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Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
Some Historical Perspectives on the Monteverdi Vespers
CHAPTER V SOME HISTORICAL PERSPECTIVES ON THE MONTEVERDI VESPERS It is one of the paradoxes of musicological research that we generally be- come acquainted with a period, a repertoire, or a style through recognized masterworks that are tacitly or expressly assumed to be representative, Yet a masterpiece, by definition, is unrepresentative, unusual, and beyond the scope of ordinary musical activity. A more thorough and realistic knowledge of music history must come from a broader and deeper ac- quaintance with its constituent elements than is provided by a limited quan- tity of exceptional composers and works. Such an expansion of the range of our historical research has the advan- tage not only of enhancing our understanding of a given topic, but also of supplying the basis for comparison among those works and artists who have faded into obscurity and the few composers and masterpieces that have sur- vived to become the primary focus of our attention today. Only in relation to lesser efforts can we fully comprehend the qualities that raise the master- piece above the common level. Only by comparison can we learn to what degree the master composer has rooted his creation in contemporary cur- rents, or conversely, to what extent original ideas and techniques are re- sponsible for its special features. Similarly, it is only by means of broader investigations that we can detect what specific historical influence the mas- terwork has had upon contemporaries and younger colleagues, and thereby arrive at judgments about the historical significance of the master com- poser. Despite the obvious importance of systematic comparative studies, our comprehension of many a masterpiece stiIl derives mostly from the artifact itself, resulting inevitably in an incomplete and distorted perspective. -
The Diary of Heinrich Witt
The Diary of Heinrich Witt Volume 2 Edited by Ulrich Mücke LEIDEN | BOSTON Ulrich Muecke - 9789004307247 Downloaded from Brill.com10/10/2021 09:30:38PM via free access [1] [2] Volume the second Commenced in Lima October the 9th 1867 Tuesday, 24th of January 1843. At 10 Oclock a.m. I started for Mr. Schutte’s silver mine of Orcopampa, my party was rather numerous; it consisted of course of myself on mule back with a led beast for change, the muleteer Delgado, his lad Mateo, both mounted, an Indian guide on foot named Condor, and seven mules laden with various articles for the mine as well as some provisions for myself, two or three fowls, half a sheep, potatoes, bread, salt, and sugar, also some sperm candles, and a metal candlestick. The mules carried each a load from eight to nine arrobes, besides four arrobes the weight of the gear and trappings. I may as well say en passant that I carried the above various articles of food because I had been assured that on this route I should find few eatables. I, accustomed to the ways and habits of the Sierra, saw nothing particular in the costume of my companion, nevertheless I will describe it, the muleteers wore ordinary woollen trowsers, and jackets, a woollen poncho over the shoulders, Chilian boots to the legs, shoes to their feet, but with only a single spur, on the principle that if one side of the animal moved the other could not be left behind; their head covering was a Guayaquil straw hat, underneath it Delgado wore a woollen cap, also round his neck a piece [_] jerga, for the purpose of blind folding his beasts when loading [_] a second piece round his waist the two ends of which [_] [3] and preserved his trowsers. -
Gabrieli E Rosenmüller
Venezia in Europa: Gabrieli e Rosenmüller Le stamperie musicali veneziane produssero, tra Cinquento 1 e Seicento, una enorme quantità di edizioni di musiche sacre e profane (non soltanto di compositori attivi a Venezia) che, insieme all’ampia circolazione di manoscritti, si diffusero rapidamente per tutta Europa, esportando lo stile italiano che si fece modello per più di una generazione di compositori e musicisti di Oltralpe. Questi, che spesso erano discepoli dei massimi maestri italiani, fecero proprî tali modelli elaborando a loro volta quello stile che conosciamo attraverso le opere dei musicisti inglesi che non di rado italianizzavano i loro nome 2, o di quelli tedeschi che componevano auff italiänische Inventinon 3. Si ricordano, tra i molti, Johann Jacob Froberger che fu allievo di Girolamo Frescobaldi, Marc-Antoine Charpentier che lo fu di Giacomo Carissimi o, prima di loro, Giovanni Gabrieli presso il quale compì gli studi musicali Heinrich Schütz (alias Henricus Sagittarius ). Soprattutto coi Paesi di area germanica Venezia aveva relazioni culturali molto intense, per i viaggi frequenti dei musici che nella capitale della Repubblica si recavano per studiare ritornando poi in patria, e per le musiche che circolavano attraverso la stampa. Proprio Giovanni Gabrieli fu figura di primissimo piano nella vita musicale veneziana ed europea: primo organista della Repubblica Serenissima di Venezia in san Marco , Gabrieli era conosciuto nei Paesi di lingua tedesca, oltre che per la sua fama, per le sue Sacræ Symphoniæ che nel 1598 l’editore Kauffmann pubblicò a Norimberga un anno dopo la prima edizione veneziana. La sua frenetica attività professionale, che lo impegnava in numerose chiese e istituzioni veneziane, comprendeva anche l’editoria: fu lui a curare le numerose pubblicazioni di musiche dello zio Andrea nonché le proprie. -
Words Matter Dec
Words Matter Dec. 7 & 8, 2019 Verbum caro factum est Hans L. Hassler (1564-1612) Dadme Albricias Anon. 16th-century Michele Yurecko, Matthew Shurts Dixit Maria Hassler Ave Regina Caelorum Isabella Leonarda (1620-1704) Sarah Thomson, Beth Shirley, Joe Keefe They said… (from the sayings of our Forefathers) Yehezkel Braun (1922-2014) Sections I – IV Lisa Berger, Nancy Watson-Baker Work NJ Premiere Melissa Dunphy (b. 1980) Os justi Anton Bruckner (1824-1896) In the Beginning was the Word World Premiere Sarah Rimkus (b. 1990) Verbum caro factum est Giovanni Croce (1557-1609) Laura Quinn, Emilie Bishop, PJ Livesey Verbum caro factum est Paul Halley (b. 1952) Antiphonal Choir*, Kathy Earle The Word was God Rosephanye Powell (b. 1962) Gracias a la Vida Violeta Parra (1917-1967) Claudia Sydenstricker arr. Willi Zwozdesky INTERMISSION Verbum caro factum est John Sheppard (1515-1558) Das Wort ward Fleisch Heinrich Schütz (1585-1672) Words Anders Edenroth (b. 1963) CHAMBER SINGERS Lineage women Andrea Ramsey Let Us Carry Out That Dream men Steven Sametz (b. 1954) United in Song audience Mari E. Valverde (b. 1987) Mercedes Pescevich Fantasia on Christmas Carols Ralph Vaughan Williams (1872-1958) Holland Jancaitis The Children of All Others World Premiere Mark A. Miller (b. 1967) *Antiphonal Choir S: Kathy Earle, Mickey McGrath, Jamie Vergara A: Alyssa Casazza, Catie Gilhuley, Jenna Miller T: Nick Herrick, Will Roper B: Dan Malloy, Ben Schroeder Instrumentalists Piano: Helen Raymaker Organ: Chris Hatcher Cello: Michael Holak Recorders: Mariam Bora, John Lamb, Susan Pilshaw, David Thomson Handbells: Mariam Bora, Jamie Bunce, Linda Clark, Lauren Goldman Percussion: Joe Keefe, Charlie Love, Ben Schroeder “Words constitute the ultimate texture and stuff of our moral being, since they are the most refined and delicate and detailed, as well as the most universally used and understood, of the symbolisms whereby we express ourselves into existence. -
Curriculum Vitae
1 Jeffrey G. Kurtzman Department of Music Washington University Curriculum Vitae 1. Personal Citizenship: U.S.A. Marital status: married, Kathi Kurtzman, pianist and piano teacher Children: Kenneth, Suzanne Juliet Business address: Department of Music, Campus Box 1032, Washington University, St. Louis, Missouri 63130 Home address: 7605 Balson Ave., St. Louis, Missouri 63130-2150 Office phone: (314) 935-5524 Home phone: (314) 862-5354 2. Education 1965-1968 University of Illinois: Ph.D. in Musicology, 1972 M.M. in Musicology, 1967 Dissertation: "The Monteverdi Vespers of 1610 and their Relationship with Italian Sacred Music of the Early Seventeenth Century" Master's Thesis: "The Development of the Isorhythmic Motet in Fourteenth-Century France" 1964-1965 Washington State University 1963-1964 University of Illinois Summer 1963 Aspen Music School, study with Rosina Lhevinne 1958-1963 University of Colorado: B.M. in Piano Performance, 1963 3. Record of Employment 1986- Washington University, Professor of Music 1984-1986 Rice University, Co-Director of Student Advising 1982-1986 Rice University, Professor of Music 1979-1984 Rice University, Master of Baker College 1978-1982 Rice University, Associate Professor of Music 1975-1978 Rice University, Assistant Professor of Music 1972-1975 Middlebury College, Assistant Professor of Music 1969-1972 Middlebury College, Instructor in Music 1968-1969 Cornell University, Visiting Lecturer in Music 4. University Administrative Experience Washington University Chairman of Department of Music, 1986-1993 -
Bernini and Other Studies in the History Of
Ki CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE FINE ARTS DATE DUE Cornell University Library N "l^r-7H| \<^ 7445.N88 Bernini and other studies in ttie history 4891- 3 1924 020 704 122 'gi-^^^a Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924020704122 BERNINI AND OTHER STUDIES THE MACMILLAN COMPANY NEW YORK • BOSTON - CHICAGO • DALLAS ATLANTA • SAN FRANCISCO MACMILLAN & CO., Limited LONDON • BOMBAY CALCUTTA MELBOURNE THE MACMILLAN CO. OF CANADA, Ltd. TORONTO V' ,/<? «^ !A8i Plate I. BERNINI AND OTHER STUDIES IN THE HISTORY OF ART BY RICHARD NORTON MUSEUM OF FINE ARTS, BOSTON THE MACMILLAN COMPANY LONDON: MACMILLAN AND COMPANY 1914 All rights reserved s H Hit rf4 -a^ COPTBIGHT, 1914, By the MACMILLAN COMPANY. Set up and electrotyped. Published October, 1914. Norinodli ^teiss J, S. Onshing Go. — Berwick & Smith Go. Norwood, Mass., U.S.A. PREFACE The essays presented in the following pages are the prod- uct of no hasty thought. I am grateful to the kind friends who have encouraged their publication, and to the publishers for giving them so attractive a form. The choice of illustrations has been difficult. It has seemed best, however, to reproduce in full the little-known sketches of Bernini showing the development, in his mind, of the design for the Piazza of St. Peter's, and the sculptor's models wrought by his own hands. -
The Fifteenth-Anniversary Season: the Glorious Violin July 14–August 5, 2017 David Finckel and Wu Han, Artistic Directors Experience the Soothing Melody STAY with US
The Fifteenth-Anniversary Season: The Glorious Violin July 14–August 5, 2017 David Finckel and Wu Han, Artistic Directors Experience the soothing melody STAY WITH US Spacious modern comfortable rooms, complimentary Wi-Fi, 24-hour room service, itness room and a large pool. Just two miles from Stanford. BOOK EVENT MEETING SPACE FOR 10 TO 700 GUESTS. CALL TO BOOK YOUR STAY TODAY: 650-857-0787 CABANAPALOALTO.COM DINE IN STYLE 4290 Bistro features creative dishes from our Executive Chef and Culinary Team. Our food is a fusion of Asian Flavors using French techniques while sourcing local ingredients. TRY OUR CHAMPAGNE SUNDAY BRUNCH RESERVATIONS: 650-628-0145 4290 EL CAMINO REAL PALO ALTO CALIFORNIA 94306 Music@Menlo The Glorious Violin the fifteenth-anniversary season July 14–August 5, 2017 DAVID FINCKEL AND WU HAN, ARTISTIC DIRECTORS Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 The Glorious Violin Program Overview 6 Essay: “Violinists: Old Time vs. Modern” by Henry Roth 10 Encounters I–V 13 Concert Programs I–VII Léon-Ernest Drivier (1878–1951). La joie de vivre, 1937. Trocadero, Paris, France. Photo credit: Archive 41 Carte Blanche Concerts I–V Timothy McCarthy/Art Resource, NY 60 Chamber Music Institute 62 Prelude Performances 69 Koret Young Performers Concerts 72 Master Classes 73 Café Conversations 74 The Visual Arts at Music@Menlo 75 Music@Menlo LIVE 76 2017–2018 Winter Series 78 Artist and Faculty Biographies 90 Internship Program 92 Glossary 96 Join Music@Menlo 98 Acknowledgments 103 Ticket and Performance Information 105 Map and Directions 106 Calendar www.musicatmenlo.org 1 2017 Season Dedication Music@Menlo’s ifteenth season is dedicated to the following individuals and organizations that share the festival’s vision and whose tremendous support continues to make the realization of Music@Menlo’s mission possible. -
Lent V, in Which Jesus “Hid Himself” from the People (Jesus Autem Abscondebat Se)
THE PARISH OF ST. VINCENT FERRER AND T ATHERINE OF IENA S . C S The Very Reverend Walter C. Wagner, O.P., Pastor James D. Wetzel, Director of Music and Organist FIFTH SUNDAY OF LENT FIRST SUNDAY OF PASSIONTIDE March 21, 2021 12 NOON Solemn Mass with Third Scrutiny of the Elect The setting of the Mass Ordinary is Missa Quando lieta sperai by Andrea Gabrieli (c. 1532-1585). INTRODUCTORY RITES ENTRANCE ANTIPHON (OFFICIUM) Psalm 42 (43):1, 2 Chant, mode iii Judica me, Deus, Judge me, O God, et discerne causam meam and distinguish my cause de gente non sancta: from the unholy nation. ab homine iniquo et doloso eripe me: From the unjust and deceitful man deliver me, quia tu es Deus meus, et fortituto mea. for you are my God and my strength. V. Emitte lucem tuam et veritatem tuam: V. Send forth your light and your truth; ipsa me deduxerunt they have conducted me, et adduxerunt in montem sanctum tuum, and brought me to your holy hill, et in tabernacula tua. and into your tabernacles. SIGN OF THE CROSS AND GREETING PENITENTIAL RITE KYRIE COLLECT Grant, O Lord, to these chosen ones that, instructed in the holy mysteries, they may receive new life at the font of Baptism and be numbered among the members of your Church. Through our Lord Jesus Christ, your Son, who lives and reigns with you in the unity of the Holy Spirit, God, for ever and ever. Amen. 2 LITURGY OF THE WORD FIRST READING Ezekiel 37:12-14 Thus says the Lord God: O my people, I will open your graves and have you rise from them, and bring you back to the land of Israel. -
Musico Perfetto Concerto Per Gioseffo Zarlino (1517-1590) Nel Quinto Centenario Della Nascita
Fondazione Ugo e Olga Levi onlus Venezia, Mercoledì delle ceneri, 1 marzo 2017, ore 20.30 chiesa di Santa Maria del Carmelo (Carmini) Musico perfetto Concerto per Gioseffo Zarlino (1517-1590) nel quinto centenario della nascita ensemble vocale Odhecaton direttore Paolo Da Col Mercoledì 1 marzo 2017, alle ore 20.30, nella chiesa di Santa Maria del Carmelo (Carmini) avrà luogo la XIV edizione del Concerto per il giorno delle Ceneri, tradizionale appuntamento culturale offerto alla città di Venezia dalla Fondazione Ugo e Olga Levi onlus Il concerto è dedicato, nel quinto centenario della nascita, a Gioseffo Zarlino, maestro di cappella di San Marco (Chioggia, 1517-Venezia, 1590), nell’ ambito di una serie di iniziative che vedono la Fondazione Levi impegnata nell’organizzazione di un convegno internazionale (29 novembre - 1 dicembre 2017), con la partecipazione di studiosi europei e americani, nell’allestimento di una mostra di pregevoli edizioni a stampa del Cinquecento di teoria musicale, con la collaborazione della Biblioteca Nazionale Marciana (1 dicembre 2017 - 1 gennaio 2018). Gioseffo Zarlino, è considerato uno dei massimi teorici della musica: nella sua umanistica considerazione dell’alta dignità della prassi artistica, da un lato, e della comprensione scientifica del pensiero antico per spiegare il presente, dall’altro, ha fornito alla teoria della composizione il sostegno di una dottrina razionale e di concetti fondamentali rimasti per secoli imprescindibili punti di riferimento nell’intera Europa. Alcuni esempi: la legittimazione, -
Curriculum Vitae
1 Jeffrey G. Kurtzman Department of Music Washington University Curriculum Vitae 1. Personal Citizenship: U.S.A. Marital status: married, Kathi Kurtzman, pianist and piano teacher Children: Kenneth, Suzanne Juliet Business address: Department of Music, Campus Box 1032, Washington University, St. Louis, Missouri 63130 Home address: 7605 Balson Ave., St. Louis, Missouri 63130-2150 Office phone: (314) 935-5524 Home phone: (314) 862-5354 2. Education 1965-1968 University of Illinois: Ph.D. in Musicology, 1972 M.M. in Musicology, 1967 Dissertation: "The Monteverdi Vespers of 1610 and their Relationship with Italian Sacred Music of the Early Seventeenth Century" Master's Thesis: "The Development of the Isorhythmic Motet in Fourteenth-Century France" 1964-1965 Washington State University 1963-1964 University of Illinois Summer 1963 Aspen Music School, study with Rosina Lhevinne 1958-1963 University of Colorado: B.M. in Piano Performance, 1963 3. Record of Employment 1986- Washington University, Professor of Music 1984-1986 Rice University, Co-Director of Student Advising 1982-1986 Rice University, Professor of Music 1979-1984 Rice University, Master of Baker College 1978-1982 Rice University, Associate Professor of Music 1975-1978 Rice University, Assistant Professor of Music 1972-1975 Middlebury College, Assistant Professor of Music 1969-1972 Middlebury College, Instructor in Music 1968-1969 Cornell University, Visiting Lecturer in Music 4. University Administrative Experience Washington University Chairman of Department of Music, 1986-1993 -
Apt Appropriation: Contemporary African Artists'utilization of Canonical Western
APT APPROPRIATION: CONTEMPORARY AFRICAN ARTISTS’ UTILIZATION OF CANONICAL WESTERN ART By MACKENZIE MOON A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2008 1 © 2008 MacKenzie Moon 2 To my cheerleaders 3 ACKNOWLEDGMENTS My gratitude goes first to my advisor and mentor Dr. Victoria L. Rovine. She has guided this endeavor and seen it through to fruition. I would like to thank Drs. Robin Poynor, Alexander Alberro, Eric Segal, Melissa Hyde, Shepherd Steiner, Susan Cooksey and Leonardo Lasansky for their support in my personal development as a scholar. I am also grateful to my Gainesville friends who made this process more than merely enjoyable. My family has been unwavering in their support, and for that, I am ever humbled. An especial note of thanks goes to Wim Botha, Ziemek Pater, Carlo Gibson, and Yinka Shonibare, MBE, who graciously answered my sometimes tedious queries. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 ABSTRACT.....................................................................................................................................7 CHAPTER 1 INTRODUCTION ....................................................................................................................9 The Challenges of Working with Lesser-Known Artists .......................................................11 Predominance