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Universiv Micrmlms Internationcil
INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microHlming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify m " '<ings 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)” . I f 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 througli an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyriglited materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper le ft hand comer o f a large sheet and to continue from left to right in equal sections w ith small overlaps. I f necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
Le Concert Spirituel
WWW.FIB.NO FESTSPILLENEFESTSPILLENE I BERGEN PROGRAM3 2014 I BERGEN KR 20 HÅKONSHALLEN 22. MAI Le Concert Spirituel BERGEN 21. MAI — 04. JUNI INTERNATIONAL 2014 Redaksjon: Festspillene i Bergen / Design og konsept: ANTI Bergen, www.anti.as FESTIVAL / Trykkeri: Bodoni / Formgiving: Anna-Julia Granberg / Foto forside: Eric Manas WWW.FIB.NO 3 4 FESTSPILLENE I BERGEN FESTSPILLENE I BERGEN 5 2014 Festspillene 2014 Samarbeidspartnere i kulturlivet Arrangement Tjenester takker Austevoll kommune Le Concert SpiriBarratt Due tmusikkinstituttuel Bekkjarvik Gjestgiveri Festspillene i Bergen er Bekkjarvik Torg HÅKONSHALLENavhengig av mange og ulike Bergen Backline Bergen Dansesenter Torsdagstøttespillere 22. mai kl for 21:00 å avvikle Bergen Filharmoniske Orkester Thursdayvårens store 22 May eventyr. at 21:00 Disse Bergen kulturskole er med på å gjøre opplev- Bergen Kunsthall Varighet:elsen større. 1 t 10 min Bergen Nasjonale Opera Duration: 1:10 BIT20 Ensemble Festspillambassadører Bright Yvonne og Bjarne Rieber Buekorpsenes dag LeGrieg Concert Foundation Spirituel Bymuseet i Bergen HervéTrond Mohn Niquet dirigent conductorCarte Blanche – Norges nasjonale kompani for samtidsdans UKJENTHovedsamarbeidspartnere ANONYMOUS Collegiûm Mûsicûm BeataDNB viscera, «prosesjon» “processsion”Cornerteateret Statoil Columbi Egg ORAZIORadisson BluBENEVOLO Hotel Norge (1605–1672) Det felles innvandrerråd, Hordaland LaetatusDagens Næringsliv sum, «bønn» “prayer” Bergen Internasjonale Kultursenter Miserere «bønn» “prayer” Den Nationale Scene Prosjektpartnere Det Norske -
TESI DI DOTTORATO DI RICERCA L'affetto E La Sua Misura. Le Autorità Ecclesiastiche E La Regolamentazione Della Musica Nel
UNIVERSITÀ DEGLI STUDI DI MILANO SCUOLA DI DOTTORATO «Humanae litterae» DIPARTIMENTO Scienze della storia e della documentazione storica CORSO DI DOTTORATO Società europea e vita internazionale nell’età moderna e contemporanea UNIVERSITÉ BLAISE PASCAL – CLERMONT –FERRAND II ÉCOLE DOCTORALE DES LETTRES, SCIENCES HUMAINES ET SOCIALES UNIVERSITÀ ITALO-FRANCESE (UIF/UFI) TESI DI DOTTORATO DI RICERCA L’affetto e la sua misura. Le autorità ecclesiastiche e la regolamentazione della musica nel Cinque e Seicento CANDIDATO MANUEL BERTOLINI (matr. R08549) TUTOR Chiar.ma Prof.ssa Claudia Di Filippo Bareggi CO-TUTOR Chiar.mo Prof. Bernard Dompnier COORDINATORE DEL DOTTORATO Chiar.ma Prof.ssa Paola Vismara A.A. 2011/2012 2 Ai miei genitori 3 INDICE INTRODUZIONE 6 I. L’AFFETTO E LA SUA MISURA. LA CORNICE DI UN’IDEA MUSICALE 9 1. L’antefatto mitologico 9 2. La dottrina dell’ethos 14 3. Lo spirito e il corpo della musica 23 II. RILEGGERE “L’ANGELO E LA SIRENA”. I VOLTI DELLA CENSURA MUSICALE POSTRIDENTINA 31 1. Il Concilio di Trento 31 2. “Maius est illuminare che lucere solum” 41 3. Un’oasi di musica spirituale: l’Oratorio di Filippo Neri 74 4. Musica all’Indice 89 5. Separare la parola dal suono e lo spirito dalla carne 115 6. La dissonanza in confessionale 141 III. UNA VIRTÙ SEGRETA: MUSICA E POLIZIA DEI COSTUMI A GINEVRA 173 1. Calvino e la disciplina ecclesiastica 173 2. Il conflitto della salmodia 179 3. I processi del Conseil 190 4. L’alambicco musicale 206 IV. IDEE SULLA VIRTUS FLEXANIMA DELL’ARMONIA: FICINO, CAMPANELLA E LA CENSURA DEGLI ESORCISMI 221 1. -
STRAVAGANZA Thed’ Birthamore! of Opera at the Medici Court
STRAVAGANZA theD’ birthAMORE! of opera at the medici court PYGMALION RAPHAËL PICHON STRAVAGANZA D’AMORE! La nascita dell’opera alla corte dei Medici La naissance de l’opéra à la cour des Médicis / The birth of opera at the Medici court 1589-1608 Musiques / Musics Lorenzo Allegri (1567-1648), Antonio Brunelli (1577-1630), Giovanni Battista Buonamente (c.1595-1642), Giulio Caccini (1551-1618), Emilio de’ Cavalieri (avant 1550-1602), Girolamo Fantini (1600-1675), Marco da Gagliano (1582-1643), Cristofano Malvezzi (1547-1599), Luca Marenzio (1553-1599), Alessandro Orologio (c.1550-1633), Jacopo Peri (1561-1633), Alessandro Striggio (c.1536-1592). Textes / Texts Giovanni de’ Bardi (1534-1612), Gabriello Chiabrera (1552-1638), Giovanni Battista Guarini (1538-1612), Cristoforo Castelletti (?-1596), Laura Lucchesini (1550-c.1597), Lotto del Mazza (?-1597), Giovanni Battista Pigna (1523-1575), Ottavio Rinuccini (1562-1621). Reconstitution : Raphaël Pichon & Miguel Henry Pygmalion Raphaël Pichon FRANZ LISZT CD 1 Primo Intermedio All’imperio d’Amore 1 | 1. Stravaganza d’Amore! - Toccata – La Renuccini (Girolamo Fantini) 1’47 2 | 2. O fortunato giorno, a 30 – La Pellegrina - Florence, 1589, intermedio VI 3’12 (Cristofano Malvezzi-Ottavio Rinuccini) 3 | 3. Ineffabile ardore, a 6 – Il Rapimento di Cefalo - Florence, 1600 1’07 (Giulio Caccini-Gabriello Chiabrera) 4 | 4. O che felice giorno, a voce sola (Giulio Caccini-Anonyme) 4’20 Sophie Junker 5 | 5. Ineffabile ardore, a 6 – Il Rapimento di Cefalo - Florence, 1600 1’00 (Giulio Caccini-Gabriello Chiabrera) 6 | 6. La dipartita é amara, a 4 (Luca Marenzio-Giovanni Battista Pigna) 2’13 Maïlys de Villoutreys, Lucile Richardot, Zachary Wilder Davy Cornillot, Safir Behloul, Renaud Bres 7 | 7. -
1 the Palazzo, Collections, and Musical Patronage of Niccolò Gaddi
The Palazzo, Collections, and Musical Patronage of Niccolò Gaddi (1536-91) Laura Moretti This article examines the collection of musical instruments and music books (both published editions and manuscripts) belonging to the Florentine Niccolò di Sinibaldo Gaddi. One of the greatest collectors and patrons of the arts of his time, in the 1570s and 1580s he organized and fit out one of the largest private collections of the era in the so-called casa dell’orto. Today it is possible to reconstruct not only the scope of his collections but also the breadth of his incredibly rich library thanks to an unpublished inventory from 1628 and analyses of other primary sources. Around forty musical instruments and a group of one hundred and thirty volumes of printed and manuscript music books were among the thousands of objects exhibited. The identification of several of them has made it possible to advance new hypotheses on the contributions made to the collection by various members of the family. Niccolò di Sinibaldo Gaddi was one of the greatest collectors and patrons of the arts in Florence in the second half of the sixteenth century (Fig. 1).1 He was the last descendent of a family that had played a leading role in the political, religious and cultural life of the city for over four centuries, and was able to boast among its members the painters Gaddo (c.1239-c.1312), Taddeo (c.1290-1366) and Agnolo (c.1350-96), the secretary of the Florentine Republic, Francesco (1441-1504), and the cardinals Niccolò (1490-1552), Giovanni (1493-1542), Taddeo (1520-61) -
«Diverse Voci…» 14 in Copertina: Modena, Biblioteca Estense, Ms
«Diverse voci…» 14 In copertina: Modena, Biblioteca Estense, ms. α.M.5.24, c. 32r: Matheus de Perusio, Le greygnour bien que nature UNIVERSITÀ DI PAVIA DIPARTIMENTO DI MUSICOLOGIA E BENI CULTURALI CARA SCIENTIA MIA, MUSICA STUDI PER MARIA CARACI VELA a cura di ANGELA ROMAGNOLI, DANIELE SABAINO, RODOBALDO TIBALDI E PIETRO ZAPPALÀ * * EDIZIONI ETS «Diverse voci…» Collana del Dipartimento di Musicologia e Beni culturali Università di Pavia Comitato scientifco Elena Ferrari Barassi, Maria Caraci Vela, Fabrizio Della Seta, Michela Garda, Giancarlo Prato, Daniele Sabaino La pubblicazione è stata realizzata con il contributo dFM © Copyright 2018 EDIZIONI ETS Piazza Carrara, 16-19, I-56126 Pisa [email protected] www.edizioniets.com Distribuzione Messaggerie Libri SPA Sede legale: via G. Verdi 8 - 20090 Assago (MI) Promozione PDE PROMOZIONE SRL via Zago 2/2 - 40128 Bologna ISBN 978-884675180-5 ISMN M 979-0-705015-37-9 Cara scientia mia, musica.indb 4 09/09/18 19:26 (Foto Gianfranco Negri) INDICE Tabula gratulatoria XIII Giancarlo Prato Prefazione XV Maria Caraci Vela – Nota biografica XVII Nota dei curatori XIX Elenco delle pubblicazioni di Maria Caraci Vela XXI Elenco delle tesi curate da Maria Caraci Vela XXIX Sigle delle biblioteche XXXV TOMO I TESTI Luigi Galasso L’armonia delle sfere celesti in un frammento di Vario (157 Hollis; F 2 Schauer) 3 Sandra Martani Un esempio di notazione ecfonetica del sistema post-classico: il manoscritto Alex. Patr. gr. 10 (a.D. 1338) 15 Marco D’Agostino Tradition and innovation in the Greek printed book of -
The Medici Court and the Development of Italian Madrigal: a Study of the Contributions of Music Patronage in the 16Th Century
Journal of Taipei Municipal University of Education, Vol.37, No.2, (Nov. 2006) 31~56 31 Humanities & Arts The Medici Court and the Development of Italian Madrigal: A Study of the Contributions of Music Patronage in the 16th Century Shun-Mei Tsai* Abstract The Medici family, who was one of the important music patrons in Florence, Italy, held its political and social power for more than three hundred years. Members of the family were not only the international renowned merchants, but also became major religious leader and Royal court members. The present study centers on the importance of the musical patronage that the Medici court supported during the sixteenth century, a period that the Medici family occupied the most influential power in Florence. The research focuses on the early development of the Italian madrigal which was directly connected to the contribution from the Medici court. The discussion includes the court musicians, the music programs of the court festivities, and the patronage system during this era. The Medici family was neither an aristocracy nor Royal monarchy, however, their positions as the artistic patron made fruitful music life for the Florentine citizens. The musical patronage has made significant contributions for the development of new musical genres, madrigal and opera as well. Keywords: Italian madrigal, music patronage, Medici family * Professor, Department of Music, National Sun Yat-sen University ඒߛՕᖂᖂЁԳ֮ᢌᣊمؑק32ʳ ፕ The Medici Court and the Development of Italian Madrigal: A Study of the Contributions of Music Patronage in the 16th Century Shun-Mei Tsai The stages in the development of Italian madrigal, one of the important secular music genres, were divided in two periods: the fourteenth-century and sixteenth-century madrigal (Trecento madrigal and Cinquecento madrigal). -
Carlo Milanuzzi's Quarto Scherzo and the Climate of Venetian Popular
CARLO MILANUZZI’S QUARTO SCHERZO AND THE CLIMATE OF VENETIAN POPULAR MUSIC IN THE 1620S Cory Michael Gavito, B.M.E. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS August 2001 APPROVED: Deanna D. Bush, Major Professor Michael B. Collins, Major Professor Thomas P. Sovík, Minor Professor Lester D. Brothers, Chair of the Department of Music Theory, History, and Ethnomusicology, College of Music Graham Phipps, Chair of Graduate Studies, College of Music Thomas Clark, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Gavito, Cory Michael, Carlo Milanuzzi’s Quarto Scherzo and the Climate of Venetian Popular Music in the 1620s. Master of Music (Musicology), August 2001, 93 pp., 2 tables, 12 illustrations, references, 53 titles. Although music publishing in Italy was on the decline around the turn of the seventeenth century, Venice emerged as one of the most prolific publishing centers of secular song in Italy throughout the first three decades of the 1600s. Many Venetian song collections were printed with alfabeto, a chordal tablature designed to facilitate even the most untrained of musicians with the necessary tools for accompanying singers on the fashionable five-course Spanish guitar. Carlo Milanuzzi’s Quarto Scherzo (1624) stands out among its contemporary Venetian song collections with alfabeto as an anthology of Venetian secular songs, including compositions by Miniscalchi, Berti, and Claudio and Francesco Monteverdi. Issues surrounding its publication, instrumentation, and musical and poetic style not only contribute to the understanding of Venetian Baroque monody, but also help to construe a repertory of vocal music with defining characteristics usually associated with popular music of the 19th, 20th, and 21st centuries. -
Heinrich Isaac Among the Florentines
Dickinson College Dickinson Scholar Faculty and Staff Publications By Year Faculty and Staff Publications Winter 2006 Heinrich Isaac Among the Florentines Blake McDowell Wilson Dickinson College Follow this and additional works at: https://scholar.dickinson.edu/faculty_publications Part of the Italian Language and Literature Commons, and the Musicology Commons Recommended Citation Wilson, Blake. "Heinrich Isaac Among the Florentines." Journal of Musicology 23, no. 1 (2006): 97-152. This article is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. 04.Wilson_pp97-152 3/28/06 2:29 PM Page 97 Heinrich Isaac among the Florentines BLAKE WILSON One of the most characteristic features of the musical landscape of Renaissance Italy is the presence of northern musicians, whose services as composers and performers were in great demand by Italian rulers. However, the surviving documents that record the presence of northern musicians and repertory in Italian centers say very little about the daily activities and duties of these musicians, and they are silent about professional contacts, if any, they may have had be- yond what we imagine to be the fairly circumscribed courtly and ecclesi- astical institutions that were the primary sources of their patronage. For 97 example, to what extent was a Du Fay in Rome, a Josquin in Milan, or a Martini in Ferrara free to accept private commissions from leading citi- zens, to -
Madrigal (Music) 1 Madrigal (Music)
Madrigal (music) 1 Madrigal (music) A madrigal is a secular vocal music composition, usually a partsong, of the Renaissance and early Baroque eras. Traditionally, polyphonic madrigals are unaccompanied; the number of voices varies from two to eight, and most frequently from three to six. Madrigals originated in Italy during the 1520s. Unlike many strophic forms of the time, most madrigals were through-composed. In the madrigal, the composer attempted to express the emotion contained in each line, and sometimes individual words, of a celebrated poem. The madrigal originated in part from the frottola, in part from the resurgence in interest in vernacular Italian poetry, and also from the influence of the French chanson and polyphonic style of the motet as written by the Franco-Flemish composers who had naturalized in Italy during the period. A frottola generally would consist of music set to stanzas of text, while madrigals were through-composed. However, some of the same poems were used for both frottola and madrigals.[1] The poetry of Petrarch in particular shows up in a wide variety of genres.[1] The madrigal is related mostly by name alone to the Italian trecento madrigal of the late 13th and 14th centuries.[2] In Italy, the madrigal was the most important secular form of music of its time. The madrigal reached its formal and historical zenith by the second half of the 16th century. English and German composers, too, took up the madrigal in its heyday. After the 1630s, the madrigal began to merge with the cantata and the dialogue. With the rise of opera in the early 17th century, the aria gradually displaced the madrigal.[3] History Origins and early madrigals In the early 16th century, several humanistic trends converged which allowed the madrigal to form. -
Music for Trombone and Voice from the Hapsburg Empire: an Historical Overview with Tenor Trombone Transcriptions
Abstract Title of dissertation: MUSIC FOR TROMBONE AND VOICE FROM THE HAPSBURG EMPIRE: AN HISTORICAL OVERVIEW WITH TENOR TROMBONE TRANSCRIPTIONS Wayne W. Wells, Doctor of Musica l Arts, 2005 Dissertation directed by: Professor Gregory Mill er School of Music Compositions featuring voice and obbligato trombone reached a n artistic peak in the courts and monasteries of 18th century Austria due to the convergence of s everal factors. These factors included the influence of Giovanni Gabri eli and the many northern Italian composers who worked at the Austrian courts, the long history of religious connotations of the trombone in Germany and Austria , the high level of trombone playing in the courts of 18th century Vienna and Salzburg , and the unique ability of the trombone to blend with voices. This document explores the rich history of the trombone and charts the evolution of soloistic trombone writing in vocal music, from the innovations of large scale works by Gabrieli and Schütz to the highly virtuosic obbligato writing of composers in 18th century Austrian monasteries and the courts of Vienna and Salzburg. This exploration takes place through discussion of general trends in trombone writing as well as by examination of specific selected pieces that illustrate interesting or unique stylistic features. The document accompanies recordings of two recitals of Austrian and German music for trombone and voice from the 17th and 18th centuries. The r ecitals include several transcriptions of music originally written for alto trombone and alto voice into keys that would be suitable for performance by tenor trombone and tenor voice. This was done with the goal of sparking interest in this repertoire by less experienced trombonists. -
Owens Curriculum Vitae
JESSIE ANN OWENS [email protected] 530 902-5330 CURRICULUM VITAE July 2017 EDUCATION Princeton University Ph.D., Musicology 1978 dissertation: “An Illuminated Manuscript of Motets by Cipriano de Rore (München, Bayerische Staatsbibliothek, Mus. Ms. B)” M.F.A., Musicology 1975 Barnard College, Columbia University B.A. cum laude, Latin 1971 EMPLOYMENT University of California, Davis Distinguished Professor of Music (Emeritus from 2017) 2006– Dean, Division of Humanities, Arts and Cultural Studies 2006–2014 College of Letters & Science Brandeis University 1984-2006 Louis, Frances and Jeffrey Sachar Professor of Music Associate Professor, Professor Dean of Arts and Sciences 2000–2003 Dean of the College and Associate Dean of the Faculty 1987–1989 Eastman School of Music, University of Rochester 1980–1984 Assistant Professor of Musicology Columbia University 1977–1979 Mellon Fellow and Lecturer in Music LEADERSHIP POSITIONS University of California, Davis Dean, Humanities, Arts and Cultural Studies 2006-2014 Renaissance Society of America Jessie Ann Owens Page 2 President 2004–2006 American Musicological Society President 2000–2002 HONORS, GRANTS AND AWARDS Gladys Krieble Delmas, fellowship in Venetian Studies Fall 2017 Robert Lehman Visiting Professor, Villa I Tatti, Harvard University Center for Fall 2015 Italian Renaissance Studies Noah Greenberg Award, American Musicological Society, for distinguished 2015 contribution to the study and performance of early music, with Blue Heron, for a recording of Cipriano de Rore’s Madrigali a cinque