English Madrigal School
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Early Fifteenth Century
CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ... -
Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support. -
A Eric an Choral Review
A ERIC AN CHORAL REVIEW JOURNAL OF THE AMERICAN CHORAL FOUNDATION, INC. VOLUME XIX • NUMBER 3 • JULY, 1977 AMERICAN CHORAL REVIEW ALFRED MANN, Editar ALFREDA HAYS, Assistant Editor Associate Editors EDWARD TATNALL CANBY ANDREW C. MINOR RICHARD JACKSON MARTIN PICKER JACK RAMEY The AMERICAN CHORAL REVIEW is published quarterly as the official journal of the Association of Choral Conductors sponsored by The American Choral Foundation, Inc. The FOlmdation also publishes a supplementary Research Memorandum Series and maintains a reference library of current publications of choral works. Membership in the Association of Choral Conductors is available for an annual contribution of $20.00 and includes subscriptions to the AMERICAN CHORAL REVIEW and the Research Memorandum Series and use of the Foundation's Advisory Services Division and reference library. All contributions are tax deductible. Back issues of the AMERICAN CHORAL REVIEW are available to members at $2.25; back issues of the Research Memorandum Series at $1.50. Bulk prices will be quoted on request. THE AMERICAN CHORAL FOUNDATION, INC. SHELDON SOFFER, Administrative Director 130 West 56th Street New York, New York 10019 Editorial Address 215 Kent Place Boulevard Summit, New Jersey 07901 Material submitted for publication should be sent in duplicate to the editorial address. All typescripts should be double-spaced and have ample margins. Footnotes should be placed at the bottom of the pages to which they refer. Music examples should preferably appear on separate sheets. Copyright 1977 by THE AMERICAN CHORAL FOUNDATION, INC. Indexed in MUSIC INDEX and MUSIC ARTICLE GUIDE Second-class Postage Paid- New York, New York AMERICAN CHORAL REVIEW July, 1977 CONTENTS The Madrigals of Thomas Morley A Survey Daniel R Salotti 3 Notes on Renaissance Performance Practice Joel Kramme 7 Choral Performances New York Donal Henahan 13 Allen Hughes 13 Peter G. -
Gibbons US 6/8/06 11:30 AM Page 16
557681 bk Gibbons US 6/8/06 11:30 AM Page 16 1 Prelude ™ The First Song of Moses (Gibbons arr. A. Pitts) [Song 1] 0:46 (Gibbons arr. A. Pitts) [Song 1] 2:07 2 A Song of Joy / Christmas Day £ Lord, who by Thy Resurrection (Gibbons arr. A. Pitts) [Songs 47/46] 3:34 (A. Pitts) 1:05 GIBBONS 3 The Song of Angels ¢ The Song of Hannah (Gibbons arr. A. Pitts) [Song 34] 0:45 (Gibbons arr. A. Pitts) [Song 4] 2:14 4 Interlude ∞ The Song of Deborah (Gibbons) [Song 13] 0:23 (Gibbons arr. A. Pitts) [Song 3] 2:21 Hymns and Songs of the Church 5 Thine for ever! § O Lord Most High (A. Pitts) 1:29 (Richard James Pitts) 2:40 6 Amen 0:17 ¶ Amen 0:19 7 The First Canticle • Veni Creator TONUS PEREGRINUS (Gibbons arr. A. Pitts) [Song 9] 2:23 (Gibbons arr. A. Pitts) [Song 44] 2:28 8 The Fifth Canticle ª St Matthias (Gibbons arr. A. Pitts) [Song 13] 2:47 (Gibbons arr. A. Pitts) [Song 67] 0:57 9 The Sixth Canticle º Veni Creator (Gibbons arr. A. Pitts) [Song 14] 4:11 (Gibbons arr. A. Pitts) [Song 44] 1:08 0 The Tenth Canticle ⁄ We are of Thee (Gibbons arr. A. Pitts) [Song 18] 1:30 (Gibbons arr. A. Pitts) [Song 1] 1:40 ! Thy way, not mine ¤ Hark, my soul! (John Michael Pitts) 2:02 (A. Pitts) 2:07 @ Amen 0:18 ‹ Amen 0:20 # There is a green hill far away › Come unto Me (A. -
Direction 2. Ile Fantaisies
CD I Josquin DESPREZ 1. Nymphes des bois Josquin Desprez 4’46 Vox Luminis Lionel Meunier: direction 2. Ile Fantaisies Josquin Desprez 2’49 Ensemble Leones Baptiste Romain: fiddle Elisabeth Rumsey: viola d’arco Uri Smilansky: viola d’arco Marc Lewon: direction 3. Illibata dei Virgo a 5 Josquin Desprez 8’48 Cappella Pratensis Rebecca Stewart: direction 4. Allégez moy a 6 Josquin Desprez 1’07 5. Faulte d’argent a 5 Josquin Desprez 2’06 Ensemble Clément Janequin Dominique Visse: direction 6. La Spagna Josquin Desprez 2’50 Syntagma Amici Elsa Frank & Jérémie Papasergio: shawms Simen Van Mechelen: trombone Patrick Denecker & Bernhard Stilz: crumhorns 7. El Grillo Josquin Desprez 1’36 Ensemble Clément Janequin Dominique Visse: direction Missa Lesse faire a mi: Josquin Desprez 8. Sanctus 7’22 9. Agnus Dei 4’39 Cappella Pratensis Rebecca Stewart: direction 10. Mille regretz Josquin Desprez 2’03 Vox Luminis Lionel Meunier: direction 11. Mille regretz Luys de Narvaez 2’20 Rolf Lislevand: vihuela 2: © CHRISTOPHORUS, CHR 77348 5 & 7: © HARMONIA MUNDI, HMC 901279 102 ITALY: Secular music (from the Frottole to the Madrigal) 12. Giù per la mala via (Lauda) Anonymous 6’53 EnsembleDaedalus Roberto Festa: direction 13. Spero haver felice (Frottola) Anonymous 2’24 Giovanne tutte siano (Frottola) Vincent Bouchot: baritone Frédéric Martin: lira da braccio 14. Fammi una gratia amore Heinrich Isaac 4’36 15. Donna di dentro Heinrich Isaac 1’49 16. Quis dabit capiti meo aquam? Heinrich Isaac 5’06 Capilla Flamenca Dirk Snellings: direction 17. Cor mio volunturioso (Strambotto) Anonymous 4’50 Ensemble Daedalus Roberto Festa: direction 18. -
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. -
English Music from the Golden Age
The Flute and the Lute. Vol. 2 English music from the Golden Age Second Edition Settings for lute and treble instrument by Joaquim Bogunyà Chesa Introduction to the second edition Here you will find a compilation of pieces of some of the best English music from the 16 th and 17 th centuries especially arranged for the recorder flute or any other treble instrument and the lute or the vihuela. The settings have been made according to the same criteria as in Vol 1. I am copying them out here below. In my honest opinion, the ideal setting or transcription is that which fits best the language of the instrument on which the music is to be played. This implies the idea that the best transcription is not necessarily that which includes every single note from the original piece at the same pitch, full stop. Consequently, the settings that you will find in this book are intended to be a faithful transcription of the ‘spirit’ of the music, and not necessarily of the ‘body’ or mere musical appearance. This has been made in order to serve the main purpose of this book; that is, to arrange a repertoire of pieces of wonderful early music in a way that they can be played in a most satisfying manner on the recorder and the lute. In this book you will find different types of transcriptions. Some which are hundred percent true, or at least ninety-nine percent, to the original source – most of the recorder parts are-, and others where some ornamentation (according to the common 16 th century taste) has been included. -
Redalyc.English Music in the Library of King João IV of Portugal
SEDERI Yearbook ISSN: 1135-7789 [email protected] Spanish and Portuguese Society for English Renaissance Studies España Cranmer, David English music in the Library of King João IV of Portugal SEDERI Yearbook, núm. 16, 2006, pp. 153-160 Spanish and Portuguese Society for English Renaissance Studies Valladolid, España Available in: http://www.redalyc.org/articulo.oa?id=333527602008 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative English music in the Library of King João IV 1 of Portugal David CRANMER Universidade Nova de Lisboa ABSTRACT King João IV became King of Portugal in 1640 through the political will of others. His own true passion in life was music. He built up what in his day may well have been the richest music library in Europe. His ambassadors, besides their political duties, were constantly called upon to obtain new musical editions for the library. English music – Catholic sacred music, madrigals, instrumental music – formed a significant part of this collection. This article seeks to describe the extent and comprehensiveness of the English works and to lament the loss of so unparallelled a library in the Lisbon earthquake of 1755. In 1578 the 24-year-old King Sebastião of Portugal led his ill- conceived crusade against the Moors in North Africa. The battle that ensued at Alcazar-Qivir proved to be catastrophic for the Portuguese nation. Not only was the monarch never seen again, but the cream of the Portuguese nobility was killed or taken prisoner. -
The Byrd Edition & English Madrigalists
T74 (2020) THE BYRD EDITION and THE ENGLISH MADRIGALISTS (including the INVITATION Series) William Byrd 1543 — 1623 STAINER & BELL ORDERING INFORMATION This catalogue contains titles in print at the date of its preparation and provides details of volumes in The Byrd Edition, The English Madrigalists and the Invitation Series. A brief description of contents is given and full lists of contents may be obtained by quoting the CON or ASK sheet number given. Many items by William Byrd and composers included in The English Madrigalists are available as separate items and full details can be found in our Choral Catalogue (T60) and our Early Music Catalogue (T71). Items not available either separately or in a small anthology may be obtained through our ‘Made-to-Order’ Service. Our Archive Department will be pleased to help with enquiries and requests. Alternatively, Adobe Acrobat PDF files of individual titles from The Byrd Edition and The English Madrigalists are now available through the secure Stainer & Bell online shop. Please see pages 5 and 13 for full details. Other catalogues containing our library series which will be of interest are: T69 Musica Britannica T75 Early English Church Music T108 Purcell Society Edition Prices, shown in £ sterling, are recommended retail prices exclusive of carriage and are applicable from 1st January 2020. Prices and carriage charges are subject to change without notice. In case of difficulty titles can be supplied directly by the publisher if prepaid by cheque, debit or credit card or by sending an official requisition. Card payments (Visa, Mastercard, Maestro or Visa Debit) are accepted for orders of £5.00 or over and can be made via our secure online ordering system on our website (www.stainer.co.uk) or by letter, telephone, email or fax. -
The Anthems of Thomas Ford (Ca. 1580-1648). Fang-Lan Lin Hsieh Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1989 The Anthems of Thomas Ford (Ca. 1580-1648). Fang-lan Lin Hsieh Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Hsieh, Fang-lan Lin, "The Anthems of Thomas Ford (Ca. 1580-1648)." (1989). LSU Historical Dissertations and Theses. 4722. https://digitalcommons.lsu.edu/gradschool_disstheses/4722 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. -
Chelys 15 Titles
The Journal of the Viola da Gamba Society Text has been scanned with OCR and is therefore searchable. The format on screen does not conform with the printed Chelys. The original page numbers have been inserted within square brackets: e.g. [23]. Where necessary footnotes here run in sequence through the whole article rather than page by page and replace endnotes. The pages labelled ‘The Viola da Gamba Society Provisional Index of Viol Music’ in some early volumes are omitted here since they are up-dated as necessary as The Viola da Gamba Society Thematic Index of Music for Viols, ed. Gordon Dodd and Andrew Ashbee, 1982-, available on-line at www.vdgs.org.uk or on CD-ROM. Each item has been bookmarked: go to the ‘bookmark’ tab on the left. To avoid problems with copyright, some photographs have been omitted. Volume 15 (1986) Editorial, p. 2 Joan Wess Musica Transalpina, Parody, and the Emerging Jacobean Viol Fantasia Chelys, vol. 15 (1986), pp. 3-25 John R. Catch Praetorius and English Viol Pitch Chelys, vol 15 (1986), pp. 26-32 Richard Charteris English Music in the Library of Moritz, Landgrave of Hessen-Kassel, in 1613 Chelys, vol. 15 (1986), pp. 33-37 Graham Dixon Continuo Scoring in the early Baroque: The Role of Bowed-Bass Instruments Chelys, vol. 15 (1986), pp. 38-53 Music and Book Reviews Chelys, vol. 15 (1986), pp. 54-62 Margaret Urquhart The Handwriting of Christopher Simpson Chelys, vol. 15 (1986), pp. 62-63 EDITORIAL As promised in last year's editorial, Chelys 1986 makes a return To the early seventeenth century, and in so doing introduces an Italian flavour. -
Table of Contents Introduction Vii Editorial Notes Ix Texts and Notes Xi
Table of Contents Introduction vii Editorial notes ix Texts and notes x i Select bibliography x x v ii i Ayres for voice & lute 1. Lyk e as the lark Anonymous, Tottle’s Miscellany 3 2 a . Lost is my lyberty Anonymous, Ballet Lute Book 4 2b. My L of Dehims lamentation Anonymous, CUL Dd. 2.11 5 3. In angels weed William Byrd 6 4. My mind to me a kingdom is William Byrd 8 5. Pavana Bray Byrd / Francis Cutting 1 0 6. Galliard Mr Birde William Byrd 1 2 7. Susanna faire William Byrd 1 4 8. O deere life when shall it be William Byrd 16 9. O deere life when shall it be Anon / R. Dowland 18 10. O de a re l y fe Anon / Marsh Lute Book 19 11 a . Sidneys lamentation Anonymous, CUL Dd. 2.11 2 0 1 1b . Mein junges Leben hat ein end Sweelinck 21 1 2 . Author of light Thomas Campion 2 2 1 3 . Sypres curtain of the night Thomas Campion 23 1 4 . G alliard Edward Collard 24 1 5 . Tyme cruell tyme John Danyel 26 1 6 . Ouer these brookes Robert Jones 28 1 7 . Cradle pavan Holborne / CUL Dd. 2.11 3 0 1 8 . Sweete stay a while Dowland, 1612 3 2 19 a . Sweete stay a while (original) Anon / c.1626 3 4 19 b. Sweete stay a while (lower) Anon / c.1626 3 5 2 0 . Ah deere hart Orlando Gibbons 3 6 2 1 . The S il u er S wan ne Orlando Gibbons 3 7 2 2 a .