the lute type (seeLUTE, §1, andCHORDOPHONE). 1. Structure of the modern guitar. Fig.1 shows the parts of the modern classical guitar. In instruments of the highest quality these have traditionally been made of carefully selected woods: the back and sidewalls of Brazilian rosewood, the neck cedar and the fingerboard ebony; the face or table, acoustically the most important part of the instrument, is of spruce, selected for its resilience, resonance and grain (closeness of grain is considered important, and a good table will have a grain count about 5 or 6 per cm). The table and back are each composed of two symmetrical sections, as is the total circumference of the sidewalls. -
The Musical Angels of Rosslyn Chapel
The Musical Angels of Rosslyn Chapel Music was an important part of medieval life, both religious and secular. Bands of musicians would play for special feast days such as Christmas or Easter, and for special events such as trade fairs. The nobility encouraged their children to learn a musical instrument, and it was common for noble girls and boys to learn to play a drum or simple wind instrument. In churches and monasteries, the voice was the principal instrument of music, starting in the early middle ages with plainsong such as Gregorian Chant, developing into polyphonous music by the start of the Renaissance. As music became more complex, musical notation was developed. There are some fine examples of medieval sheet music preserved in the special collections department of the University of Edinburgh Library. Rosslyn Chapel, founded in 1446, features many intriguing details carved in stone. In the Lady Chapel, carved at the tops of pillars, there are a number of angels playing musical instruments. These angels represent the Heavenly Hosts, praising God and rejoicing over the birth of Christ. It has long been public knowledge that one of the angels is playing the bagpipes, and that this is one of the earliest depictions of bagpipes in Scotland. However, the identities of many of the other instruments in the chapel are less well known. Young Research Group volunteers Rory Hardie and Hannah Mooney consulted with experts in medieval music, and have identified them as the following: Psaltery The psaltery, or a harp on a box, is an ancient instrument that was played by plucking the strings while the instrument lay in the player’s lap. -
Early Music Segment Catalogue
Early Music Mysticism to Majesty - the era of Early Music While the chronology of early music may resist an exact defi nition, the advancement of European musical styles portrayed in this catalogue takes us on a fascinating journey from the emergence of gregorian chant (c.750) up to the development of early Baroque music (c.1600). Vocal, instrumental, sacred and secular works are gathered either in discrete discs of the more celebrated composers from the Mediaeval and Renaissance periods, such as Leonin, Perotin, Byrd and Monteverdi, or appear in themed compilations: French chansons, German lute songs, Italian dramatic laments, for example. Life during those distant eras is brought vividly to life through the music. The exuberant and bawdy 11th- and 12th-century texts of Carmina Burana, spread by itinerant scholars and clerics, remind us how Latin was a pan-european language that superseded those of individual nations. The madrigals of Carlo Gesualdo, the calculating murderer of his wife and her lover, play out against the untouchable status that a Venetian nobleman then enjoyed. With the absence of lighting and sets, the dramatic importance of music in Shakespeare’s plays is underscored by the musical subtleties created for his texts by composers contemporary with the bard. The artistic interest shown by influential rulers is reflected not only in the sound of the compositions, but also in the splendour of their presentation. The works of Desprez, de la Rue and Willaert were as beautiful to look at through the glorious calligraphy of the A-La-mi-Re manuscripts as they were to listen to. -
1-2016 It's Instrumental, My Dear Watson: a Collective Investigation of Early Instrumental Practices Jillissa A
Cedarville University DigitalCommons@Cedarville Music and Worship Student Publications Student Scholarly Activity 2-1-2016 It's Instrumental, My Dear Watson: A Collective Investigation of Early Instrumental Practices Jillissa A. Brummel Cedarville University, [email protected] Nate Chester Cedarville University, [email protected] Joshua Drake Cedarville University, [email protected] Janelle Finley Cedarville University, [email protected] Josiah D. Keith Cedarville University, [email protected] See next page for additional authors Follow this and additional works at: http://digitalcommons.cedarville.edu/ music_and_worship_student_publications Part of the Musicology Commons, Music Performance Commons, and the Music Practice Commons Recommended Citation Brummel, Jillissa A.; Chester, Nate; Drake, Joshua; Finley, Janelle; Keith, Josiah D.; Lyons, Jonathan; Plumley, Sarah R.; Saur, Kirsten; and Stevenson, Rachel, "It's Instrumental, My Dear Watson: A Collective Investigation of Early Instrumental Practices" (2016). Music and Worship Student Publications. 7. http://digitalcommons.cedarville.edu/music_and_worship_student_publications/7 This Research Report is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in Music and Worship Student Publications by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Authors Jillissa A. Brummel, Nate Chester, -
The Scottish Medieval Lute ©Rob Mackillop, 2002
The Scottish Medieval Lute ©Rob MacKillop, 2002 [This essay is one outcome of my researches into the medieval lute within Scotland, for which I was granted study leave by the Royal Scottish Academy of Music and Drama, and the ancient and contemporary oud practices in Morocco and Turkey made possible by a Churchill Travelling Fellowship. Thanks go to both institutions. Other related outcomes include: three commissions of new compositions (financed by the SAC and the Hope Scott Trust), one for oud (Edward McGuire ~ The Oud Player of Rosslyn), the others for 12-course lute (John Maxwell Geddes ~ The Rosslyn Oud, and John Purser ~ The Old Composer Remembers); my own composition, ‘The Healing’; and arrangements for medieval lute of some of the music mentioned in this text, first performed at Boarhills in Fife, 1st February, 2002.] Introduction In October 1996, I recorded a CD called Graysteil for Dorian Recordings (DIS- 80141). The musicians were William Taylor (clarsach and harp), Paul Rendall (tenor voice), Andy Hunter (traditional ballad singer) and Rob MacKillop (medieval and renaissance lutes). My experience of performing medieval music had been minimal and largely based on intuition, but the recording proved seminal and propitious in its choice of venue: Rosslyn Chapel. Lying some ten miles south of Edinburgh at the village of Roslin, is the ancestral home of the St Clair (Sinclair) family, Rosslyn Castle, which is connected via the interestingly named ‘Minstrals Walkway’ to the famous Rosslyn Chapel. The name Rosslyn is Gaelic in origin, ross – ‘a rocky promontory’, lynn – ‘a waterfall’. The Chapel is decorated with a profusion of engravings which are on the receiving end of much revelatory academic attention.