DOCSLIB.ORG

– 207 – MARINA TOFFETTI University of Padua GABUSSI's LEGACY

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Marina TOFFETTI University of Padua GABUSSI’S LEGACY Intertextual PHENOMENA Involving THE Motectorum LIBER PRIMUS (VENICE, 1586) The complex phenomenon of intertextuality has long been the center of atten- tion of extensive interdisciplinary studies.1 As far as music history is concerned, the musical culture of the fifteenth and sixteenth centuries is particularly rich in inter textual phenomena.2 A considerable quantity of the extensive literature on this aspect of composition deals principally with techniques of paraphrase and parody in mu sical genres, such as the polyphonic chanson, madrigal, motet and the mass.3 Yet the assumption that most motets of the period used no borrowed material4 still needs to be verified by means of a more systematic investigation, and in any case would not imply that the motet could not also be influenced by various intertextual phenomena.5 Recently, a growing number of musicologists seem to have acknowledged the fact that the study of intertextual issues in fifteenth-century music can raise new ques- tions and give new answers to important questions, such as compositional process, stylistic genealogy and reception history, that are also relevant to the genre of the 1 For a comprehensive and up-to-date summary of the phenomenon of intertextuality and its various cases see maria caraci vela, La filologia musicale. Istituzioni, storia, strumenti critici, Lucca, LIM, 3 vols., 2005-2013, II (2009), chapter IV, Intertestualità e arte allusiva, pp. 116-173. 2 Two important essays by Lewis Lockwood and Howard Mayer Brown have given fundamental impetus to investigation in this area, providing original and relevant insights on the subject. See lewis lockwood, On ‘Parody’ as Term and Concept in 16th-Century Music. Aspects of Medieval and Renaissance Music, in A Birthday Offering to Gustave Reese, ed. Jean Le Rue, New York, Norton, 1966, pp. 560-575; and Howard mayer Brown, Emulation, Competition and Hommage: Imitation and Theories of Imitation in the Renaissance, «Journal of the American Musicological Society», XXV/1, 1982, pp. 1-48. Concerning early seventeenth century repertoire, both in Jeffrey kurTzman, Essays on the Monteverdi Mass and Vespers of 1610, Houston, Rice University Studies, 1978, and in id., The Monteverdi Vespers of 1610. Music, context, performance, Oxford, Oxford University Press, 1999 there is considerable discussion of intertextual issues between the Monteverdi Vespers and contemporaneous compositions. 3 To comprehend the wealth of works devoted to the techniques of paraphrase and parody in the fifteenth- and sixteenth-century mass it is sufficient to look at the bibliography which concludes the entries Borrowing in NG2, IV, pp. 5-41 (by J. PeTer BurkHolder) and Bearbeitung in MGG2, Sachteil I (1994), coll. 1321-1327 (by gesine scHröder and THomas BöscHe). 4 See BurkHolder Borrowing, p. 18: «many motets used no borrowed material, and this became standard by the late 16th century». 5 See, for instance, the stimulating essay by micHèle fromson, A Conjunction of Rhetoric and Music: Structural Modelling in the Italian Counter-Reformation Motet, «Journal of the Royal Musical Association», CXVII, 1992, pp. 208-246. – 207 – MARINA TOFFETTI motet.6 Although the principal issues involved with compositional reception have as yet not been investigated in a methodical manner and do not seem to have led to any significant systematic explorations, intertextual phenomena have been at the center of attention of a number of new works dedicated to the musical production of this period.7 The study of intertextuality becomes even more interesting when one can explore the intersections with reception history and the human and professional experiences of the protagonists of the contemporary musical scene. Following the composers’ frequent relocations, one can try to reconstruct the contours of a complex cultural geography that remains largely uninvestigated. In the light of these circumstances, it would appear useful to reconsider the life and works of Giulio Cesare Gabussi, who was invited to conduct the chapel of Sigismund III Vasa of Poland in 1601, at the time when he was active as the choirmaster at the cathedral in Milan.8 When he arrived in Poland, Gabussi had published two collections of madrigals and two of sacred music.9 A closer examination of his book of motets for five and six voices has highlighted some aspects of his language, allowing us to focus on the nature of the technical and stylistic heritage that he had brought with him. His com- positional experience would be felt throughout Poland, influencing some composers active alongside him at the royal court. Among these was Giulio Osculati from Lodi who, in his motet for six voices, Nativitas tua, published in Cracow in 1604, clearly shows not only that he knew Palestrina’s motet for four voices on the same text, but that he had also assimilated the lessons of the five-voice motet on this text by Giulio Cesare Gabussi. 1. Historical context The reasons that led Sigismund III to invite Giulio Cesare Gabussi to Poland have already been investigated elsewhere, on the basis that such an invitation could be related to the travels in Italy of two eminent Polish prelates, András Báthory (1583-1584) and Wojciech 6 See daniele v. filiPPi, ‘Lo studio dell’intertestualità nella musica del Cinquecento: esperienze e pro- spettive’, paper read during the international conference “Music philology today: historical heritage and new perspectives” (Cremona, 25-27 November 2009). 7 See marina Toffetti, Intertestualità e paratestualità nel repertorio della canzone strumentale milanese, «Philomusica on-line», IX/2, 2010, pp. 482-508; PeTer Poulos, ‘Victoria a Genova. Modelli e influenza’, paper read during the “XVIII Convegno Annuale della Società Italiana di Musicologia” (Genoa, 21-23 October 2011). 8 See marina ToffeTTi, Da Milano a Varsavia: di nuovo su Giulio Cesare Gabussi e altre presenze italiane nella Polonia del primo Seicento, in La musica policorale in Italia e nell’Europa centro-orientale fra Cinque e Seicento / Polychoral Music in Italy and in Central-Eastern Europe at the Turn of the Seventeenth Century, eds. Aleksandra Patalas - Marina Toffetti, con esemplificazioni musicali in CD / with music examples in CD, Venezia, Fondazione Levi, 2012 (TRA.D.I.MUS., Studi e Monografie, 1), pp. 161-196. 9 Il primo libro de madrigali a cinque voci, Venezia, Angelo Gardano, 1580 (RISM A/I G 95); Motectorum liber primus, Venetiis, Angelo Gardano, 1586 (RISM A/I G 96); Magnificat X, quorum novem quinis, et unum senis vocibus concinuntur, Mediolani, Francesco ed eredi di Simon Tini, 1589 (RISM A/I G 97) and Il secondo libro de madrigali a cinque voci, Venezia, Giacomo Vincenti, 1598 (RISM A/I G 98). – 208 – Gabussi’s LeGACY Baranowski (1595-1596).10 From the detailed travel diaries by Stanisław Reszka,11 who accompanied Báthory in Italy, we learn that the prelate visited cardinal Carlo Borromeo in Milan on two occasions, during his trip to Rome12 and during his return journey, and that at that time he was in correspondence with the cardinal, who sent him a few letters «elegantissimae, plenae consiliorum sanctorum de vitae ratione ab Illustrissimo Principe instituenda».13 From the rich account of the return journey we learn that on August 27, 1584 Báthory stayed in Lodi, where he was welcomed by the local clergy and attended prayers accompanied by an organ concert,14 and arrived in Milan on the following day, where he was solemnly welcomed by Carlo Borromeo and by a delegation of the governor. He would stay in Milan until August 30, visiting the most famous sites of the city (including the cathedral, the governor’s palace and the churches of Santa Maria presso San Celso and San Nazaro) and participating in various functions and sung prayers.15 Later he would return to Lodi, where he visited some holy relics and attended a mass in the cathedral.16 From Reszka’s diaries we also learn that Báthory knew Federico Borromeo personally, whom he met in Rome May 22, 1588.17 Federico Borromeo was also in contact with Wojciech Baranowski, who spent almost a year (beginning in November of 1595) in Italy: in fact it is known that Baranowski visited Cardinal Federico,18 with whom he had been exchanging letters at least from April 10, 1597 until September 9, 1602.19 It is likely that Baranowski and Báthory brought back with them to Poland extremely positive impressions of the musicians they had had the opportunity to meet in Italy, among whom were certainly Giulio Cesare Gabussi and, in the case of Báthory, perhaps also Giulio Osculati of Lodi.20 Both Gabussi and Osculati were invited to serve at the royal court and moved to Poland in 1601. Therefore, it is worthwhile to reflect on the nature of musical experiences they had accumulated prior to their journey to Cracow. 10 See ToffeTTi, Da Milano a Varsavia, pp. 170-171, and BarBara PrzyByszewska-Jarmińska, Music in Poland under the Patronage of Bishops at the Turn of the Seventeenth Century, in this volume, pp. 13-30. 11 Stanislai Rescii diarium 1583-1589, ed. Ioannes Czubek, Kraków, Akademia Umiejętności, 1915. 12 Of Báthory’s short stay in Milan during the outward journey we only know that the prelate reached Milan on November 2 and stayed there at the behest of Cardinal Borromeo until 7 November, when he left for Lodi. See Stanislai Rescii diarium, p. 4. 13 On January 26, 1584 Reszka reported that Báthory had come to Rome (where he attended the church and the hospital of St. Stanislaus of Poland), and had received letters from Cardinal Borromeo. See Stanislai Rescii diarium, pp. 18-38. 14 See ibidem, p. 54. 15 See ibidem, p. 55. 16 Ibidem, p. 56. Báthory continued to be interested in the fate of Carlo Borromeo and was informed of his death on December 9, 1584.
Recommended publications
  • The Organ Ricercars of Hans Leo Hassler and Christian Erbach

    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.
  • Exploring Implications of the Double Attribution of the Madrigal “Canzon Se L’Esser Meco” to Andrea Gabrieli and Orlande De Lassus

    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.
  • University Microfilms

    University Microfilms

    INFORMATION TO USERS This dissertation was produced from a microfilm copy of the original document. 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 original submitted. The following explanation of techniques is provided to help you understand markings or patterns 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 lay have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
  • The Josquin Companion

    The Josquin Companion

    THE JOSQUIN COMPANION 34 edited by RICHARD SHERR 1 Contents List of Illustrations xi List of Tables xii List of Musical Examples xiii Contents of the Compact Disc xix Notes on the Contributors xx Abbreviations and Manuscript Sigla xxii 1. Introduction 1 Richard Sherr 2. Chronology of Josquin’s Life and Career 11 Richard Sherr 3. Who Was Josquin? 21 Rob C. Wegman 4. Masses Based on Popular Songs and Solmization Syllables 51 Bonnie J. Blackburn 5. Masses on Plainsong Cantus Firmi 89 Alejandro Enrique Planchart 6. Masses Based on Polyphonic Songs and Canonic Masses 151 M. Jennifer Bloxam 7. Mass Sections 211 Richard Sherr 8. MISSA DA PACEM and MISSA ALLEZ REGRETZ 239 Richard Sherr 9. Four-Voice Motets 249 Ludwig Finscher x Contents 10. Motets for Five or More Voices 281 John Milsom 11. Two Hymns and Three Magnificats 321 Richard Sherr 12. Chansons for Three and Four Voices 335 Louise Litterick 13. Chansons for Five and Six Voices 393 Lawrence F. Bernstein 14. Three Settings of Italian Texts and Two Secular Motets 423 Richard Sherr 15. Analysing Josquin 431 John Milsom 16. Josquin and Musical Rhetoric: MISERERE MEI, DEUS and Other Motets 485 Patrick Macey 17. Symbolism in the Sacred Music of Josquin 531 Willem Elders 18. Afterword: Thoughts for the Future 569 David Fallows Appendices A. List of Works 579 Peter Urquhart B. Discography 597 Peter Urquhart Bibliography 641 Index-Glossary ofTechnical Terms 665 Index of Manuscripts and Early Printed Music 668 Index of Compositions by or Attributed to Josquin 673 General Index 681 1 Introduction 34 RICHARD SHERR RIMA la musica e poi le parole.
  • William Byrd's Poly Phonic Part-Songs: a Comp Arative

    William Byrd's Poly Phonic Part-Songs: a Comp Arative

    WILLIAM BYRD'S POLY PHONIC PART-SONGS: A COMPARATIVE STU DY by Anne Virglnlo Myers A thesis submitted in partial fulfillment of the requirement for the degree of Master of Arts in the Department of Music Fresno State College September, 1967 i R L" R In! 0 -- 1 /-V TABLE OF CONTENTS PAGE PREFACE jv CHAPTER I. SOCIAL CLIM ATE 1 II. FOREIGN INFLUENCE . 4 III. THE ELIZ ABETHAN MADRIGAL 9 The B allet 9 The C anzonet . 12 The Madri gal Proper 14 IV. ENGLISH NATIVE MUSICAL TRADIT ION 20 V. WILLIAM BYR D'S POLYPHONIC PART-SONGS (TRADITION VERSUS MADRIGAL) 24 VI. SUMMARY 39 BIBLIOGRAPHY 41 PREFACE For many years a difference in opinion has existed as to the value of William Byrd's secular compositions in relation to their placement in the estab­ lished vocal music forms of the sixteenth century. Traditionally, musicologists, following in the footsteps of Canon Edmund H . Fell owes, have lumped them indiscriminately within the great repertory of the Elizabethan madrigal, while judging them to be rather poor expressions of this renowned idiom. More recently, a trend has developed separating these, and other compositions of similar construc­ tion, into a separate classification as examples of a native tradition whose devel­ opment flourished at a time corresponding to that of the madrigal. Much of the background material of this thesis is based upon the research already recorded by three of the most eminent musicologists, Dr. Alfred Einstein, Canon Edmund H . Fellowes, and Dr. Joseph Kerman, Dr. Einstein's lifelong study of the Italian madrigal has resulted in numerous publications of unparalleled value.
  • Mid-Fifteenth-Century English Mass Cycles in Continental Sources, Vol

    Mid-Fifteenth-Century English Mass Cycles in Continental Sources, Vol

    Mid-Fifteenth-Century English Mass Cycles in Continental Sources, vol. 1 James Matthew Cook Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy July 2014 Abstract Fifteenth-century English music had a profound impact on mainland Europe, with several important innovations (e.g. the cyclic cantus firmus Mass) credited as English in origin. However, the turbulent history of the Church in England has left few English sources for this deeply influential repertory. The developing narrative surrounding apparently English technical innovations has therefore often focussed on the recognition of English works in continental manuscripts, with these efforts most recently crystallised in Curtis and Wathey’s ‘Fifteenth-Century English Liturgical Music: A List of the Surviving Repertory’. The focus of discussion until now has generally been on a dichotomy between English and continental origin. However, as more details emerge of the opportunities for cultural cross-fertilisation, it becomes increasingly clear that this may be a false dichotomy. This thesis re-evaluates the complex issues of provenance and diffusion affecting the mid-fifteenth-century cyclic Mass. By breaking down the polarization between English and continental origins, it offers a new understanding of the provenance and subsequent use of many Mass cycles. Contact between England and the continent was frequent, multifarious and quite possibly reciprocal and, despite strong national trends, there exists a body of work that can best be understood in relation to international cultural exchange. This thesis helps to clarify the i provenance of a number of Mass cycles, but also suggests that, for Masses such as the anonymous Thomas cesus and Du cuer je souspier, Le Rouge’s So ys emprentid, and even perhaps Bedyngham’s Sine nomine, cultural exchange is key to our understanding.
  • Theory and Practice in the Works of Pietro Pontio

    Theory and Practice in the Works of Pietro Pontio

    219 MO. 3/^1 THE VOICE OF THE COMPOSER: THEORY AND PRACTICE IN THE WORKS OF PIETRO PONTIO VOLUME I DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By Russell Eugene Murray, Jr., B.A., B.M.E., M.M.E, Denton, Texas December, 1989 Murray, Russell Eugene, Jr., The Voice of the Composer: Theory and. Practice in the Works of. Pietro Pontio. Doctor of Philosophy (Musicology), December, 1989, 2 vol- umes, 427 + 211 pp., 22 tables, 4 figures, 3 plates, 46 musical examples, bibliography, 213 titles, works list, documents, music. The life, music, and theoretical writings of Pietro Pontio (1532-1596) yield considerable insight into questions of theory and practice in the late sixteenth century. The dissertation places Pontio within his musical and cultural milieu, and assesses his role as both theorist and composer. The first two chapters present an expanded biography based on new archival evidence. The course of Pontio's career is detailed, and corrections such as his exact date of death and his location and employment for the years 1569- 1574 are presented. The documents also uniquely detail the working conditions and pedagogical methods and concerns of the sixteenth-century maestro di cappella. Chapter Three surveys Pontio's two treatises, the Ragionamento (1588) and the Dialogo (1595), outlining impor- tant issues addressed by Pontio. Chapter Four presents a brief survey of Pontio's music, hitherto unstudied, showing his work to be of consistent quality and inventiveness. Chapter Five discusses issues from the Ragionamento.
  • The Sources and the Performing Traditions. Alexander Agricola: Musik Zwischen Vokalität Und Instrumentalismus, Ed

    The Sources and the Performing Traditions. Alexander Agricola: Musik Zwischen Vokalität Und Instrumentalismus, Ed

    Edwards, W. (2006) Agricola's songs without words: the sources and the performing traditions. Alexander Agricola: Musik zwischen Vokalität und Instrumentalismus, ed. Nicole Schwindt, Trossinger Jahrbuch für Renaissancemusik 6:pp. 83-121. http://eprints.gla.ac.uk/4576/ 21th October 2008 Glasgow ePrints Service https://eprints.gla.ac.uk Warwick Edwards Agricola’s Songs Without Words The Sources and the Performing Traditions* In 1538 the Nuremberg printer Hieronymus Formschneider issued a set of part- books entitled Trium vocum carmina1 and containing a retrospective collection of one hundred untexted and unattributed three-voice compositions, six of which can be assigned to Agricola. Whoever selected them and commissioned the publication added a preface (transcribed, with English translation in Appendix pp. 33–4) that offers – most unusually for the time – a specific explanation for leaving out all the words. This turns out to have nothing to do with performance, let alone the possible use of instruments, which are neither ruled in nor ruled out. Nor does it express any worries about readers’ appetites for texts in foreign languages, or mention that some texts probably never existed in the first place. Instead, the author pleads, rather surprisingly, that the appearance of the books would have been spoilt had words variously in German, French, Italian and Latin been mixed in together. Moreover, the preface continues, the composers of the songs had regard for erudite sonorities rather than words. The learned musician, then, will enjoy the
  • The Secular Latin-Texted Works of Adrian Willaert

    The Secular Latin-Texted Works of Adrian Willaert

    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 5-12-2015 The ecS ular Latin-Texted Works of Adrian Willaert Jonathan Harvey University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Harvey, Jonathan, "The eS cular Latin-Texted Works of Adrian Willaert" (2015). Doctoral Dissertations. 798. https://opencommons.uconn.edu/dissertations/798 The Secular Latin-Texted Works of Adrian Willaert Jonathan Wil Harvey, DMA University of Connecticut, 2015 Abstract In addition to a large body of extant works including masses, hymns, psalm settings, motets, chansons, madrigals, canzone villanesche, and instrumental ricercares, sixteenth-century composer Adrian Willaert (1490 – 1562) also wrote nine settings of secular Latin texts. These nine works can be divided into three categories: five civic motets (Adriacos numero, Haud aliter, Inclite Sfortiadum princeps, Si rore Aonio, and Victor io salve); three settings of excerpts from Virgil’s Aeneid (O socii and two settings of “Dulces exuviae”); and one unique, enigmatic outlier (Flete oculi). These pieces are rarely considered in the existing literature, and many scholars conflate the two “Dulces exuviae” settings as a single work. The texts of six of the nine pieces have never been translated into English before. This study examines these nine pieces through their text, musical material, and cultural-political background in order to determine their function and context. The first chapter of this study consists of a brief summary of Willaert’s life and an examination of the extant sources of his work. In the next chapter, I discuss the genre of the civic motet and examine Willaert’s five contributions to it.
  • Reinterpreting the Genevan Psalter: an Examination of Psalm 128 As Set by Goudimel, Sweelinck and Schütz

    Reinterpreting the Genevan Psalter: an Examination of Psalm 128 As Set by Goudimel, Sweelinck and Schütz

    Western Washington University Western CEDAR WWU Graduate School Collection WWU Graduate and Undergraduate Scholarship 2014 Reinterpreting the Genevan Psalter: an examination of Psalm 128 as set by Goudimel, Sweelinck and Schütz Sara A. (Sara Alicia) Ferguson Western Washington University Follow this and additional works at: https://cedar.wwu.edu/wwuet Part of the Music Commons Recommended Citation Ferguson, Sara A. (Sara Alicia), "Reinterpreting the Genevan Psalter: an examination of Psalm 128 as set by Goudimel, Sweelinck and Schütz" (2014). WWU Graduate School Collection. 347. https://cedar.wwu.edu/wwuet/347 This Masters Thesis is brought to you for free and open access by the WWU Graduate and Undergraduate Scholarship at Western CEDAR. It has been accepted for inclusion in WWU Graduate School Collection by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. Reinterpreting the Genevan Psalter: An Examination of Psalm 128 as Set by Goudimel, Sweelinck, and Schütz By Sara Alicia Ferguson Accepted in Partial Completion of the Requirements for the Degree Master of Music Kathleen L. Kitto, Dean of the Graduate School ADVISORY COMMITTEE Chair, Dr. Bertil H. van Boer, Jr Dr. Carla Rutschman Dr. Leslie Guelker-Cone MASTER’S THESIS In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Western Washington University, I grant to Western Washington University the non- exclusive royalty-free right to archive, reproduce, distribute, and display the thesis in any and all forms, including electronic format, via any digital library mechanisms maintained by WWU. I represent and warrant this is my original work, and do not infringe or violate any rights of others.
  • The Bulletin Sesquicentennial — Jean Morrow, Marianne Betz of the S OCIETY for a MERICAN M USIC FOUNDED in HONOR of O SCAR G

    The Bulletin Sesquicentennial — Jean Morrow, Marianne Betz of the S OCIETY for a MERICAN M USIC FOUNDED in HONOR of O SCAR G

    George W. Chadwick The Bulletin Sesquicentennial — Jean Morrow, Marianne Betz OF THE S OCIETY FOR A MERICAN M USIC FOUNDED IN HONOR OF O SCAR G . T . S ONNECK The New England Conservatory Vol. XXX, No. 2 Spring 2004 of Music (NEC) in Boston and the Hochschule für Musik und Theater “Felix Mendelssohn Bartholdy” Leipzig have announced plans to Dvořák in Love (with Nashville) celebrate the 150th birthday of George W. Chadwick commencing — Dale Cockrell, Vanderbilt University in November 2004. Born in Lowell, Massachusetts on 13 November This year marks the centenary of that will move into a state-of-the-art 1854, Chadwick received his serious Antonín Dvořák’s death. The anni- $125 million concert hall in 2006. musical training at the Hochschule versary would not be worth much Further, the NSO has made as its sig- during the late 1870’s. He served as remark at this conference but for the nature the performance of American Director of NEC from 1897 till 1930, period from September 1892 to April music. It has recorded ten CDs for the one year before his death in 1931. 1895 when Dvořák was director of the Naxos “American Classics” series, NEC is one of the major archives for National Conservatory of Music in the most of any orchestra, in addi- the study of Chadwick’s music and New York City. And those three years tion to a highly praised Dvořák New recently received a significant new would be worthy of only slightly World Symphony, paired with David collection of source materials that had more remark but for the extraordinary Amram’s Kokopelli.
  • Tone and Mode in the Polyphonic Magnificat Cycle Ca.1530-1552

    Tone and Mode in the Polyphonic Magnificat Cycle Ca.1530-1552

    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. TONE AND MODE IN THE POLYPHONIC MAGNIFICAT CYCLE ca. 1530-1552 by Andrew Simmons Thesis presented for the degree of Master of Philosophy in the Faculty of Music of the University of Edinburgh, July 1995. CONTENTS page number List of Tables iii Abstract vii Acknowledgements viii Introductory Notes ix Introduction 1 Chapter One The Polyphonic Magnificat and its Structural Basis Chapter Two Mode and Polyphony 15 Chapter Three· Analytical Method 24 Chapter Four Magnificats Based on Tones 1 and 2 35 Chapter Five Magnificats Based on Tones 3 and 4 61 Chapter Six Magnificats Based on Tones 5 and 6 82 Chapter Seven Magnificats Based on Tones 7 and 8 117 Summary and Conclusion 146 Appendices