DOCSLIB.ORG

A 14Th Century Blue Heron

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A 14Th Century Blue Heron A 14TH CENTURY S A L M A N G U BLUE D I HERON BLUE HERON Scott Metcalfe, artistic director Blue Heron VOICES INSTRUMENTS Michael Barrett Martin Near Laura Jeppesen, fiddle A 14TH-CENTURY SALMAGUNDI Ian Howell Aaron Sheehan Charles Weaver, lute Owen McIntosh Sumner Thompson Scott Metcalfe, fiddle, harp 1 Petrus de Cruce (fl. c. 1290) Jason McStoots Aucun ont trouvé / Lonc tans me sui tenu / Annuntiantes JM MB ST 3:37 2 Attr. to Philippe de Vitry (1291–1361) Garrit gallus / In nova fert animus MN IH SM 2:40 Joel Gordon, engineering & mastering Scott Metcalfe & Eric Milnes, producers 3 Guillaume de Machaut (c. 1300–1377) Eric Milnes & Joel Gordon, editing AS SM 4:47 Recorded at the Church of the Redeemer, Chestnut Hill, Massachusetts, in 2010 & 2014. En mon cuer a un descort 4 Machaut Tracks 1, 2, 4, 5, 6 & 8 were commissioned for the CD accompanying Capturing Music: The Story of Notation by Thomas Forrest Kelly (W. W. Norton: New York & London, 2015). Used by permission from W. W. Norton. Biauté qui toutes autres pere OM LJ SM 6:07 (version with added contratenor, probably not by Machaut) Tracks 3 & 7 were commissioned for the Oxford Anthology of Western Music, ed. David J. Rothenberg & Robert R. Holzer (Oxford University Press: New York and Oxford, 2013). Used by permission from Oxford University Press. 5 Jacob Senleches (fl. 1380s) En attendant, Esperance conforte OM CW SM 11:52 SOURCES 6 Anonymous 1 Montpellier, Bibliothèque interuniversitaire, Section Médicine, 6 Paris, Bibliothèque nationale, MS ital. 568, f. 42v Io son un pellegrin OM ST 3:05 MS. H 196, ff. 273-273v 7. Florence, Biblioteca Nazionale Centrale, MS Panciatichi 26 / 2 Roman de Fauvel, Paris, Bibliothèque nationale, MS fr. 146, Paris, Bibliothèque nationale, nouv. acq. fr. 6771 (Reina Codex) / f. 44v Florence, Biblioteca Medicea Laurenziana, MS Mediceo Palati- 7 Jacopo da Bologna (fl. 1340–?1386) no 87 (Squarcialupi Codex) / etc. 3 Machaut MS Vg (Cambridge, Corpus Christi College, Parker AS ST 4:28 Library, MS Ferrell 1), ff. 330v-331; also in MSS B, A, G & E 8 Squarcialupi Codex, ff. 121v-122 Osellecto selvaggio 4 3-part version in Machaut MS E (Paris, Bibliothèque nationale, Information about these manuscripts and links to digital images MS fr. 9221), ff. 152v-153; 2-part in MSS C, Vg, B, A & G 8 Francesco Landini (c. 1325–1397) of many may be found in the Digital Image Archive of Medieval 5 Modena, Biblioteca Estense α.M.5.24, ff. 40v-41 Music, www.diamm.ac.uk. Musica son / Già furon / Ciascun vuole OM JM ST 3:27 TOTAL TIME 40:04 950 Watertown Street, Suite 8, West Newton MA 02465 | (617) 960-7956 | [email protected] | www.blueheron.org 2 TEXTS & TRANSLATIONS 1 Aucun ont trouvé / Lonc tans me sui tenu / Annun[tiantes] TRIPLUM MOTETUS Aucun ont trouvé chant par usage, Some have invented songs out of habit, Lonc tans me sui tenu de chanter, For a long time I refrained from singing, Mes a moi en doune ochoison but I am given incentive by Mes or ai raison de joie mener, but now I have reason to be joyous, Amours, qui resbaudist mon courage, Love, who so fills my heart with joy Car boune amour me fait désirer for true love makes me desire Si que m’estuet faire chançon, that I must make a song, La miex ensegnie the best bred lady Car amer me fait dame bele et sage for he makes me love a lady fair and wise K’on puist en tout le mont trouver; whom one can find in the whole world: Et de bon renon. and of good name. A li ne doit on nule autre comparer, none other can be compared with her. Et je, qui li ai fait houmage And I, who have sworn Et quant j’aim dame si proisie And since I love so highly-prized a lady Pour li servir tout mon aage to serve her all my life Que grant deduit ai du penser, that I get great pleasure from the thought. De loial cuer sans penser trahison, with a loyal heart, without thought of betrayal, Je puis bien prouver I can indeed prove Chanterai, car de li tieng un si douz heritage, will sing, for from her I receive so sweet a gift Que mout a savoureuse vie, that he who loves well Que joie n’ai se de ce non: that I have no joy save for one: Quoi que nus die, leads a most delicious life, C’est la pensée, que mon douz mal m’asouage, this is the thought that soothes my sweet pain En bien amer. whatever anyone may say. Et fait esperer garison, and gives hope for a cure. Ne pour quant suer moi puet clamer hausage Nevertheless, Love may claim supremacy over me TENOR Amours et moi tout mon vivant tenir en sa prison. and hold me in his prison all my life long, Annun[tiantes] Ne ja pour ce ne penserai vers li mesprison; nor indeed shall I ever think ill of him for this. Tant set soutilment assallir, He knows how to attack so subtly K’encontre li defendre ne s’en puet on. that no one can defend himself against him: Force de cors ne plenté de lignage neither bodily strength nor noble lineage Ne vaut un bouton, is worth a button, Et si li plaist de raençon and if it pleases him to grant ransom Rendre a son gré, sui pris et l’en fais gage on his terms, I am taken and pledge Mon cuer, que je met du tout en abandon. my heart, which I wholly abandon. Si proi merci, car autre avantage Thus I pray for mercy, for I have no other resource, N’ai je ne pour moi nule autre raison. nor any other reason in my favor. 4 5 2 Garrit gallus / In nova fert animus TRIPLUM MOTETUS Garrit gallus flendo dolorose, The rooster cries, lamenting sadly, In nova fert animus My mind is bent to tell of forms luget quippe gallorum concio, indeed the whole assembly of roosters laments, mutatas dicere formas: changed into new things: que satrape traditur dolose, for they have been betrayed by the crafty satrap draco nequam quem olim penitus that evil dragon, whom glorious Michael excubitus sedens officio. who was supposed to guard them. mirabili crucis potencia once utterly defeated Atque vulpes, tamquam vispilio And the fox, like a thief in the night, debellabit Michael inclitus, by the miraculous power of the cross, in Belial vigens astucia, vigorous with the cunning of Belial, mox Absalon munitus gracia, now armed thanks to Absalom, de leonis consensu proprio reigns with the full consent mox Ulixis gaudens facundia, now gloating with the eloquence of Ulysses, monarchisat, atat angaria. of the lion himself. mox lupinis dentibus armatus, now armed with the teeth of a wolf, Rursus, ecce, Jacob familia Behold how the family of Jacob sub Tersitis miles milicia, a soldier in the army of Thersites— Pharaone altero fugatur; once again flees another Pharaoh: rursus vivit in vulpem mutatus, he lives again, changed into a fox. non ut olim Iude vestigia no longer able to follow the path of the Jews fraudi cuius lumine privatus Deprived of sight by the fox’s tail, subintrare potens, lacrimatur. as before, it weeps. leo vulpe imperante paret. the lion, ruled by the fox, obeys. In deserto fame flagellatur, In the desert it is tortured by hunger, Oves suggit pullis saciatus. He sucks the blood of lambs, sated with chickens. adiutoris carens armatura, with no armor to help. Heu! suggere non cessat et aret Alas! he never stops sucking and thirsts quamquam clamat, tamen spoliatur, though they cry out yet they are robbed; ad nupcias carnibus non caret. for a marriage, he does not lack for meat. continuo fordan moritura, soon perhaps to die, Ve pullis mox, ve ceco leoni! Now woe to the chickens, woe to the blind lion! miserorum exulum vox dura! harsh is the voice of the wretched exiles, coram Christo tandem ve draconi. and finally, before Christ, woe to the dragon. O Gallorum garritus doloris, O painful cries of the roosters! cum leonis cecitas obscura Since the dark blindness of the lion fraudi paret vulpis proditoris is subject to the deceit of the treacherous fox, eius fastus sustinens erroris supporting his arrogance by encouraging sin, insurgito: alias labitur rise up! otherwise what is left of your honor et labetur quod habes honoris, slips away and will continue to slip away. quod mox in facinus tardis With only slow avengers it will soon ultoribus itur. turn to villainy. 6 7 3 En mon cuer a un descort En mon cuer a un descort There is a discord in my heart, Et Desirs, san nul deport. and Desire, without any respite, Qui si fort le point et mort which so strongly pierces and wounds it Fait mon cuer par son effort makes my heart, by his effort, Que, sans mentir, that I say without lying, Taindre et palir; fade and turn pale; S’Amours par son doulz plaisir if Love by his sweet pleasure Biaute me vient assaillir; Beauty comes to assail me; N’i met accort does not make an accord Douceur m’endort. Sweetness puts me to sleep. Aveuc ma dame, pour mort with my lady, I must consider myself Mais Amours me fait au fort But Love firmly Me doy tenir. dead. Taire et souffrir. silences me and makes me suffer. C’est de mon loyal Desir It comes from my loyal Desire, En mon cuer a un descort … There is a discord in my heart … Qui me vuet faire gehir which wants to make me confess Le mal que port the wrongs I commit, Las! einsi m’estuet languir.
Load more

Recommended publications
  • TRECENTO FRAGMENTS M Ichael Scott Cuthbert to the Department Of
    T R E C E N T O F R A G M E N T S A N D P O L Y P H O N Y B E Y O N D T H E C O D E X a thesis presented by M ichael Scott Cuthbert t the Depart!ent " M#si$ in partia% "#%"i%%!ent " the re&#ire!ents " r the de'ree " D $t r " Phi% s phy in the s#b(e$t " M#si$ H ar)ard * ni)ersity Ca!brid'e+ Massa$h#setts A#'#st ,--. / ,--.+ Mi$hae% S$ tt C#thbert A%% ri'hts reser)ed0 Pr "0 Th !as F rrest 1 e%%y+ advisor Mi$hae% S$ tt C#thbert Tre$ent Fra'!ents and P %yph ny Bey nd the C de2 Abstract This thesis see3s t #nderstand h 4 !#si$ s #nded and "#n$ti ned in the 5ta%ian tre6 $ent based n an e2a!inati n " a%% the s#r)i)in' s #r$es+ rather than n%y the ! st $ !6 p%ete0 A !a( rity " s#r)i)in' s #r$es " 5ta%ian p %yph ni$ !#si$ "r ! the peri d 788-9 7:,- are "ra'!ents; ! st+ the re!nants " % st !an#s$ripts0 Despite their n#!eri$a% d !i6 nan$e+ !#si$ s$h %arship has )ie4 ed these s #r$es as se$ ndary <and "ten ne'%e$ted the! a%t 'ether= " $#sin' instead n the "e4 %ar'e+ retr spe$ti)e+ and pred !inant%y se$#%ar $ di6 $es 4 hi$h !ain%y ri'inated in the F% rentine rbit0 C nne$ti ns a! n' !an#s$ripts ha)e been in$ !p%ete%y e2p% red in the %iterat#re+ and the !issi n is a$#te 4 here re%ati nships a! n' "ra'!ents and a! n' ther s!a%% $ %%e$ti ns " p %yph ny are $ n$erned0 These s!a%% $ %%e$ti ns )ary in their $ nstr#$ti n and $ ntents>s !e are n t rea%%y "ra'!ents at a%%+ b#t sin'%e p %yph ni$ 4 r3s in %it#r'i$a% and ther !an#s$ripts0 5ndi)id#6 a%%y and thr #'h their )ery n#!bers+ they present a 4 ider )ie4 " 5ta%ian !#si$a% %i"e in the " #rteenth $ent#ry than $ #%d be 'ained "r ! e)en the ! st $are"#% s$r#tiny " the inta$t !an#s$ripts0 E2a!inin' the "ra'!ents e!b %dens #s t as3 &#esti ns ab #t musical style, popularity, scribal practice, and manuscript transmission: questions best answered through a study of many different sources rather than the intense scrutiny of a few large sources.
    [Show full text]
  • 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]
  • The Evolution of Hospitals from Antiquity to the Renaissance
    Acta Theologica Supplementum 7 2005 THE EVOLUTION OF HOSPITALS FROM ANTIQUITY TO THE RENAISSANCE ABSTRACT There is some evidence that a kind of hospital already existed towards the end of the 2nd millennium BC in ancient Mesopotamia. In India the monastic system created by the Buddhist religion led to institutionalised health care facilities as early as the 5th century BC, and with the spread of Buddhism to the east, nursing facilities, the nature and function of which are not known to us, also appeared in Sri Lanka, China and South East Asia. One would expect to find the origin of the hospital in the modern sense of the word in Greece, the birthplace of rational medicine in the 4th century BC, but the Hippocratic doctors paid house-calls, and the temples of Asclepius were vi- sited for incubation sleep and magico-religious treatment. In Roman times the military and slave hospitals were built for a specialised group and not for the public, and were therefore not precursors of the modern hospital. It is to the Christians that one must turn for the origin of the modern hospital. Hospices, originally called xenodochia, ini- tially built to shelter pilgrims and messengers between various bishops, were under Christian control developed into hospitals in the modern sense of the word. In Rome itself, the first hospital was built in the 4th century AD by a wealthy penitent widow, Fabiola. In the early Middle Ages (6th to 10th century), under the influence of the Be- nedictine Order, an infirmary became an established part of every monastery.
    [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]
  • Songs in Fixed Forms
    Songs in Fixed Forms by Margaret P. Hasselman 1 Introduction Fourteenth century France saw the development of several well-defined song structures. In contrast to the earlier troubadours and trouveres, the 14th-century songwriters established standardized patterns drawn from dance forms. These patterns then set up definite expectations in the listeners. The three forms which became standard, which are known today by the French term "formes fixes" (fixed forms), were the virelai, ballade and rondeau, although those terms were rarely used in that sense before the middle of the 14th century. (An older fixed form, the lai, was used in the Roman de Fauvel (c. 1316), and during the rest of the century primarily by Guillaume de Machaut.) All three forms make use of certain basic structural principles: repetition and contrast of music; correspondence of music with poetic form (syllable count and rhyme); couplets, in which two similar phrases or sections end differently, with the second ending more final or "closed" than the first; and refrains, where repetition of both words and music create an emphatic reference point. Contents • Definitions • Historical Context • Character and Provenance, with reference to specific examples • Notes and Selected Bibliography Definitions The three structures can be summarized using the conventional letters of the alphabet for repeated sections. Upper-case letters indicate that both text and music are identical. Lower-case letters indicate that a section of music is repeated with different words, which necessarily follow the same poetic form and rhyme-scheme. 1. Virelai The virelai consists of a refrain; a contrasting verse section, beginning with a couplet (two halves with open and closed endings), and continuing with a section which uses the music and the poetic form of the refrain; and finally a reiteration of the refrain.
    [Show full text]
  • Sample Story, Read Naturally Encore II Sequenced Level
    A 14th-Century Disaster Story 21, Tracks 1– 4 proliferated antibiotics Proliferated means increased or spread very Antibiotics are medicines that fight bacteria in a quickly. person's body. epidemics diminished Epidemics are outbreaks of diseases that spread Diminished means made smaller or reduced. across large areas and affect many people. According to urban legend, the children's 276 assumed it was a punishment from God. Many 6 song "Ring Around the Rosy" refers to an illness 284 people, called flagellants, even resorted to 15 called the plague. Specifically, people interpret 290 beating themselves with scourges in order to 21 this song as depicting a disease that produces 297 obtain forgiveness. Unfortunately, flagellants 29 red sores, "ring around the rosy," and results in 301 probably just encouraged the spread of the disease 38 many deaths, "we all fall down." Though we are 309 as they traveled from town to town. 47 uncertain of the true meaning of this song, it does 316 The plague had enormous social, economic, 57 seem to describe some of the symptoms of the 322 religious, and psychological consequences. 66 plague. 326 Morose medieval art and literature demonstrate 67 The most characteristic symptom of the 332 the immense impact the plague had on the people 73 plague is painful, swollen lymph glands. These 341 of this time period. Despite its costs, the plague 80 swollen glands are called buboes, which is why 350 did improve the standard of living and social 88 the most common form of the plague is called the 358 structure. When the plague ended, a surplus of 98 bubonic plague.
    [Show full text]
  • Acadian Music As a Cultural Symbol and Unifying Factor
    L’Union Fait la Force: Acadian Music as a Cultural Symbol and Unifying Factor By Brooke Bisson A thesis submitted in partial fulfilment of the requirements for the Master of Arts in Atlantic Canada Studies at Saint Mary's University Halifax, Nova Scotia A ugust 27, 2003 I Brooke Bisson Approved By: Dr. J(Jihn Rgid Co-Supervisor Dr. Barbara LeBlanc Co-Supervisor Dr. Ma%aret Harry Reader George'S Arsenault Reader National Library Bibliothèque nationale 1^1 of Canada du Canada Acquisitions and Acquisisitons et Bibliographic Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre référence ISBN: 0-612-85658-5 Our file Notre référence ISBN: 0-612-85658-5 The author has granted a non­ L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of theL'auteur conserve la propriété du copyright in this thesis. Neither thedroit d'auteur qui protège cette thèse. thesis nor substantial extracts from Niit la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou aturement reproduits sans son permission. autorisation. In compliance with the Canadian Conformément à la loi canadienne Privacy Act some supporting sur la protection de la vie privée, forms may have been removed quelques formulaires secondaires from this dissertation.
    [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]
  • La Música En Los Países Borgoñones En La Primera Mitad Del Siglo XV
    La música en los países borgoñones en la primera mitad del siglo XV Leonardo Arenas López Resumen En este breve artículo divulgativo se aborda la música en los países borgoñones en la primera mitad del siglo XV y se proponen algunas estrategias pedagógicas para su enseñanza en la asignatura de “Historia de la música” que se imparte en los conservatorios de música. Introducción Hacia el año 1400, los dos estilos musicales, distintos hasta entonces, de Francia e Italia, comenzaron a interrelacionarse. Este estilo internacional incipiente habría de enriquecerse durante el siglo XV gracias al aporte de corrientes provenientes de otras fuentes, sobre todo de Inglaterra y de la zona de los Países Bajos. Después de 1400, más o menos, una nueva sencillez comienza a cultivarse particularmente en la corte borgoñona. La música eclesiástica, que había caído en la oscuridad, comienza una vez más a recuperar su puesto en el arte musical. No toda la música de principios del siglo XV pertenece al nuevo estilo; alguna es tan compleja como la de la época precedente. El Ars subtilior Si hacia 1350 había un estilo que pudiera reclamar para sí el representar una tradición polifónica “central” (este es el término utilizado por Atlas, 2002a), ése era el del Ars nova francés. En conjunto, mientras Inglaterra e Italia constituían tradiciones importantes secundarias, era Francia la que asumía el papel protagonista. Una de las características que impregnaron la música francesa durante buena parte del siglo XIV fue la tendencia a la complejidad. Esto es particularmente evidente en el motete isorrítmico, con sus taleas y colores a menudo no sincronizados y su uso de la disminución proporcional en taleas sucesivas.
    [Show full text]
  • Leon Battista Alberti
    THE HARVARD UNIVERSITY CENTER FOR ITALIAN RENAISSANCE STUDIES VILLA I TATTI Via di Vincigliata 26, 50135 Florence, Italy VOLUME 25 E-mail: [email protected] / Web: http://www.itatti.ita a a Tel: +39 055 603 251 / Fax: +39 055 603 383 AUTUMN 2005 From Joseph Connors: Letter from Florence From Katharine Park: he verve of every new Fellow who he last time I spent a full semester at walked into my office in September, I Tatti was in the spring of 2001. It T This year we have two T the abundant vendemmia, the large was as a Visiting Professor, and my Letters from Florence. number of families and children: all these husband Martin Brody and I spent a Director Joseph Connors was on were good omens. And indeed it has been splendid six months in the Villa Papiniana sabbatical for the second semester a year of extraordinary sparkle. The bonds composing a piano trio (in his case) and during which time Katharine Park, among Fellows were reinforced at the finishing up the research on a book on Zemurray Stone Radcliffe Professor outset by several trips, first to Orvieto, the medieval and Renaissance origins of of the History of Science and of the where we were guided by the great human dissection (in mine). Like so Studies of Women, Gender, and expert on the cathedral, Lucio Riccetti many who have worked at I Tatti, we Sexuality came to Florence from (VIT’91); and another to Milan, where were overwhelmed by the beauty of the Harvard as Acting Director. Matteo Ceriana guided us place, impressed by its through the exhibition on Fra scholarly resources, and Carnevale, which he had helped stimulated by the company to organize along with Keith and conversation.
    [Show full text]
  • Understanding Music Past and Present
    Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
    [Show full text]