DOCSLIB.ORG

Medieval Period Week 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Medieval Period Week 1 M usic History P eriod of Music: Medieval S heet: 1 Terms: • Chant: A general term applied to liturgical music; Plainsong refers to chant done in the middle ages, which was monophonic (one line without harmony) and rhythmically free. In the early times, several forms of chant existed such as Ambrosian, Gallican, and Mozarabic, but with a decree by Charlemagne, Gregorian Chant became the official liturgy for the Western church. Chants were used to accompany actions, as well as to read biblical or other texts. The following types of chants were used: • Recitational: Used for most readings. Most of the text is intoned on a single pitch, with cadences marking the endings of phrases. Psalmody, a form of recitational chant is marked by the parallel treatment of the Psalm text. The two parallel lines are given different cadences, the first and less conclusive is the mediation, while the second is the termination. A Canticle is a scriptural poem, but not a Psalm. It usually receives slightly more elaborate cadences than the Psalm. • Responsorial: The text in these chants is broken down, and alternated between a soloist who sings the verse and the full choir who sings the responsory (refrain). The Gradual, Tract, and Alleluia are all responsorial chants. • Antiphon: More musically complex, these melodic settings of texts would precede and follow a Psalm or Canticle. • Ordinary/Proper: Chants of the ordinary were settings of texts that were used at every mass. There are 5 primary ordinary chants: Kyrie (lord have mercy), Gloria (glory to God in the highest), Credo (I believe in one God), Sanctus (holy, holy, holy) and Agnus Dei (lamb of God). The proper chants were settings of texts done only once a year, for specific occasions or feasts. • Syllabic: One note for each syllable of text. • Nuematic: A few notes for each syllable of text. • Melissmatic: Many notes for each syllable of text. Names and Dates: • Constantine—312: Adopts Christianity, which becomes the official religion of the empire. • The Fall of Rome—476 • Charlemagne crowned emperor—800: Makes Gregorian Chant the official liturgy as a means of uniting his empire. Listening: • Mass for Septuagesima Sunday—Kyrie, Collect, Credo, Sanctus (NAWM) • Antiphon—Tecum Principium (NAWM) • Sequence—Victimae Paschale Laudes (NAWM) • Antiphon—Hodie (Benjamin Britten, Ceremony of Carols) Main Concepts: Early music was done for the church service, daily office and mass. With the fall of Rome the church was the primary form of organization for the European empire. Music was initially monophonic, and free rhythmically and did not seek to portray the emotions of the particular text. Up until the ninth century it was primarily an oral tradition. It had a limited range, and was usually conjunct in nature. Long text readings would be recited on a single recitation tone while shorter texts might receive a more “musical” setting of simple melodic curves. The main service, the Mass, had the following components: Recitation Proper Ordinary Introit: Action Chant during entrance Kyrie (Lord have mercy) Gloria (Glory to God in the highest) Collect: Prayer for the day Epistle: First Reading Gradual (Alleluia at Easter) Alleluia (Tract at Lent) Gospel: Second Reading Credo (I believe in one God) Offertory: Action Chant-elements brought in Secret: Prayer over offering Preface: Fixed text intro to Sanctus Sanctus (Holy, Holy, Holy) Canon: Prayer of Consecration Lord’s Prayer Agnus Dei (lamb of God) Breaking of bread Communion: Action chant during distribution Post Communion: Final prayer Ite Missa Est (Dismissal) Benediction Questions: • What effect would the fact that music was an oral tradition up until around 800 have on the music. What problems might arise. If you were going to create a way of visually showing music from scratch, what might be the first thing you would try to show? • What effect does the Catholic church have on the development of music. Why would early music primarily develop in the church? Sources of Information: • Baker’s Biographical Dictionary • New Groves Dictionary of • Grout A History of Western Music Music and Musicians • Norton Anthology of Western Music • Harvard Dictionary of Music (scores and Recordings) M usic History P eriod of Music: Medieval S heet: 2 Terms: • Modes: Dorian, Phrygian, Lydian, Mixolydian and Aolian (Locrian and Ionian later) scales named from understanding of Greek music which theorist tried to find in the existing chant. • Solmization/Guidonian Hand- Guido de Arezzo an early theorist discovered that the chant Ut me queant laxis began each phrase on a 1 pitch higher. He used the syllables from the text and hand symbols as a nuemonic device to learning chants. • Hexachords- used in solmization they were groups of 6 notes. The hard was G-E, the natural was C-A and the soft was F to D with Bb. • Hymns- Compositions used for the offices. Sacred poems, many were based on Ambrosian meter after St. Ambrose, the fourth century bishop. (a solis ortus cradine...) • Tropes: the practice in post gregorian music of adding text to existing melissmas in Kyrie, Offertories and responsories and adding text and music to non melissmatic chants. • Quem Queritas- An Easter chant which was troped and became the basis of liturgical drama and the beginning of Western drama history. • Organum: The addition of a second line initially below the chant. Parallel organum ran in parallel intervals of fourths, fifths and octaves. • Winchester troper: First surviving collection of Polyphony from the 11th century. Names and Dates: • 524 - Death of Boethius. Wrote of modal system. • 900-1100 Post Gregorian period. Expansion of chants with additions of music, text or both. • 850- Musica Enchiriadis gives a description of early parallel organum. One of the first references to polyphony. • 1030- Guido writes Micrologos. Has rules for cadencing. Oblique motion introduces some new intervals. • 11th century- Organal voice put above chant. More melissmatic upper part. • 1100- John of Afflighem says that contrary motion is best. Listening: • Examples of Parallel Organum: Medieval Music (Record) • Alleluia Pascha Nostrum: NAWM • Ut me Queant Laxis: DWM • Adam de la Halle-Jeu de Robin et de Marion. Rondeau. NAWM Main Concepts: Questions: M usic History P eriod of Music: Medieval S heet: 3 Terms: • Troubadour—Lyric poets from Southern France. They wrote in the vernacular (Provencal, and early latin/french) poems of courtly love. Most were from the aristocracy. Poems would have been sung. • Trouveres—Similar poets from Northern France. • Minnesanger—German form of troubadour. • Formes Fixes—common forms for secular songs. These included the rondeau ABaAabAB, virelai AbbaA, and ballade aab. • Parallel Organum— The practice of counterpointing the chant (usually below) in parallel motion, usually 4ths, 5ths, or Octaves. • Free Organum—The practice of allowing contrary motion and more florid counterpoint against the chant. In the 11th century the counterpoint is also moved above the chant. • Melismatice organum—From the school of St Martial in the Twelth century, the organum voice now has 5-6 notes to each note of chant. The chant, which now functions as a bass line is called the cantus firmus. There are two distinct textures-discant style in which the voices move in nearly equal rhythms, and organum style which is more melismatic. • School of Notre Dame—Important learning center for musicians, it is here that we have the first mention of a composer by date. Anonymous IV writes in his notes that Leonin was the best writer of organum, but Perotin was the best writer of discant style. • Magnus Liber—Big book. This was written by Leonin and added to by others such as Perotin. The Magnus Liber was a setting of the entire church cycle of Responsorial chants in organum. • Motet—from the french mot for word this is a piece (secular or sacred initially) that resulted when words were added to the the discant style settings of the Magnus Liber. • Conductus Motet—Did not start with the preexisting framework. The several parts often had the same or similar rhythm. Names and Dates: • Leoninus—second half of 12th century • Perotinus—1160-1220 • Bernard de Ventadour—12th century troubadour • Walter von der Vogelweide—ca. 1170-1230. Minnesanger. Listening: • Ventadorn—Can vei la lauzeta mover (NAWM) • Alleluia Pacha Nostrum (NAWM) • Ave Virgo Viginum (NAWM) Main Concepts: Types of contrapuntal motion: Contrary Oblique Similar Parallel In 12th and early thirteenth century, they began to develop systems of rhythm. One of the earliest was used in the School of Notre Dame, for polyphony that was set in discant style. Organal style is thought to have been very free and relatively non rhythmic. Discant style made use of the rhythmic modes. There were 6 basic modes (patterns in six eight). In the earliest music, the notation was a symbol for which mode to apply rather than an actual representation of the music. Usually one moded was applied throughout a piece. 1. ternaria, binaria, binaria... 2. binaria, binaria, ternaria 3. simplex, ternaria, ternaria 4. ternaria, ternaria, simplex 5. simplex, simplex 6. quaternaria, ternaria, ternaria Questions: • What effects would moving the chant to the lower voice, having more melismatic motion, and allowing more contrary motion do to the perception of the initial chant? • What effect does the notation of music have on developing rhythm in music? Do you believe that all early music was a rhythmic? M usic History P eriod of Music: Medieval S heet: 4 Terms: • Nuemes: Name for the square notation used in the early period. • Gothic Period: middle of the 12th century to the end of the 13th, centered in central France • Cantus Firmus: When the chant was transfered to the bottom voice, it became known as the cantus firmus or fixed line. • Tenor: In organum style the chant part often was held in long notes with a florid upper part.
Load more

Recommended publications
  • A Propos Meter and Rhythm in the Ars Antiqua
    THEORYFORUM: REGARDING "A PROPOS METER AND RHYTHM IN THE ARS ANTIQUA"' Leo Treitler Hans Tischler very generouslyrates my ideas in the paper2 that he has reviewed as "basically sound," notwithstanding the fault that he finds with the details of my argument.But I fear that he has taken in only one aspect of what I tried to show in that paper, the idea that "metric accent is an essential feature of the music of [the School of Notre Dame]," as he puts it. I did indeed make such a claim (and there is nothing particularlyoriginal in it), but as only part of the description of a total music-historicalsituation that entails aspects of style, nota- tion and transmission,and the explanationsof musical theorists. My aim was to look at the severalinteractive facets of that situation all at once and to try to show something of its significancefor a very large-scale historicalmovement in our tradition. A reply is called for in order to place the historical theme back in the center, not to carry on the dispute over transcriptions.For it is transcriptionsthat are once again at issue in Tischler'sreview.Yes, one should make them as good as one can. But as Tischlerhimself recognizes, the differences over transcriptionshardly affect the view that one takes of the "central issues." Yet these disagreementshave continually ob- scured the view toward any issues beyond themselvesin this subject. To measure the historical significanceof the establishmentof what 215 This content downloaded from 159.149.103.9 on Sat, 6 Apr 2013 18:45:09 PM All use subject to JSTOR Terms and Conditions we know as "modal rhythm" we must see in it at least these achieve- ments: -Conceiving and explainingrhythm as the successionof durations.
    [Show full text]
  • Early Fifteenth Century
    CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ...
    [Show full text]
  • Sources for Plain Chant and Ritual from Ghent and London: a Survey and Comparison
    SOURCES FOR PLAIN CHANT AND RITUAL FROM GHENT AND LONDON: A SURVEY AND COMPARISON Barbara HAGGH Introduction The history of chant was shaped not only by authority and tradition, but also by individual initiatives, folklore, error and circumstance, and this is most evident when composers, commissioners, copyists and singers of chant are studied alongside the music. In this respect cities, homes for diverse peoples and religious communities, provide an ideal framework for an investigation: Ghent and London are especially well suited not only because of their rich and relatively unstudied archives but also because they were the two most populous cities north of Paris in the late fifteenth century and represented the lively musical cultures of Flanders and England. As the first stage of a project to study the chant and polyphony of Ghent and London in the later Middle Ages and the musicians shaping that repertory, manuscripts and fragments containing the rituals of the churches and abbeys of both cities were surveyed in order to establish what survives and to record preliminary impressions of the nature of the sources. 1 Early as well as later sources were studied, to permit as accurate a chronology of the introduction of new chant as possible. The later sources are an especially useful resource for the study of later medieval music, since they are more numerous than sources of polyphony, more representative of music in daily life and more revealing than archives in documenting musical practices. They also reflect most clearly the interaction between ecclesiastical authorities, patrons, founders, composers, I am grateful to the Leverhulme foundation for supporting my research within the project, 'Music in the North-European Metropolis: London and Ghent c.
    [Show full text]
  • Mass for the Tuesday of Passion Week, Winchester)
    A Discussion Concerning the Winchester Gradual in Harley 110 (Mass for the Tuesday in Passion Week, Winchester, 11th Century) A Research Essay fulfilling requirements for MUSIC 747 - BMus (Hons) University of Auckland 2009 submitted by Gillian Lander 5134796 A DISCUSSION CONCERNING THE WINCHESTER GRADUAL IN HARLEY 110 (Mass for the Tuesday of Passion Week, Winchester) Gillian Lander 5134796 MUSIC 747 2009 Auckland University ________________________________________________________________________________ Contents I – An exploration of the Introit and the neumes involved across the various sources. p2 II – A consideration of the neumes in the Communion – which lacks Winchester. p10 III – A comparison of significant melismatic passages and the Gradual neumes in the sources. .p15 IV- A detailed exploration of the Anglo-Saxon neumes in the whole available Winchester work. p24 V – Summary and conclusions. p30 _________________________________________________ Preface Some things never change. It is clear to me that with a lifetime of involvement with psalmody, albeit mainly Anglican chant and in Coverdale‟s English, the approach of any modern choral director teaching chant, differs little from that of the choir trainer of a thousand years back. First of all the singers must know the tune – (or the harmony) by heart, and that secure, all attention can be given to the many nuances afforded by the text, because conveying the full sense of that is the most important task. And this gives rise to a psalter filled with detailed 2B pencil markings to aid this interpretation. Some of these marks are not so different from that of our early neumes, but the singers of the tenth century did not have the same text availability.
    [Show full text]
  • CAPTURING MUSIC Writing and Singing Music in the Middle Ages THOMAS FORREST KELLY Morton B
    CAPTURING MUSIC Writing and Singing Music in the Middle Ages THOMAS FORREST KELLY Morton B. Knafel Professor of Music, Harvard University BLUE HERON Scot Metcalfe, direcor SATURDAY NOVEMBER 15, 2014 3 PM & 8 PM Firs Church in Cambridge, Congregational PROGRAM PART 2 at 8 pm Povre secors / Gaude chorus (Montpellier Codex, early 14th century) BG MB JM Capturing Music Diex qui porroit / En grant dolour (Montpellier Codex) Writing and Singing Music in the Middle Ages JM BG HARP Aucun ont trouvé / Lonc tans (Montpellier Codex) Tomas Forres Kelly Morton B. Knafel Professor of Music, Harvard University JM MB ST Blue Heron Scot Metcalfe, direcor Garrit gallus / In nova fert (Roman de Fauvel, 1314-18) IH MN SM Guillaume de Machaut (c. 1300-1377): Biauté qui toutes autres pere PART I at 3 pm OM JM MB Io son un pellegrin (14th century) Introit Ad te levavi OM ST soloist MB Jacob Senleches (f. 1380s): En atendant, Esperance conforte Introit Resurrexi OM CW SM soloist PT Baude Cordier (f. c. 1400): Belle, bonne, sage, plaisant et gente Alleluya Pascha nostrum MN CW SM soloist PG Johannes Ockeghem (c. 1420-1497): Kyrie, Missa prolationum Hymn Ut queant laxis MN IH JM MB Leoninus (f. 1180s-1200): Alleluya Pascha nostrum soloist JM Perotinus (f. c. 1200): Alleluya Pascha nostrum soloists MB & ST (Alleluya) / OM & JM (Pascha nostrum) Michael Barret, Brian Giebler, Paul Gutry, Ian Howell, Clausula Latus est (Magnus liber organi) Owen McIntosh, Jason McStoots, Martin Near, Mark Sprinkle, soloist MS Sumner Tompson, Paul Max Tipton, voices Motet Immolata paschali victima (Magnus liber organi) Charles Weaver, lute & voice MS JM Scot Metcalfe, director, harp & fddle Sumer is icumen in / Perspice Christicola (c.
    [Show full text]
  • Conductus and Modal Rhythm
    Conductus and Modal Rhythm BY ERNEST H. SANDERS T HAS BEEN MORE THAN EIGHTY YEARS since Friedrich Ludwig (1872-193o), arguably the greatest of the seminal figures in twenti- eth-century musicology, began to publish his studies of medieval music. His single-handed occupation of the field, his absolute sover- eignty over the entire repertoire and all issues of scholarly significance arising from it, and his enormous, inescapably determinative influ- ence on the thinking of his successors, most of whom had studied with him, explain the epithet der Grossehe was given on at least one occasion.' Almost his entire professional energies were devoted to the music of the twelfth and, particularly, the thirteenth centuries, as well as to the polyphony of the fourteenth century, which he began to explore in depth in the 1920s. His stringent devotion to the facts and to conclusions supported by them was a trait singled out by several commentators.2 Ludwig's insistence on scholarly rigor, however, cannot be said to account completely for his Modaltheorie,which appeared to posit the applicability of modal rhythm to all music of the Notre Dame period-except organal style-and of the pre-Garlandian (or pre- Franconian) thirteenth century, including particularly the musical settings of poetry. Much of the pre-Garlandian ligature notation in thirteenth-century sources of melismatic polyphonic compositions of the first half of that century (clausulae, organa for more than two voices) and of melismatic portions of certain genres, such as the caudae of conducti,3 signifies modal rhythms, and the appropriatenessof the modal system cannot be disputed in this context.
    [Show full text]
  • Narrow Range -More Virtuosic
    Medieval Theory -Guido of Arezzo developed solomization -solfege came from the hymn “Ut queant laxis” -9th century oral transmission of music -10th century heightened neumes -11th century four line staff and square notation Secular Music Jongleur -Golliards -age of chivalry, courtly love -knightly love kin to monk with god -a religious love in secular music -chanson de geste (song of deeds) ex. King Arthur -were looked down upon, traveled from town to town Troubadour (Southern France) -12th century -educated family, higher class -knew how to read and write music -langue d’oc Trouveres (Northern France) -founder and seeker of song -langue d’oil -chansonnier secular love poetry (monophonic) -pastourelle seduction song Adam de la Halle’s Jeu de Robin et Marion -trouvere -monophonic rondeau (repeating refrain) -low style (profane aspect) -unsuccessful love -vernacular language (langue d’oil) Can vei la lauzeta mover -troubadour -strophic form -8 stanzas -modal music, Dorian mode -word-painting www.notesolution.com -narrow range -more virtuosic A Chantar -troubadour -ABABCDB -phrase end with same cadence (rhyme scheme) -more structural organization -Frauenlob famous German Minnesinger) Polyphony -organum earliest witten polyphony singing simultaneously at more than one pitch evidence in Musica & Scolica Enchriadis -parallel motion note vs. note, harmonized with fourth and fifth -contrary motion one melody with another melody beneath early cadence structure usually ends in octave Alleluia Justus ut Palma -word-painting melisma on “multiply”,
    [Show full text]
  • Kulturologieulturologie
    EEmpirickýmpirický a aaplikovanýplikovaný vvýzkumýzkum KKulturologieulturologie UDC 783.2 (4–15) PPRINCIPLESRINCIPLES OFOF LINESLINES COORDINATIONCOORDINATION ININ THETHE EARLYEARLY ORGANUMORGANUM NN.. VV.. SShymanskyhymansky CCandidateandidate ooff AArts,rts, assistantassistant professor,professor, BBelarusianelarusian StateState AcademyAcademy ooff MMusic,usic, MMinsk,insk, BBelaruselarus Summary. The author applies typological analysis to reveal key features of the early organum including the opposition “unconscious vs conscious” and polymelodics. The con- clusions are based on the contrastive study of examples from the Chartres codices 130 and the Winchester manuscript. The principles of identity, assimilation, and opposition of lines coordination are associated with the syllabic polyphony. Contrapuntal phenomena in syllabic organum exist in the framework of a moving timbre-texture form where not only splitting and merging but also dynamic interaction of voices is possible. The archetypal sensation of vibra- tion and friction tend to represent ‘beat diaphony’. Keywords: early organum; intonational rhythmics; lines coordination; trope; syllabic polyphony; polymelodics; friction; heterophony; Medieval liturgical singing. Despite a number of significant re- a) polymelodic character and variant search papers issued in recent years heterophony; (Rankin, Hughes, Arlt, etc. [4]), early b) splitting of choral unison into organum still remains a mystery to parts followed by their merger in uni- modern musicology. The problem is to son again; choose the correct approach to conduct c) freedom of voices interaction the study of the few sources that rep- in time; resent the semi-professional work of d) fragmented character of parallel medieval singers [2]. This article pro- voice motion. poses a historical-stadial approach for- It is known that the Winchester mulated by M. Kharlap.
    [Show full text]
  • Vestiges of Midsummer Ritual in Motets for John the Baptist
    Early Music History (2011) Volume 30. Cambridge University Press doi:10.1017/S0261127911000027 M A A Email: [email protected] FIRE, FOLIAGE AND FURY: VESTIGES OF MIDSUMMER RITUAL IN MOTETS FOR JOHN THE BAPTIST The thirteenth-century motet repertory has been understood on a wide spectrum, with recent scholarship amplifying the relationship between the liturgical tenors and the commentary in the upper voices. This study examines a family of motets based on the tenors IOHANNE and MULIERUM from the feast of the Nativity of John the Baptist (24 June). Several texts within this motet family make references to well-known traditions associated with the pagan festival of Midsummer, the celebration of the summer solstice. Allusions to popular solstitial practices including the lighting of bonfires and the public criticism of authority, in addition to the cultural awareness of the sun’s power on this day, conspicuously surface in these motets, particularly when viewed through the lens of the tenor. The study suggests the further obfuscation of sacred and secular poles in the motet through attentiveness to images of popular, pre-Christian rituals that survive in these polyphonic works. In the northern French village of Jumièges from the late Middle Ages to the middle of the nineteenth century, a peculiar fraternal ritual took place. Each year on the evening of the twenty-third of June, the Brotherhood of the Green Wolf chose its new chief. Arrayed in a brimless green hat in the shape of a cone, the elected master led the men to a priest and choir; Portions of this study were read at the Medieval and Renaissance Conference at the Institut für Musikwissenschaft, University of Vienna, 8–11 August 2007 and at the University of Chicago’s Medieval Workshop on 19 May 2006.
    [Show full text]
  • PÉROTIN and the ARS ANTIQUA the Hilliard Ensemble
    CORO hilliard live CORO hilliard live 1 The Hilliard Ensemble For more than three decades now The Hilliard Ensemble has been active in the realms of both early and contemporary music. As well as recording and performing music by composers such as Pérotin, Dufay, Josquin and Bach the ensemble has been involved in the creation of a large number of new works. James PÉROTIN MacMillan, Heinz Holliger, Arvo Pärt, Steven Hartke and many other composers have written both large and the and small-scale pieces for them. The ensemble’s performances ARS frequently include collaborations with other musicians such as the saxophonist Jan Garbarek, violinist ANTIQUA Christoph Poppen, violist Kim Kashkashian and orchestras including the New York Philharmonic, the BBC Symphony Orchestra and the Philadelphia Orchestra. John Potter’s contribution was crucial to getting the Hilliard Live project under way. John has since left to take up a post in the Music Department of York University. His place in the group has been filled by Steven Harrold. www.hilliardensemble.demon.co.uk the hilliard ensemble To find out more about CORO and to buy CDs, visit www.thesixteen.com cor16046 The hilliard live series of recordings came about for various reasons. 1 Vetus abit littera Anon. (C13th) 3:47 At the time self-published recordings were a fairly new and increasingly David James Rogers Covey-Crump John Potter Gordon Jones common phenomenon in popular music and we were keen to see if 2 Deus misertus hominis Anon. (C13th) 5:00 we could make the process work for us in the context of a series of David James Rogers Covey-Crump John Potter Gordon Jones public concerts.
    [Show full text]
  • The Aquitanian Sacred Repertoire in Its Cultural Context
    THE AQUITANIAN SACRED REPERTOIRE IN ITS CULTURAL CONTEXT: AN EXAMINATION OF PETRI CLA VIGER! KARl, IN HOC ANNI CIRCULO, AND CANTUMIRO SUMMA LAUDE by ANDREA ROSE RECEK A THESIS Presented to the School ofMusic and Dance and the Graduate School ofthe University of Oregon in partial fulfillment ofthe requirements for the degree of Master of Arts September 2008 11 "The Aquitanian Sacred Repertoire in Its Cultural Context: An Examination ofPetri clavigeri kari, In hoc anni circulo, and Cantu miro summa laude," a thesis prepared by Andrea Rose Recek in partial fulfillment ofthe requirements for the Master ofArts degree in the School ofMusic and Dance. This thesis has been approved and accepted by: Dr. Lori Kruckenberg, Chair ofth xamining Committee Committee in Charge: Dr. Lori Kruckenberg, Chair Dr. Marc Vanscheeuwijck Dr. Marian Smith Accepted by: Dean ofthe Graduate School 111 © 2008 Andrea Rose Recek IV An Abstract ofthe Thesis of Andrea Rose Recek for the degree of Master ofArts in the School ofMusic and Dance to be taken September 2008 Title: THE AQUITANIAN SACRED REPERTOIRE IN ITS CULTURAL CONTEXT: AN EXAMINATION OF PETRI CLA VIGER! KARl, INHOC ANNI CIRCULO, AND CANTU MIRa SUMMA LAUDE Approved: ~~ _ Lori Kruckenberg Medieval Aquitaine was a vibrant region in terms of its politics, religion, and culture, and these interrelated aspects oflife created a fertile environment for musical production. A rich manuscript tradition has facilitated numerous studies ofAquitanian sacred music, but to date most previous research has focused on one particular facet of the repertoire, often in isolation from its cultural context. This study seeks to view Aquitanian musical culture through several intersecting sacred and secular concerns and to relate the various musical traditions to the region's broader societal forces.
    [Show full text]
  • Memory, Music, Epistemology, and the Emergence of Gregorian Chant As Corporate Knowledge
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-2012 "Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge Jordan Timothy Ray Baker [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Epistemology Commons, Medieval Studies Commons, and the Musicology Commons Recommended Citation Baker, Jordan Timothy Ray, ""Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge. " Master's Thesis, University of Tennessee, 2012. https://trace.tennessee.edu/utk_gradthes/1360 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Jordan Timothy Ray Baker entitled ""Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Rachel M. Golden, Major Professor We have read this thesis and recommend its acceptance:
    [Show full text]