Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600

Total Page:16

File Type:pdf, Size:1020Kb

Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. By replacing musicians with a machine, keyboard playing amounted to a mechanization of polyphony. Chapter 1 outlines the mechanization of ars perfecta polyphony through keyboard playing. To illustrate its effects, I analyze several keyboard intabulations in relation to their vocal models, including Marcantonio Cavazzoni's adaptation of the chanson Plusieurs regretz by Josquin, and the intabulation preserved in the Turin Tablature of Rore's Calami sonum ferentes. I show how formal differences relate to changes in agency, script, and sensorimotor experience. Drawing on research in cognition and motor control, I discuss how experiencing polyphonic vocal music through keyboard playing affected how musicians parsed the art form. The remainder of the dissertation examines the relationship between keyboard playing and the ecclesiastical concerto, as exemplified in Lodovico Viadana's Cento concerti ecclesiastici 1 (1602). Chapter 2 investigates the complex material relationship between the vocal partbooks and organ continuo part in printed books of sacred music from the 1590s and early decades of the seventeenth century. I argue that the concerto print served as a virtual site for the convergence of the art of counterpoint and keyboard playing. Chapter 3 proposes that the redesign of the Italian organ in the fifteenth and sixteenth centuries was a crucial precedent for the "concertato style." The concertato style itself represents a stylization of the model of distributed cognition inherent in the sacred concerto. 2 To my parents, Jim and Judy, with gratitude i TABLE OF CONTENTS List of Figures iii List of Musical Examples v List of Tables vii Acknowledgements viii Library Sigla x Pitch Nomenclature xi Introduction: Cyborgs at Work 1 1 Intabulation and the Mechanization of Polyphony 20 2 Basso Continuo and the Transformation of the Printed Book of Sacred Music 71 3 Material Origins of the Concertato Style 109 Bibliography 146 Appendix A Transcriptions of Plusieurs regretz and Plus ne regres 167 Appendix B Transcriptions of Calami sonum ferentes 172 Appendix C Printed Collections of Sacred Music with Organ Parts, 1594-1605 178 Appendix D Reeditions of Single-Author Prints of Sacred Music Newly Issued with a Continuo Part, 1601-1693 192 Appendix E Anthologies Including Older Sacred Music Newly Issued with a Continuo Part, 1599-1639 195 ii LIST OF FIGURES 0.1. G.F. Cavalliere, Juxtaposition of mano figurata and keyboard. 12 1.1. Josquin, Plusieurs regretz, from Livre contenant XXX. chansons tres musicales a quatre, cinque & six parties (Paris: Pierre Attaingnant, 1549). 34 1.2. M. Cavazzoni, Plus ne regres, from Recerchari, motetti, canzoni (Venice: Vercelensis, 1523). 35 1.3. Rore, Calami sonum ferentes, Tutti i madrigali di Cipriano di Rore (Venice: Gardano, 1577), opening. 42 1.4. Rore, Calami sonum ferentes, excerpt (I-Tn, Ms. Foà 4, f. 62r). 43 1.5. Distribution of pitches among the four parts of Calami sonum ferentes as a) Rore's vocal setting, and b) the intabulation in the Turin Tablature. 45 1.6. Distribution of rests among the voices in a) the original version of Calami sonum ferentes by Rore, and b) the intabulation of the work in the Turin Tablature. 47 1.7. Berchem, Lasso che desiando vo as appearing in a) Il secondo libro de madrigali di Cipriano de Rore a cinque voci insieme alcuni di M. Adriano & altri autori (Venice: Gardano, 1544/1551R), and b) Bardini Manuscript 967. 50 1.8. Correa, Facultad organica, example of cifra notation and pointers. 51 2.1. Notational formats of basso continuo parts in partbook sets. 83 2.2. Luigi Balbi, Ecclesiastici concentus (Venice: Raverius, 1606), title pages of the Altus partbook and Partidura. 95 2.3. Signorucci, Salmi, falsobordoni (Venice: Vincenti, 1603), title pages of Canto II and Basso per sonar. 98 3.1. G.B. Martini’s sketch of a medieval organ with other instruments. 132 3.2. Zarlino, Sopplimenti musicali, woodcut of a medieval organ windchest. 133 iii 3.3. Praetorius, De organographia, woodcut of the manual and pedal keyboards of the Halberstadt organ. 134 3.4. Praetorius, De organographia, woodcut of a key of the Magdeburg organ. 135 3.5. Matteo d’Allemagna, sketch of the proposed organ for S. Antonio, Cremona. 136 3.6. Alternating forces in Lappi, Te Deum, mm. 45-103. 141 3.7. Basso generale from G. Gabrieli, Canzon vigesimasettima of Canzoni per sonare. 143 iv LIST OF MUSIC EXAMPLES 1.1. Comparison of Plus ne regres and Plusieurs regretz, opening. 28 1.2. Comparison of Plus ne regres and Plusieurs regretz, mi-fa-mi motif. 29 1.3. Josquin, Plusieurs regretz, mm. 24-30. 30 1.4. Josquin, Plusieurs regretz, mm. 8-9. 31 1.5. a) Josquin, Plusieurs regretz, mm. 16-17, b) Cavazzoni, Plus ne regres, mm. 15-16. 31 1.6. Josquin, Plusieurs regretz, canon a) mm. 3-7, b) mm. 24-28. 32 1.7. Josquin, Plusieurs regretz, mm. 7-9. 36 1.8. M. Cavazzoni, Plus ne regres, a) mm. 11-12, b) mm. 20-22. 36 1.9. M. Cavazzoni, Plus ne regres, mm. 30-31. 36 1.10. Willaert, Qui la dira la peine de mon cœur a 5, canon, mm. 4-8. 38 1.11. Qui la dira la peine de mon cœur, mm. 3-5, a) Willaert, b) A. Gabrieli. 39 1.12. a) Josquin, Faulte d'argent a 5, opening, b) hypothetical literal transcription for keyboard, c) G. Cavazzoni, Canzon sopra Falt d'argens, opening. 41 1.13. Rore, Calami sonum ferentes (mm. 7-10) as it appears in a) Le quatoirsiesme livre a quatre parties (Antwerp: Susato, 1555), b) I-Tn Ms. Foà 4. 44 1.14. Luzzaschi, Quivi sospiri, Tenor, mm. 10-13. 56 1.15. Diruta, Il Transilvano, fingering. 64 1.16. Correa, Tiento de medio registro de dos tiples de septimo tono, Facultad organica (1626), mm. 25-30. 66 1.17. Bimanual coordination exercises. 67 v 2.1. Modern categories of basso continuo. a) "Basso continuo" in Gian Paolo Cima, Haec dies, Concerti ecclesiastici (Milan: Tini & Lomazzo, 1610), excerpt; b) "Basso seguente" in Gabriello Puliti, Credo, Missa concertata, from Il secondo libro delle messe (Venice: Vincenti, 1624). 78 2.2. Banchieri, Quinta Sinfonia ("Sacerdotes, & Levitę"), Ecclesiastiche sinfonie (Venice: Amadino, 1607), mm. 18-20. 79 3.1. Lappi, Te Deum a 8, excerpt (as performed a cappella). 112 3.2. Lappi, Te Deum a 8, excerpt (as performed according to rubrics). 114 vi LIST OF TABLES 1.1. Comparison of the unmechanized (vocal) and mechanized (keyboardal) performance of polyphonic music. 57 2.1. "Bilingual" early sacred concerto prints. 93 vii ACKNOWLEDGEMENTS For financial support of this dissertation, I thank the University of California, Berkeley, particularly the Department of Music, Graduate Division, Townsend Center for the Humanities, and Berkeley Connect. The Alfred Hertz Traveling Fellowship allowed me to study the cembalo cromatico and its more ordinary relatives with Christopher Stembridge. A fellowship from Fondazione Cini permitted me to do research in Venice for six months while living on the island of San Giorgio Maggiore. Through a visiting fellowship from Harvard University, I had the pleasure of becoming part of another illustrious music department for a year. The Oshawa Centre of the Royal Canadian College of Organists generously awarded me a scholarship toward my organ studies. The staff at the library of Hargrove Music Library at UC Berkeley provided vital bibliographic support. I'm indebted also to the staff of the Manica Lunga at Fondazione Cini for their help. I thank the Loeb Music Library staff for making me feel so welcome during my year at Harvard. Thanks also to Kathryn Bosi at Villa i Tatti for making my visits there so pleasant. I offer heartfelt thanks to the four remarkable professors who have comprised my committee. Kate van Orden has been a model advisor and scholar. She knows exactly when to challenge me and when to cheer me on. She has read my drafts with incredible dedication and has always been available to chat, even while working on two books of her own. I'm thankful for the magical blend of imagination, rigor, passion, and humor that is the intellect of James Davies.
Recommended publications
  • The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice.
    [Show full text]
  • Guillaume Du Fay Discography
    Guillaume Du Fay Discography Compiled by Jerome F. Weber This discography of Guillaume Du Fay (Dufay) builds on the work published in Fanfare in January and March 1980. There are more than three times as many entries in the updated version. It has been published in recognition of the publication of Guillaume Du Fay, his Life and Works by Alejandro Enrique Planchart (Cambridge, 2018) and the forthcoming two-volume Du Fay’s Legacy in Chant across Five Centuries: Recollecting the Virgin Mary in Music in Northwest Europe by Barbara Haggh-Huglo, as well as the new Opera Omnia edited by Planchart (Santa Barbara, Marisol Press, 2008–14). Works are identified following Planchart’s Opera Omnia for the most part. Listings are alphabetical by title in parts III and IV; complete Masses are chronological and Mass movements are schematic. They are grouped as follows: I. Masses II. Mass Movements and Propers III. Other Sacred Works IV. Songs (Italian, French) Secular works are identified as rondeau (r), ballade (b) and virelai (v). Dubious or unauthentic works are italicised. The recordings of each work are arranged chronologically, citing conductor, ensemble, date of recording if known, and timing if available; then the format of the recording (78, 45, LP, LP quad, MC, CD, SACD), the label, and the issue number(s). Each recorded performance is indicated, if known, as: with instruments, no instruments (n/i), or instrumental only. Album titles of mixed collections are added. ‘Se la face ay pale’ is divided into three groups, and the two transcriptions of the song in the Buxheimer Orgelbuch are arbitrarily designated ‘a’ and ‘b’.
    [Show full text]
  • The Motets of Andrea and Giovanni Gabrieli in the Rokycany Music Collection
    Musica Iagellonica 2017 ISSN 1233–9679 Kateřina Maýrová (Czech Museum of Music, Prague) The motets of Andrea and Giovanni Gabrieli in the Rokycany Music Collection This work provides a global survey on the Italian music repertoire contained in the music collection that is preserved in the Roman-Catholic parish of Roky- cany, a town located near Pilsen in West-Bohemia, with a special regard to the polychoral repertoire of the composers Andrea and Giovanni Gabrieli and their influence on Bohemian cori-spezzati compositions. The mutual comparison of the Italian and Bohemian polychoral repertoire comprises also a basic compara- tion with the most important music collections preserved in the area of the so- called historical Hungarian Lands (today’s Slovakia), e.g. the Bardejov [Bart- feld / Bártfa] (BMC) and the Levoča [Leutschau / Löcse] Music Collections. From a music-historical point of view, the Rokycany Music Collection (RMC) of musical prints and manuscripts stemming from the second half of the 16th to the first third of the 17th centuries represents a very interesting complex of music sources. They were originally the property of the Rokycany litterati brotherhood. The history of the origin and activities of the Rokycany litterati brother- hood can be followed only in a very fragmentary way. 1 1 Cf. Jiří Sehnal, “Cantionál. 1. The Czech kancionál”, in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 29 vols. (London–New York: Macmillan, 20012), vol. 5: 59–62. To the problems of the litterati brotherhoods was devoted the conference, held in 2004 65 Kateřina Maýrová The devastation of many historical sites during the Thirty Years War, fol- lowed by fires in 1728 and 1784 that destroyed much of Rokycany and the church, resulted in the loss of a significant part of the archives.
    [Show full text]
  • Second Bassoon: Specialist, Support, Teamwork Dick Hanemaayer Amsterdam, Holland (!E Following Article first Appeared in the Dutch Magazine “De Fagot”
    THE DOUBLE REED 103 Second Bassoon: Specialist, Support, Teamwork Dick Hanemaayer Amsterdam, Holland (!e following article first appeared in the Dutch magazine “De Fagot”. It is reprinted here with permission in an English translation by James Aylward. Ed.) t used to be that orchestras, when they appointed a new second bassoon, would not take the best player, but a lesser one on instruction from the !rst bassoonist: the prima donna. "e !rst bassoonist would then blame the second for everything that went wrong. It was also not uncommon that the !rst bassoonist, when Ihe made a mistake, to shake an accusatory !nger at his colleague in clear view of the conductor. Nowadays it is clear that the second bassoon is not someone who is not good enough to play !rst, but a specialist in his own right. Jos de Lange and Ronald Karten, respectively second and !rst bassoonist from the Royal Concertgebouw Orchestra explain.) BASS VOICE Jos de Lange: What makes the second bassoon more interesting over the other woodwinds is that the bassoon is the bass. In the orchestra there are usually four voices: soprano, alto, tenor and bass. All the high winds are either soprano or alto, almost never tenor. !e "rst bassoon is o#en the tenor or the alto, and the second is the bass. !e bassoons are the tenor and bass of the woodwinds. !e second bassoon is the only bass and performs an important and rewarding function. One of the tasks of the second bassoon is to control the pitch, in other words to decide how high a chord is to be played.
    [Show full text]
  • The Organ Ricercars of Hans Leo Hassler and Christian Erbach
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material subm itted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame 3. When a map, dravdng or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • Temple University Wind Symphony Patricia Cornett, Conductor
    Temple University Wind Symphony Patricia Cornett, conductor November 13, 2020 Friday Presented Virtually 7:30 pm Program Mood Swings Interludes composed by members of Dr. Cynthia Folio’s Post-Tonal Theory Class. Performed by Allyson Starr, flute and Joshua Schairer, bassoon. Aria della battaglia (1590) Andrea Gabrieli (1532–1585) ed. Mark Davis Scatterday Love Letter in Miniature Marcos Acevedo-Arús Fratres (1977) Arvo Pärt (b. 1935) arr. Beat Briner Schyler Adkins, graduate student conductor Echoes Allyson Starr Motown Metal (1994) Michael Daugherty (b. 1954) Unmoved Joshua Schairer Petite Symphonie (1885) Charles Gounod (1818–1893) I. Adagio, Allegro II. Andante cantabile III. Scherzo: Allegro moderato IV. Finale: Allegretto Ninety-fourth performance of the 2020-2021 season. Bulls-Eye (2019) Viet Cuong (b. 1990) Musings Spicer W. Carr Drei Lustige Märsche, Op. 44 (1926) Ernst Krenek (1900–1991) Temple University Wind Symphony Patricia Cornett, conductor FLUTE TRUMPET Ruby Ecker-Wylie Maria Carvell Hyerin Kim Anthony Casella Jill Krikorian Daniel Hein Allyson Starr Jacob Springer Malinda Voell Justin Vargas OBOE TROMBONE Geoffrey Deemer Rachel Core Lexi Kroll Jeffrey Dever Brandon Lauffer Samuel Johnson Amanda Rearden Omeed Nyman Sarah Walsh Andrew Sedlacsick CLARINET EUPHONIUM Abbegail Atwater Jason Costello Wendy Bickford Veronica Laguna Samuel Brooks Cameron Harper TUBA Alyssa Kenney Mary Connor Will Klotsas Chris Liounis Alexander Phipps PERCUSSION BASSOON Emilyrose Ristine Rick Barrantes Joel Cammarota Noah Hall Jake Strovel Tracy Nguyen Milo Paperman Collin Odom Andrew Stern Joshua Schairer PIANO SAXOPHONE Madalina Danila Jocelyn Abrahamzon Ian McDaniel GRADUATE ASSISTANTS Sam Scarlett Schyler Adkins Kevin Vu Amanda Dumm HORN Isaac Duquette Kasey Friend MacAdams Danielle O’Hare Jordan Spivack Lucy Smith Program Notes Aria della battaglia Andrea Gabrieli A prominent figure in Renaissance Italy, Andrea Gabrieli acted as principal organist and composer at the St.
    [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]
  • Laker Drumline Marching Bass Drum Technique
    Laker Drumline Marching Bass Drum Technique This packet is intended to define a base framework of knowledge to adequately play a marching bass drum at the collegiate level. We understand that every high school drumline has its own approach to technique, so it’s crucial that ALL prospective members approach their hands with a fresh mind and a clean slate. Mastery of the following concepts & terminology will dramatically improve your experience during the audition process and beyond. Happy drumming! APPROACH The technique outlined in this packet is designed to maximize efficiency of motion and sound quality. It is necessary to use a high velocity stroke while keeping your grip and your muscles relaxed. Keep these key points in mind as you work to refine the music in this packet. Tension in your upper body, lack of oxygen to your muscles, and squeezing the stick are good examples of technique errors that will hinder your ability to achieve the sound quality, efficiency, and control that we strive for. GRIP Fulcrum Place the mallet perpendicularly across the second segment of your index finger. Place your thumb on the mallet so that the thumbnail is directly across from your index finger. ** This is the essential point of contact between your hands and the stick. It should be thought of as the primary pressure point in your fingers and pivot point on the stick. The entire pad of your thumb should remain in contact with the mallet at all times. As a bass drummer, about 60% of the pressure in your hands should lie in the fulcrum.
    [Show full text]
  • Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support.
    [Show full text]
  • Exploring Implications of the Double Attribution of the Madrigal “Canzon Se L’Esser Meco” to Andrea Gabrieli and Orlande De Lassus
    A 16th Century Publication Who-Dun-it: Exploring implications of the double attribution of the madrigal “Canzon se l’esser meco” to Andrea Gabrieli and Orlande de Lassus. Karen Linnstaedter Strange, MM A Double Attribution Why was a single setting of “Canzon se l’esser meco” published in 1584 and 1589 under different composers’ names? For centuries, music history has ascribed this setting of a text from a Petrarchan madrigale to either Orlande de Lassus or Andrea Gabrieli, depending on the publication. It has been assumed the two original publications contain distinct creations of “Canzon se l’esser meco,” and to support this confusion, slight differences in notation between the two modern editions induce an initial perception that the two pieces differ. (See Figures 1A & 1B.). With a few moments of comparison, one can see that the madrigal published under Orlande de Lassus’ name in 1584 is the same piece attributed to Andrea Gabrieli by a different publisher five years later. In fact, no difference exists in the original publications beyond incidental choices by the two publishers, such as the number of notes printed per line and the notation for repeated accidentals. 1 (See Figures 2-5 A & B.) Suppositions and Presumptions The exactness of the two publications provokes interesting questions about issues of personal composer relations and influence, study by copying, and misattribution. In exploring all the possibilities, some quite viable, others farfetched, we can perhaps gain a clearer overview of the issues involved. On the less viable side, perhaps the piece was written simultaneously by each composer and, through some miracle, the two pieces turned out to be exactly the same.
    [Show full text]
  • I T a L Y!!! for Centuries All the Greatest Musicians Throughout Europe (From Josquin Des Prez, Adrian Willaert, Orlando Di Lasso to Wolfgang A
    Richie and Elaine Henzler of COURTLY MUSIC UNLIMITED Lead you on a musical journey through I T A L Y!!! For centuries all the greatest musicians throughout Europe (from Josquin des Prez, Adrian Willaert, Orlando di Lasso to Wolfgang A. Mozart and so many others) would make a pilgrimage to Italy to hear and learn its beautiful music. The focus of the day will be music of the Italian Renaissance and its glorious repertoire of Instrumental and Vocal Music. Adrian Willaert, although from the Netherlands, was the founder of the Venetian School and teacher of Lasso, and both Gabrielis. The great Orlando di Lasso (from Flanders) spent 10 years in Italy working in Ferrara, Mantua, Milan, Naples and Rome where he worked for Cosimo I di Medici, Grand Duke of Tuscany. We’ll also play works by Andrea Gabrieli (uncle of Giovanni). In 1562 Andrea went to Munich to study with Orlando di Lasso who had moved there earlier. Andrea became head of music at St Marks Cathedral in Venice. Giovanni Gabrieli studied at St. Marks with his uncle and in 1562 also went to Munich to study under Lasso. Giovanni’s music became the culmination of the Venetian musical style. Lasso returned to Italy in 1580 to visit Italy and encounter the most modern styles and trends in music. Also featured will be Lodovico Viadana who composed a series of Sinfonias with titles of various Italian cities such as Bologna, Ferrara, Florence, Rome, Padua, Parma, Mantua, Venice and more. These city states are also associated with the delicious food of Italy, some of which we’ll incorporate into the lunch offering.
    [Show full text]
  • A Countertenor's Reference Guide to Operatic Repertoire
    A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources.
    [Show full text]