Avisn FORUM Journal of the Association Ellard De Honnecourt for the Interdisciplinary Study of Medieval Technology, Science, and Art

Total Page:16

File Type:pdf, Size:1020Kb

Avisn FORUM Journal of the Association Ellard De Honnecourt for the Interdisciplinary Study of Medieval Technology, Science, and Art AVISn FORUM Journal of The Association Ellard de Honnecourt for the Interdisciplinary Study of Medieval Technology, Science, and Art Volume 10 Number 1 Fall 1996 1Winter 1997 MAR 2 1997 C~~~~~#'Lo 1 LI - Page Directors ............................................................................... 2 Bulletin Board ...................................................................... 2 Farewell to a Friend: Jean Gimpel ......................................... 3 I From the President ................................................................. 4 I AVISTA Sessions: 1996 Medieval Congress .......................... 5 Abstracts of Papers Articles The Work of Count Galeran ................................................... 9 by Stephen ~ardn&nd John James Knights and Ladies at the Door ............................................ 10 by Janet Snyder The Plan of Saint-Urbain, Troyes ........................................ I5 by Michael T. Davis The Architectural Envelope of the Sainte-Chapelle ............. 2 1 by Stephen Murray Reviews Beat Brenk and Daniel Weiss on the Sainte-Chapelle Walter Cahn on Richard of St.-Victor's Ezekiel Commentary ............................................................ 25 by Michael T. ~avis Marion Archibald et al., on Coin Dies from London ........... 30 by Alan M. Stahl News from Members and Affiliated Societies ..................... 3 1 Activities... Past, Present, Future ........................................... 33 AVISTA Membership application ......................................... 39 Editorial Board (Deadline, Spring 1997 issue) ..................... 39 Page 2 BULLETIN BOARD OMINATIONS to the AVISTA Board of Directors for the three-year term 1997-2000 are invited from AVISTA Nmembers. Please submit nominations to the President of AVISTA, Warren Sanderson, PO Box 783, Champlain, NY 12919 and note the qualifications of the candidate. Elections to the Board will be held at the annual business meeting at the Medieval Congress in Kalamazoo in May 1997. AVISTA FORC. THE VILLARD DE HONNECOURT RESEARCH PRIZE Volume 10 Number 1 This is a reminder of the recent establishment of The Villard Fall 1996Ninter 1997 de Honnecourt Research Prize, an award which intends to stimu- late interest in the work of Villard de Honnecourt among young Editor: Michael T. Davis scholars. It seeks to engage the expertise and original insights of students of medieval science, technology, and art in theactivities 0 1997 AVISTAInc. sponsored by the Association Villard de Honnecourt for the Interdisciplinary Study of Medieval Science, Technology, and Association Villard de Honnecourt for the Art (AVISTA). Interdiscipinary Study of Medieval Two prizes are to be established: 1) The Foundation will award $250 for a paper that offers new insights into or a Technology, Science, and Art compellingly innovative interpretation of any drawing in the sketchbook of Villard de Honnecourt (Paris, BN fr. 19093);2) an Fine Arts award of $125 will be made for an original scholarly essay on medieval ecclesiastical architecture or medieval technology, Haverford College science or art. The selected papers will be published in AVZSTA Haverford, PA 1904.1 U.S.A. Forum Journal, the bi-annual periodical of AVISTA. Submissions in English or French are welcomed from both undergraduate and graduate students enrolled in an accredited Officers 1996-1997 : university of a sovereign country who are members of AVISTA. President: Warren Sanderson Papers will be evaluated by a committee composed of three Vice-President: George Saliba AVISTA scholars expert in the field of the submission; the president of AVISTA and the editor-in-chief of AVZSTA Forum Secretary: Bert Hall Journal will serve as ex-officio members. Treasurer: Richard A. Sundt Deadlines for submissions are March 1 for the Spring issue of the AVZSTA Forum Journal; September 1 for the Fall issue. Counsel: Holbrook Bunting, Jr. Participants are requested to attach $2.50, check, money order, or European Director: Jean Gimpel bank draft payable to a United States bank, to cover costs of reproduction and mailing. Please include a self-addressed stamped envelope for the return of manuscripts and illustrations. North American Directors: For further information, contact: Barbara S. Bowers (1995-1998) Michael T. Davis William W. Clark (1995- 1998) Editor-in-chief, AVZSTA Forum Journal Department of Art Kelly DeVries ( 1995- 1998) Mount Holyoke College Paul Gans ( 1996-1999) South Hadley, MA 01075- 1499 Barbara M. Kreutz (1995- 1997) tel: 41 3-538-2474 fax: 4 13-538-2167 Stephen Mwray (1996- 1999) e-mail: [email protected] Richard Schneider (1995- 1998) Alan Stah1 (1995-1998) VISTA SESSIONS,32~~ INTERNATIONAL CONGRESS ON A MEDIEVALSTUDIES, May 7- 1 1, 1997 co-sponsored with De Charles Stegeman ( 1995- 1998) Re Militari: Military Technology, Architecture, Arms, Armor. Marie-Thkrkse Zenner (1995- 1997) For further information, contact: Kelly DeVries, Department of History, Loyola College of Maryland, 450 1 North Charles Street, Baltimore, MD 21 2 10-2699; e-mail: [email protected]. AVISTAFORUM (ISSN 1041-6994) is produced by The Laser Touch, Inc. based in Phoenixville, PA. ENAUD BEFFEYTE,who will deliver a paper entitled AV~STAFORUM is indexed by the BHA. R Poliorcetics, or the Art of Besieging a Ci5 in the AVISTAI De Re Militari sponsored session The Technology of Warfare at Kalamazoo, is available for lectures during his stay in the United States from about April 11, 1997 until the Medieval Congress. Page 3 Trained as a carpenter and a Master within the system of the EAN GIMPELNOUS A QUITTE dans la nuit du 15- 16 juin. Compagnons des Devoirs Unis, M. Beffeyte is a storehouse of Ceux qui l'ont connu auront quelque ma1 a imaginer dans knowledge of medieval techniques and technology. For over ten JI'immobilitC de la mort cet homme sans cesse en mouvement, years, he has built functioning, precision siege machines, as well qu'on aura rarement vu assis plus de dix minutes, dont la pens6 as machines PlPvatoires, for castle-museums throughout France. et la parole Cvoluaient sans cesse avec une telle rapidit6 de He served as principal consultant for the brilliant interpretation l'image au paradoxe, de la clartC a la conjecture, ne craignant ni of the geometrical drawings of Villard de Honnecourt published le jugement serein ni l'exegeration manifeste! by Roland Bechmann (Picard, 1991, 2nd ed. 1993). In his Mais il y avait aussi en lui, et plus profondCment, un sens de intelligence, eloquence, anddesire to impart his skill and knowl- la recherche tout ii fait remarquable. Et qu'il a prouve dbs son edge, Renaud Beffeyte is unique. Renaud Beffeyte will speak at premier ouvrage. C'est en decouvrant, aux Archives Nationales, Haverford College on Traditions of the Trades: From Hand to les releves de salaires verses aux artisansde lacathedrale d' Autun, Spirit, in late April. He can deliver talks in French or in English. qu'il s'est passionne sur le sujet; poursuivant avec le registre de If you wish to invite Renaud Beffeyte to speak at your la taille-l'imp8t leve Paris sur les diverses professions-puis institution on siege machines, civil engineering, or workers' toutes les sources de documentation possibles, sans ntgliger les traditions, please contact him directly: oeuvres de chercheurs comme Pierre du Colombier ou Bertrand M. Renaud Beffeyte, Armeditval, Lisle, 47260 Castelmoron- Gille, il n'allait pas tarder areunir les elements du volume destine sur-Lot, France; tel: (33) 53 84 98 36; fax: (33) 53 88 22 41. *:* a paraitre aux Editions du Seuil, Les Bdtisseurs de catharales, dont le succts fut immtdiat. et durable. 'Pour nous. me disait recemmement un jeune architecte, c'est un classique: tous les architectes ont lu Les Bdtisseurs.' Tire a plus de 200,000 FAREWELL TO A FRIEND: exemplaires, reCdite en grand format en 1980. il a Cte traduit en japonks, en hollandais, en polonais, en roumain aprks avoir CtC JEAN GlM(1918- 1996) Cdite en Angleterre et aux Etats-Unis. Tandis que Jean Gimpel ne cessait de poursuivre et approfondir son etude d'une epoque qui N JUNE15, JEANGIMPEL lost a brief battle with cancer. le passionait desormais. Along with his departure, our society has lost an impor- I1 appartenait a un milieu hautement cultivC; son ptre, Rene 0tant man. While one may say that no one is irreplace- Gimpel, avait ouvert a New York une galerie de tableaux; ami able, Jean is irreplaceable. His personality combined a hyper- personnel de Monet, de Renoir et de Marcel Proust, il tenait un active mind working at the speed of light, with an uncommon journal que Jean a edite en 1963 sous le titre Journal d'un compassion for mankind's plight, and an insatiable curiosity for Collectionneur. Mais c'etait aussi un resistant qui, pendant la all that touched the human mind. Of remarkable vitality. Jean guerre de 1940, avait avec ses fils sabote plusieurs usines presented a unique mixture of enlightened visionary and little d'armement; decouvert, arrgtt, il avait ete envoye dans le camp boy for he retained one of youth's great qualities: the capacity to de deportation de Bergen-Belsen, d'ou il ne devait pas revenir. marvel. And his marveling has inspired a generation. Jean devait beaucoup l'atmosphtre d'une enfance pendant Jean was agenius if genius means a rare talent, an agile mind, laquelle il lui avait ett tout nature1 de s'entretenir avec Marie and a huge intellect. All one needs to do is read his bibliography Laurencin et de vivre parmi les chefs d'oeuvre. Son pere vouait which is not only impressive by
Recommended publications
  • The Dual Language of Geometry in Gothic Architecture: the Symbolic Message of Euclidian Geometry Versus the Visual Dialogue of Fractal Geometry
    Peregrinations: Journal of Medieval Art and Architecture Volume 5 Issue 2 135-172 2015 The Dual Language of Geometry in Gothic Architecture: The Symbolic Message of Euclidian Geometry versus the Visual Dialogue of Fractal Geometry Nelly Shafik Ramzy Sinai University Follow this and additional works at: https://digital.kenyon.edu/perejournal Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation Ramzy, Nelly Shafik. "The Dual Language of Geometry in Gothic Architecture: The Symbolic Message of Euclidian Geometry versus the Visual Dialogue of Fractal Geometry." Peregrinations: Journal of Medieval Art and Architecture 5, 2 (2015): 135-172. https://digital.kenyon.edu/perejournal/vol5/iss2/7 This Feature Article is brought to you for free and open access by the Art History at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Peregrinations: Journal of Medieval Art and Architecture by an authorized editor of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. Ramzy The Dual Language of Geometry in Gothic Architecture: The Symbolic Message of Euclidian Geometry versus the Visual Dialogue of Fractal Geometry By Nelly Shafik Ramzy, Department of Architectural Engineering, Faculty of Engineering Sciences, Sinai University, El Masaeed, El Arish City, Egypt 1. Introduction When performing geometrical analysis of historical buildings, it is important to keep in mind what were the intentions
    [Show full text]
  • The Digital Nature of Gothic
    The Digital Nature of Gothic Lars Spuybroek Ruskin’s The Nature of Gothic is inarguably the best-known book on Gothic architecture ever published; argumentative, persuasive, passionate, it’s a text influential enough to have empowered a whole movement, which Ruskin distanced himself from on more than one occasion. Strangely enough, given that the chapter we are speaking of is the most important in the second volume of The Stones of Venice, it has nothing to do with the Venetian Gothic at all. Rather, it discusses a northern Gothic with which Ruskin himself had an ambiguous relationship all his life, sometimes calling it the noblest form of Gothic, sometimes the lowest, depending on which detail, transept or portal he was looking at. These are some of the reasons why this chapter has so often been published separately in book form, becoming a mini-bible for all true believers, among them William Morris, who wrote the introduction for the book when he published it First Page of John Ruskin’s “The with his own Kelmscott Press. It is a precious little book, made with so much love and Nature of Gothic: a chapter of The Stones of Venice” (Kelmscott care that one hardly dares read it. Press, 1892). Like its theoretical number-one enemy, classicism, the Gothic has protagonists who write like partisans in an especially ferocious army. They are not your usual historians – the Gothic hasn’t been able to attract a significant number of the best historians; it has no Gombrich, Wölfflin or Wittkower, nobody of such caliber – but a series of hybrid and atypical historians such as Pugin and Worringer who have tried again and again, like Ruskin, to create a Gothic for the present, in whatever form: revivalist, expressionist, or, as in my case, digitalist, if that is a word.
    [Show full text]
  • Trent 91; First Steps Towards a Stylistic Classification (Revised 2019 Version of My 2003 Paper, Originally Circulated to Just a Dozen Specialists)
    Trent 91; first steps towards a stylistic classification (revised 2019 version of my 2003 paper, originally circulated to just a dozen specialists). Probably unreadable in a single sitting but useful as a reference guide, the original has been modified in some wording, by mention of three new-ish concordances and by correction of quite a few errors. There is also now a Trent 91 edition index on pp. 69-72. [Type the company name] Musical examples have been imported from the older version. These have been left as they are apart from the Appendix I and II examples, which have been corrected. [Type the document Additional information (and also errata) found since publication date: 1. The Pange lingua setting no. 1330 (cited on p. 29) has a concordance in Wr2016 f. 108r, whereti it is tle]textless. (This manuscript is sometimes referred to by its new shelf number Warsaw 5892). The concordance - I believe – was first noted by Tom Ward (see The Polyphonic Office Hymn[T 1y4p0e0 t-h15e2 d0o, cpu. m21e6n,t se suttbtinigt lneo] . 466). 2. Page 43 footnote 77: the fragmentary concordance for the Urbs beata setting no. 1343 in the Weitra fragment has now been described and illustrated fully in Zapke, S. & Wright, P. ‘The Weitra Fragment: A Central Source of Late Medieval Polyphony’ in Music & Letters 96 no. 3 (2015), pp. 232-343. 3. The Introit group subgroup ‘I’ discussed on p. 34 and the Sequences discussed on pp. 7-12 were originally published in the Ex Codicis pilot booklet of 2003, and this has now been replaced with nos 148-159 of the Trent 91 edition.
    [Show full text]
  • Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
    Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A.
    [Show full text]
  • Univeristy of California Santa Cruz Cultural Memory And
    UNIVERISTY OF CALIFORNIA SANTA CRUZ CULTURAL MEMORY AND COLLECTIVITY IN MUSIC FROM THE 1991 PERSIAN GULF WAR A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by Jessica Rose Loranger December 2015 The Dissertation of Jessica Rose Loranger is approved: ______________________________ Professor Leta E. Miller, chair ______________________________ Professor Amy C. Beal ______________________________ Professor Ben Leeds Carson ______________________________ Professor Dard Neuman ______________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Jessica Rose Loranger 2015 CONTENTS Illustrations vi Musical Examples vii Tables viii Abstract ix Acknowledgments xi CHAPTER 1: INTRODUCTION 1 Purpose Literature, Theoretical Framework, and Terminology Scope and Limitations CHAPTER 2: BACKGROUND AND BUILDUP TO THE PERSIAN GULF WAR 15 Historical Roots Desert Shield and Desert Storm The Rhetoric of Collective Memory Remembering Vietnam The Antiwar Movement Conclusion CHAPTER 3: POPULAR MUSIC, POPULAR MEMORY 56 PART I “The Desert Ain’t Vietnam” “From a Distance” iii George Michael and Styx Creating Camaraderie: Patriotism, Country Music, and Group Singing PART II Ice-T and Lollapalooza Michael Franti Ani DiFranco Bad Religion Fugazi Conclusion CHAPTER 4: PERSIAN GULF WAR SONG COLLECTION, LIBRARY OF CONGRESS 116 Yellow Ribbons: Symbols and Symptoms of Cultural Memory Parents and Children The American Way Hussein and Hitler Antiwar/Peace Songs Collective
    [Show full text]
  • Rayonnant Style, French Building Style (13Th Century) That Represents the Height of Gothic Architecture
    Rayonnant style, French building style (13th century) that represents the height of Gothic architecture. During this period architects became less interested in achieving great size than in decoration, which took such forms as pinnacles, moldings, and especially window tracery. The style’s name reflects the radiating character of the rose window. Other features include the thinning of vertical supporting members, the enlargement of windows, and the combination of the triforium gallery and clerestory into one large glazed area, until walls became largely undifferentiated screens of tracery, mullions, and glass. Flamboyant style, phase of late Gothic architecture in 15th-century France and Spain. It evolved out of the Rayonnant style’s increasing emphasis on decoration. Its most conspicuous feature is the dominance in stone window tracery of a flamelike S- shaped curve. Wall surface was reduced to the minimum to allow an almost continuous window expanse. Structural logic was obscured by covering buildings with elaborate tracery. Flamboyant Gothic, which became increasingly ornate, gave way in France to Renaissance forms in the 16th century. Perpendicular style, Phase of late Gothic architecture in England roughly parallel in time to the French Flamboyant style. The style, concerned with creating rich visual effects through decoration, was characterized by a predominance of vertical lines in stone window tracery, enlargement of windows to great proportions, and conversion of the interior stories into a single unified vertical expanse. Fan vaults, springing from slender columns or pendants, became popular. In the 16th century, the grafting of Renaissance elements onto the Perpendicular style resulted in the Tudor style. Manueline, Portuguese Manuelino, particularly rich and lavish style of architectural ornamentation indigenous to Portugal in the early 16th century.
    [Show full text]
  • Rose Window ­ Wikipedia, the Free Encyclopedia Rose Window from Wikipedia, the Free Encyclopedia
    6/19/2016 Rose window ­ Wikipedia, the free encyclopedia Rose window From Wikipedia, the free encyclopedia A rose window or Catherine window is often used as a generic term applied to a circular window, but is especially used for those found in churches of the Gothic architectural style and being divided into segments by stone mullions and tracery. The name “rose window” was not used before the 17th century and according to the Oxford English Dictionary, among other authorities, comes from the English flower name rose.[1] The term “wheel window” is often applied to a window divided by simple spokes radiating from a central boss or opening, while the term “rose window” is reserved for those windows, sometimes of a highly complex design, which can be seen to bear similarity to a multi­petalled rose. Rose windows are also called Catherine windows after Saint Catherine of Alexandria who was sentenced to be executed on a spiked wheel. A circular Exterior of the rose at Strasbourg window without tracery such as are found in many Italian churches, is Cathedral, France. referred to as an ocular window or oculus. Rose windows are particularly characteristic of Gothic architecture and may be seen in all the major Gothic Cathedrals of Northern France. Their origins are much earlier and rose windows may be seen in various forms throughout the Medieval period. Their popularity was revived, with other medieval features, during the Gothic revival of the 19th century so that they are seen in Christian churches all over the world. Contents 1 History 1.1 Origin 1.2 The windows of Oviedo Interior of the rose at Strasbourg 1.3 Romanesque circular windows Cathedral.
    [Show full text]
  • A Catholic Architect Abroad: the Architectural Excursions of A.M
    A CATHOLIC ARCHITECT ABROAD: THE ARCHITECTURAL EXCURSIONS OF A.M. DUNN Michael Johnson Introduction A leading architect of the Catholic Revival, Archibald Matthias Dunn (1832- 1917) designed churches, colleges and schools throughout the Diocese of Hexham and Newcastle. Working independently or with various partners, notably Edward Joseph Hansom (1842-1900), Dunn was principally responsible for rebuilding the infrastructure of Catholic worship and education in North- East England in the decades following emancipation. Throughout his career, Dunn’s work was informed by first-hand study of architecture in Britain and abroad. From his first year in practice, Dunn was an indefatigable traveller, venturing across Europe, North Africa and the Middle East, filling mind and sketchbook with inspiration for his own designs. In doing so, he followed in the footsteps of Catholic travellers who had taken the Grand Tour, a tradition which has been admirably examined in Anne French’s Art Treasures in the North: Northern Families on the Grand Tour (2009).1 While this cultural pilgrimage was primarily associated with the landed gentry of the eighteen century, Dunn’s travels demonstrate that the forces of industrialisation and colonial expansion opened the world to the professional middle classes in the nineteenth century.2 This article examines Dunn’s architectural excursions, aiming to place them within the wider context of travel and transculturation in Victorian visual culture. Reconstructing his journeys from surviving documentary sources, it seeks to illuminate the processes by which foreign forms came to influence architectural taste during the ‘High Victorian’ phase of the Gothic Revival. Analysing Dunn’s major publication, Notes and Sketches of an Architect (1886), it uses contemporaneous reviews in the building press to determine how this illustrated record of three decades of international travel was received by the architectural establishment.
    [Show full text]
  • Gothic Architecture
    1 Gothic Architecture. The pointed Gothic arch is the secret of the dizzy heights the cathedral builders were able to achieve, from around the 13th Century. Columns became more slender, and vaults higher. Great open spaces and huge windows became the or- der of the day, as the pointed arch began to replace the rounded Roman-style arches of the Romanesque period. We will compare the two styles. On the left are the later arches of Salisbury Cathedral, c. 1230, in the Gothic style with elegant and slender piers. On the right are the Romanesque arches of Gloucester Cathedral with their huge cylindrical supports of faced stone filled with rubble, from around 1130. This is a drawing of praying hands by In this diagram Albrecht Dürer, you can see the 1508, in the effect of these Albertina Gallery in forces on a Gothic Vienna. If you hold pointed arch, your hands like this where some of the and imagine some- thrust is upwards, one pressing down alleviating part of on your knuckles, the weight of the you’ll feel your vault. finger ends move upwards. 2 There are different types of Gothic windows. Early English lancet windows, built 13th Century, plate tracery St. Dunstan’s Church, 1234, east end of Southwell Minster, in the south aisle west Canterbury. Early English Nottinghamshire, England window, All Saints Church, Decorated Style, 13th Hopton, Suffolk, England Century. The first structural windows with pointed arches were built in England and France, and be- gan with plain tall and thin shapes called lancets. By the 13th Century they were decorating the tops of the arches and piercing the stonework above with shapes such as this 4 leaf clover quatrefoil.
    [Show full text]
  • Reshaping American Music: the Quotation of Shape-Note Hymns by Twentieth-Century Composers
    RESHAPING AMERICAN MUSIC: THE QUOTATION OF SHAPE-NOTE HYMNS BY TWENTIETH-CENTURY COMPOSERS by Joanna Ruth Smolko B.A. Music, Covenant College, 2000 M.M. Music Theory & Composition, University of Georgia, 2002 Submitted to the Graduate Faculty of The Faculty of Arts and Science in partial fulfillment of the requirements for the degree of Ph.D. in Historical Musicology University of Pittsburgh 2009 UNIVERSITY OF PITTSBURGH ARTS AND SCIENCES This dissertation was presented by Joanna Ruth Smolko It was defended on March 27, 2009 and approved by James P. Cassaro, Adjunct Assistant Professor, Department of Music Mary S. Lewis, Professor, Department of Music Alan Shockley, Assistant Professor, Cole Conservatory of Music Philip E. Smith, Associate Professor, Department of English Dissertation Advisor: Deane L. Root, Professor, Department of Music ii Copyright © by Joanna Ruth Smolko 2009 iii RESHAPING AMERICAN MUSIC: THE QUOTATION OF SHAPE-NOTE HYMNS BY TWENTIETH-CENTURY COMPOSERS Joanna Ruth Smolko, PhD University of Pittsburgh, 2009 Throughout the twentieth century, American composers have quoted nineteenth-century shape- note hymns in their concert works, including instrumental and vocal works and film scores. When referenced in other works the hymns become lenses into the shifting web of American musical and national identity. This study reveals these complex interactions using cultural and musical analyses of six compositions from the 1930s to the present as case studies. The works presented are Virgil Thomson’s film score to The River (1937), Aaron Copland’s arrangement of “Zion’s Walls” (1952), Samuel Jones’s symphonic poem Let Us Now Praise Famous Men (1974), Alice Parker’s opera Singers Glen (1978), William Duckworth’s choral work Southern Harmony and Musical Companion (1980-81), and the score compiled by T Bone Burnett for the film Cold Mountain (2003).
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Yiddish Songs of the Shoah: A Source Study Based on the Collections of Shmerke Kaczerginski Permalink https://escholarship.org/uc/item/6x72f9t5 Author Werb, Bret Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Yiddish Songs of the Shoah A Source Study Based on the Collections of Shmerke Kaczerginski A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Bret Charles Werb 2014 Copyright © Bret Charles Werb 2014 ABSTRACT OF THE DISSERTATION Yiddish Songs of the Shoah A Source Study Based on the Collections of Shmerke Kaczerginski by Bret Charles Werb Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2014 Professor Timothy Rice, Chair This study examines the repertoire of Yiddish-language Shoah (or Holocaust) songs prepared for publication between the years 1945 and 1949, focusing its attention on the work of the most influential individual song collector, Shmerke Kaczerginski (1908-1954). Although a number of initiatives to preserve the “sung folklore” of the Nazi ghettos and camps were undertaken soon after the end of the Second World War, Kaczerginski’s magnum opus, the anthology Lider fun di getos un lagern (Songs of the Ghettos and Camps), published in New York in 1948, remains unsurpassed to this day as a resource for research in the field of Jewish folk and popular music of the Holocaust period. ii Chapter one of the dissertation recounts Kaczerginski’s life story, from his underprivileged childhood in Vilna, Imperial Russia (present-day Vilnius, Lithuania), to his tragic early death in Argentina.
    [Show full text]
  • AP Art History Chapter 13: Gothic Art Mrs. Cook
    AP Art History Chapter 13: Gothic Art Mrs. Cook Define these terms: Key Cultural & Religious Terms: Scholasticism, disputatio, indulgences, lux nova, Annunciation, Visitation, opere francigeno, opus modernum Key Art Terms: stained glass, glazier, flashing, cames, leading, plate tracery, bar tracery, fleur‐de‐lis, Rayonnant, Flamboyant, mullions, moralized Bible, breviary, Perpendicular style, ambo, altarpiece, triptych, pieta Key Architectural Terms: altar frontal, rib vault, armature, webs, pointed arch, jamb figures, trumeau, triforium, oculus, flying buttress, pinnacle, vaulting web, diagonal rib, transverse rib, springing, clerestory, lancet, nave arcade, compound pier (cluster pier), shafts (responds), ramparts, battlements, crenellations, merlons, crenels, fan vaults, pendants, Gothic Revival, Hallenkirche (hall church) Exercises for Study: 1. Describe the key architectural features introduced in the French cathedral design in the Gothic era. 2. Describe features that make English Gothic cathedrals distinct from their French or German counterparts. 3. Describe the late Gothic Rayonnant and Flamboyant styles, and give examples of each. 4. Compare and contrast the following pairs of artworks, using the points of comparison as a guide. A. Old Testament kings and queen, jamb statues, Chartres Cathedral (Fig. 13‐7); Virgin and Child (Virgin of Paris), Notre‐Dame, Paris (Fig. 13‐26) • Dates: • Composition/posture of figures: • Relation to architecture: B. Saint Theodore, jamb statue, left portal, Porch of the Martyrs, Chartres Cathedral (Fig. 13‐18); Naumburg Master, Ekkehard and Uta, Naumburg Cathedral (Fig. 13‐48): • Dates: • Subjects: • Composition/posture of figures: • Relation to architecture: C. Interior of Saint Elizabeth, Marburg, Germany (Fig. 13‐53); Interior of Laon Cathedral, Laon, France (Fig. 13‐9) • Dates & locations: • Nave elevation: • Aisles: • Ceiling vaults: • Other architectural features: Chapter Questions: 1.
    [Show full text]