Conductus and Modal Rhythm
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Narrow Range -More Virtuosic
Medieval Theory -Guido of Arezzo developed solomization -solfege came from the hymn “Ut queant laxis” -9th century oral transmission of music -10th century heightened neumes -11th century four line staff and square notation Secular Music Jongleur -Golliards -age of chivalry, courtly love -knightly love kin to monk with god -a religious love in secular music -chanson de geste (song of deeds) ex. King Arthur -were looked down upon, traveled from town to town Troubadour (Southern France) -12th century -educated family, higher class -knew how to read and write music -langue d’oc Trouveres (Northern France) -founder and seeker of song -langue d’oil -chansonnier secular love poetry (monophonic) -pastourelle seduction song Adam de la Halle’s Jeu de Robin et Marion -trouvere -monophonic rondeau (repeating refrain) -low style (profane aspect) -unsuccessful love -vernacular language (langue d’oil) Can vei la lauzeta mover -troubadour -strophic form -8 stanzas -modal music, Dorian mode -word-painting www.notesolution.com -narrow range -more virtuosic A Chantar -troubadour -ABABCDB -phrase end with same cadence (rhyme scheme) -more structural organization -Frauenlob famous German Minnesinger) Polyphony -organum earliest witten polyphony singing simultaneously at more than one pitch evidence in Musica & Scolica Enchriadis -parallel motion note vs. note, harmonized with fourth and fifth -contrary motion one melody with another melody beneath early cadence structure usually ends in octave Alleluia Justus ut Palma -word-painting melisma on “multiply”, -
PÉROTIN and the ARS ANTIQUA the Hilliard Ensemble
CORO hilliard live CORO hilliard live 1 The Hilliard Ensemble For more than three decades now The Hilliard Ensemble has been active in the realms of both early and contemporary music. As well as recording and performing music by composers such as Pérotin, Dufay, Josquin and Bach the ensemble has been involved in the creation of a large number of new works. James PÉROTIN MacMillan, Heinz Holliger, Arvo Pärt, Steven Hartke and many other composers have written both large and the and small-scale pieces for them. The ensemble’s performances ARS frequently include collaborations with other musicians such as the saxophonist Jan Garbarek, violinist ANTIQUA Christoph Poppen, violist Kim Kashkashian and orchestras including the New York Philharmonic, the BBC Symphony Orchestra and the Philadelphia Orchestra. John Potter’s contribution was crucial to getting the Hilliard Live project under way. John has since left to take up a post in the Music Department of York University. His place in the group has been filled by Steven Harrold. www.hilliardensemble.demon.co.uk the hilliard ensemble To find out more about CORO and to buy CDs, visit www.thesixteen.com cor16046 The hilliard live series of recordings came about for various reasons. 1 Vetus abit littera Anon. (C13th) 3:47 At the time self-published recordings were a fairly new and increasingly David James Rogers Covey-Crump John Potter Gordon Jones common phenomenon in popular music and we were keen to see if 2 Deus misertus hominis Anon. (C13th) 5:00 we could make the process work for us in the context of a series of David James Rogers Covey-Crump John Potter Gordon Jones public concerts. -
The Aquitanian Sacred Repertoire in Its Cultural Context
THE AQUITANIAN SACRED REPERTOIRE IN ITS CULTURAL CONTEXT: AN EXAMINATION OF PETRI CLA VIGER! KARl, IN HOC ANNI CIRCULO, AND CANTUMIRO SUMMA LAUDE by ANDREA ROSE RECEK A THESIS Presented to the School ofMusic and Dance and the Graduate School ofthe University of Oregon in partial fulfillment ofthe requirements for the degree of Master of Arts September 2008 11 "The Aquitanian Sacred Repertoire in Its Cultural Context: An Examination ofPetri clavigeri kari, In hoc anni circulo, and Cantu miro summa laude," a thesis prepared by Andrea Rose Recek in partial fulfillment ofthe requirements for the Master ofArts degree in the School ofMusic and Dance. This thesis has been approved and accepted by: Dr. Lori Kruckenberg, Chair ofth xamining Committee Committee in Charge: Dr. Lori Kruckenberg, Chair Dr. Marc Vanscheeuwijck Dr. Marian Smith Accepted by: Dean ofthe Graduate School 111 © 2008 Andrea Rose Recek IV An Abstract ofthe Thesis of Andrea Rose Recek for the degree of Master ofArts in the School ofMusic and Dance to be taken September 2008 Title: THE AQUITANIAN SACRED REPERTOIRE IN ITS CULTURAL CONTEXT: AN EXAMINATION OF PETRI CLA VIGER! KARl, INHOC ANNI CIRCULO, AND CANTU MIRa SUMMA LAUDE Approved: ~~ _ Lori Kruckenberg Medieval Aquitaine was a vibrant region in terms of its politics, religion, and culture, and these interrelated aspects oflife created a fertile environment for musical production. A rich manuscript tradition has facilitated numerous studies ofAquitanian sacred music, but to date most previous research has focused on one particular facet of the repertoire, often in isolation from its cultural context. This study seeks to view Aquitanian musical culture through several intersecting sacred and secular concerns and to relate the various musical traditions to the region's broader societal forces. -
Chapter 2: Secular and Cathedral Music in the High Middle Ages I
Chapter 2: Secular and Cathedral Music in the High Middle Ages I. Introduction – Chapter 1 dealt primarily with sacred music, influenced by the fact that initially only sacred music was available for observation. Chapter 2 turns to secular music. II. Troubadours and Trouvères A.Troubadours 1. The first European vernacular poet whose work survives was William IX (7th count of Poitiers and 9th duke of Aquitaine). b. The tradition of these poets is known as the troubadour. c. The troubadour tradition was a “top down” as those of the highest social ranks were the main participants. Their poetry celebrated feudal ideals. d. Different types of troubadour verse dealt with various aspects of the feudal system, including songs of alliance, knightly decorum, exploits, challenges, and death. 2. Courtly love lay at the heart of the troubadour tradition. a. The canso was a song about love. b. Courtly love songs celebrated the same high ideals as other types of songs. c. The lady about whom a poet wrote usually outranked him, making her theoretically unattainable. d. Courtly love was generally more about veneration than physical love. e. The poetic style matches the lofty ideals of courtly love, as demonstrated in Can vei la lauzeta mover. B. Performance and Oral Culture 1. We do not know the rhythm of troubadour songs, but most likely the loftier style of the troubadour songs approximated that of contemporary chant. 2. Some troubadour songs matched a lower-class style; these were not based on chant style. a. Pastorela is one such genre. b. L’autrier jost’ una sebissa by Marcabru is an example. -
2-Voice Chorale Species Counterpoint Christopher Bailey
2-Voice Chorale Species Counterpoint Christopher Bailey Preamble In order to make the leap from composing in a 4-part chorale style to composing in a free- texture style, we will first re-think the process of composing chorales in a more contrapuntal manner. To this end, we will compose exercises in 2-voice (soprano and bass) Chorale Species Counterpoint. Species counterpoint is a way of studying counterpoint formulated by J.J. Fux (1660-1741) after the music of Palestrina and the Renaissance masters. Exercises in species were undertaken by many of the great composers--including Mozart, Beethoven, Brahms, Schubert, and so forth. The basic idea is that one starts with simple, consonant, note-against-note counterpoint, and gradually attempts more and more elaborate exercises, involving more rhythmic complexity and dissonance, in constrained compositional situations. We will be learning a modified (simpler and freer) version of this, to fit in with the study of 4-part voice-leading and chorales, and tonal music in general. For each exercise, we will assume, at first, that one is given either a bass line, or a soprano line. Given either line, our first task is to compose the other line as a smooth counterpoint against the given line. With the possible exception of the cadence, we will not think about harmony and harmonic progression at all during this part of the process. We will think about line, and the intervals formed by the 2 voices. After the lines are composed in this way, only then do we go back and consider questions of harmony, and add the 2 inner voices to create a 4-voice chorale texture. -
Contents and Sample Pages (PDF)
!"#$%&&'(&&$%)!%*'&+,-.%!"%/0123455'67'&7'8556&96$55:0;<5' MUSICA DISCIPLINA A YEARBOOK OF THE HISTORY OF MUSIC Edited by STANLEY BOORMAN VOLUME LVIII, 2013 American Institute of Musicology !"#$%&&'(&&$%)!%*'&+,-.%!"%/0123455'67'&7'8556&96$55:0;<56 MUSICA DISCIPLINA A YEARBOOK OF THE HISTORY OF MUSIC VOLUME LVIII, 2013 Edited by STANLEY BOORMAN Editorial Board Tim Carter University of North Carolina at Chapel Hill, USA Anthony Cummings Lafayette College, USA Mark Everist University of Southampton, GB Dinko Fabris Conservatorio di Bari, Italy Barbara Haggh University of Maryland, USA David Hiley Universität Regensburg, Germany Karl Kuegle Universiteit Utrecht, Netherlands Birgit Lodes Universität Wien, Austria Laurenz Luetteken Universität Zurich, Switzerland Anne MacNeil University of North Carolina at Chapel Hill, USA Anne Smith Schola Cantorum Basiliensis, Switzerland Anne Stone CUNY, USA AMERICAN INSTITUTE OF MUSICOLOGY The American Institute of Musicology publishes seven series of critical editions, scholarly studies, reference works, and this journal, all dedicated to the study of the music and culture of the Medieval, Renaissance, and early Baroque eras. The publications of the Institute are used by scholars and performers alike and constitute a major core collection of early music, theoretical writings on music, and the scholarly analysis of that music and its sources. For information on establishing a standing order or subscription to this journal or any of our series, or for editorial guidelines on submitting proposals, please contact: American Institute of Musicology 800 736-0070 (U.S. book orders) / 608 836-9000 (phone) / 608 831-8200 (fax) http://www.corpusmusicae.com [email protected] / [email protected] © 2013 by the American Institute of Musicology, Verlag Corpusmusicae, GmbH, Münster, Germany and Middleton, WI, USA. -
This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Insular sources of thirteenth-century polyphony and the significance of Notre Dame. Losseff, Nicola The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 09. Oct. 2021 -1- INSULAR SOURCES OF THIRTEENTH-CENTURY POLYPHONY AND THE SIGNIFICANCE OF NOTRE DAME Nicola Losseff Submitted for the degree of Doctor of Philosophy at King's College, London, 1993 1LoNDgt UNW. -
Modes, Scales, Functional Harmony, and Nonfunctional
MODES, SCALES, FUNCTIONAL HARMONY, AND NONFUNCTIONAL HARMONY IN THE COMPOSITIONS OF HERBIE HANCOCK Keith Waters The decade of the 1960s witnessed a vast expansion of the harmonic resources available to the jazz composer. The compositions of jazz pia- nist Herbie Hancock played an important role in shaping this emerging harmonic language. The innovations that arose affected both harmonic structure (chord type) and harmonic progression (chord-to-chord succes- sion). These newer harmonic developments—often referred to as “modal harmony” or “modal jazz”—remain today as a significant cornerstone of the harmonic vocabulary of jazz. In this article I examine several of Hancock’s compositions written and recorded during the 1960s, pointing out Hancock’s compositional approaches and innovations against the backdrop of standard functional harmony and modal harmony. I address three general questions: (1) How is compositional structure created when harmonic function is weakened or absent? (2) How did Hancock further extend the modal innovations pioneered by Miles Davis and others? (3) In what ways was Hancock Journal of Music Theory, 49:2 DOI 10.1215/00222909-011 © 2008 by Yale University 333 Downloaded from https://read.dukeupress.edu/journal-of-music-theory/article-pdf/49/2/333/377798/11-JMT_49.2.pdf by UNIV CA IRVINE user on 03 April 2020 able to merge functional harmonic procedures with modal harmonic pro- cedures? Hancock attained national prominence as a member of the Miles Davis Quintet, playing piano with Davis between 1963 and 1968. With his ten- ure with Davis, his recordings as a sideman on numerous albums, and his own series of albums for the Blue Note label under his own name, Han- cock was considered one of the most innovative, versatile, and accom- plished jazz pianists of the decade. -
Schenkerian Analysis for the Beginner Benjamin K
Kennesaw State University DigitalCommons@Kennesaw State University Faculty Publications 2016 Schenkerian Analysis for the Beginner Benjamin K. Wadsworth Kennesaw State University, [email protected] Follow this and additional works at: https://digitalcommons.kennesaw.edu/facpubs Part of the Music Education Commons, and the Music Theory Commons Recommended Citation Wadsworth, Benjamin K., "Schenkerian Analysis for the Beginner" (2016). Faculty Publications. 4126. https://digitalcommons.kennesaw.edu/facpubs/4126 This Article is brought to you for free and open access by DigitalCommons@Kennesaw State University. It has been accepted for inclusion in Faculty Publications by an authorized administrator of DigitalCommons@Kennesaw State University. For more information, please contact [email protected]. SCHENKERIAN ANALYSIS FOR THE BEGINNER Schenkerian Analysis for the Beginner By Benjamin K. WadsWorth introduction: schenKer in the classroom n its earliest days, and continuing throughout the 20th century, Schenkerian analysis was often taught by master teachers to highlyI gifted students. Elite musicians in this tradition included Schenker and his students, Ernst Oster and his students, and so on, creating a relatively small family of expert practitioners.1 Schenker’s Lesson Books (1913–1932) provide snapshots of the diverse analytical, theoretical, and critical activities possible in long-term, mentored relationships.2 Mentored relationships are fruitful with highly motivated students who arrive with a solid theoretical and practical background. Across the United States and other countries, however, Schenkerian courses at many universities pose challenges: This essay elaborates on research presented at the Pedagogy in Practice conference at Lee University (Cleveland, TN) on June 2, 2017. A word of thanks is due to students of my Introduction to Schenker classes at Kennesaw State (2014 and 2016), to William Marvin and Poundie Burstein for their comments on earlier drafts, and to the anonymous readers of this journal for their feedback. -
Rock Harmony Reconsidered: Tonal, Modal and Contrapuntal Voice&
DOI: 10.1111/musa.12085 BRAD OSBORN ROCK HARMONY RECONSIDERED:TONAL,MODAL AND CONTRAPUNTAL VOICE-LEADING SYSTEMS IN RADIOHEAD A great deal of the harmony and voice leading in the British rock group Radiohead’s recorded output between 1997 and 2011 can be heard as elaborating either traditional tonal structures or establishing pitch centricity through purely contrapuntal means.1 A theory that highlights these tonal and contrapuntal elements departs from a number of developed approaches in rock scholarship: first, theories that focus on fretboard-ergonomic melodic gestures such as axe- fall and box patterns;2 second, a proclivity towards analysing chord roots rather than melody and voice leading;3 and third, a methodology that at least tacitly conflates the ideas of hypermetric emphasis and pitch centre. Despite being initially yoked to the musical conventions of punk and grunge (and their attendant guitar-centric compositional practice), Radiohead’s 1997– 2011 corpus features few of the characteristic fretboard gestures associated with rock harmony (partly because so much of this music is composed at the keyboard) and thus demands reconsideration on its own terms. This mature period represents the fullest expression of Radiohead’s unique harmonic, formal, timbral and rhythmic idiolect,4 as well as its evolved instrumentation, centring on keyboard and electronics. The point here is not to isolate Radiohead’s harmonic practice as something fundamentally different from all rock which came before it. Rather, by depending less on rock-paradigmatic gestures such as pentatonic box patterns on the fretboard, their music invites us to consider how such practices align with existing theories of rock harmony while diverging from others. -
The Selection of Clausula Sources for Thirteenth- Century Motets
The Selection of Clausula Sources for Thirteenth Century Motets: Some Practical Considerations and Aesthetic Implications By Susan A. Kidwell In addressing questions of compositional process, scholars of medieval polyphony have relatively little on which to build. They cannot gain in sight from reading explicit written testimonies by medieval composers; nor can they look to evidence such as sketches, drafts, or revisions for guidance. Instead, they can only study theoretical accounts of how to com pose good discant and examine the surviving pieces themselves to in crease their understanding of medieval compositional process.l Of all the surviving types of medieval music, the early Latin motet offers perhaps the best opportunity to explore aspects of compositional process, for the vast majority of early Latin motets were created in several observ able stages. More than one hundred years have passed since Wilhelm Meyer's pathbreaking report that many early motets originated with the the addition of text to preexisting discant clausulae (Meyer 1898). While Meyer'S discovery prompted an intense effort to identifY related motets and clausulae (Ludwig 1910; Gennrich 1957; van der Werf 1989), other el ements of compositional process were largely overlooked. Norman Smith (1989) recognized this lacuna and drew attention to the process of convert ing clausulae into motets; in this paper, I shall focus on an earlier stage of compositional process-the process of selecting clausula models to convert into motets. In brief, I shall identifY factors that may have attracted me dieval "composers" to select certain types of clausula models for early Latin motets.2 I shall then consider the extent to which their criteria for selection apply to other segments of the thirteenth-century motet reper tory. -
K. Schiltz and B. J. Blackburn, Eds., Canons and Canonic Techniques, 14Th–16Th Centuries: Theory, Practice, and Reception History, Leuven Studies in Musicology
Document généré le 25 sept. 2021 05:49 Intersections Canadian Journal of Music Revue canadienne de musique K. Schiltz and B. J. Blackburn, eds., Canons and Canonic Techniques, 14th–16th Centuries: Theory, Practice, and Reception History, Leuven Studies in Musicology. Leuven: Peeters, 2007. 500 pp. ISBN 978-90-429-1681-4 Frank Dobbins Volume 30, numéro 2, 2010 URI : https://id.erudit.org/iderudit/1006383ar DOI : https://doi.org/10.7202/1006383ar Aller au sommaire du numéro Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 1911-0146 (imprimé) 1918-512X (numérique) Découvrir la revue Citer ce compte rendu Dobbins, F. (2010). Compte rendu de [K. Schiltz and B. J. Blackburn, eds., Canons and Canonic Techniques, 14th–16th Centuries: Theory, Practice, and Reception History, Leuven Studies in Musicology. Leuven: Peeters, 2007. 500 pp. ISBN 978-90-429-1681-4]. Intersections, 30(2), 124–127. https://doi.org/10.7202/1006383ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 2011 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ 124 Intersections K.