Forty-Eighth Annual Meeting of the American Musicological Society Meetingjointly with the Society for Music Theory
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Abstracts of Papers Read at the Forty-eighth Annual Meeting of the American Musicological Society MeetingJointly with the Society for Music Theory University of Michigan, Ann Arbor November 4-7 . 1982 Edited by D. Kern Holoman In memoriarn Jerald C. Graue January 25, 1942-April 22, 1982 Associate Professor of Musicology Eastman School of Music Member, 1982 AMS Program Committee Technical production of this booklet was by the editor, Susan Erickson, Patricia Flowers, Steven Law, and Scott Rodrick of the University of California, Davis; and by A-R Editions, Inc. CONTENTS Thursclay, Novenber 2:00-5:00 P.M. Fourteenth- and Fifteenth-century Topics (AMS) 1 seventeenth-Century Topics (A!1S) 3 Eighteenth-Century Topics I (AMS) 6 Nineteenth-century Topics I (AMS) 9 Pitch Organization in twentieth-Century Music (SMT) Aspects of schenkerrs work (sMT) 14 Friclay, November 5 9:00 A.14.-12:00 noon Chant (AMS) 15 Renaissance Topics I: Scribes and Sources (AMS) 't9 Stravinsky (A!1S) 21 Musical h"gtolnglgs (AIrlS ) 24 Nineteenth-century Form and Tonality (SMT) 26 Time, Rhythn, anal Phrase (SMT) Friday, Novenber 5 2:00-5:00 P.M. Baroque Topics (AMS) 30 Nineteenth-Century Topics II (AMS) 32 The Early Twentieth Century (AMS) 35 Informal Study session: computers anal Musicology (A!{S) 38 Friilay, Novemlf,er 5 2:30-5:30 P.M. Analysis Symposium: Brahmsrs Intermezzo in E Minor, Op. 119, No. 2 (SMT) 38 Saturday, November 8:30-11:00 A.M. Stravinsky (SMT/AMS) 39 saturday, November 6 9:00 A.M.-12:00 noon Text and Music (AMS) 41 Eighteenth-century Topics II (AMs) 43 Nineteenth- and Early Twentieth-century Topics (AMs) 46 Renaissance Topics II (AMs) 49 Saturday, November 6 FOURTEENTH- AND FIFTEENTH-CENTURY TOPICS (AMS) 9:00-1 1:00 A.M. Thursday, November 4, 2:00-5200 P.M. Analytical Stu(lies of Fifteenth- anal Sixteenth-Century (SMT) Music 51 Cralg Wright (Yale University), chair Saturday, 6 Novenber FURTHER ASSESSMENT OF TWO ENGLISH TRECENTO NOTATIONS 10:00 A.M.-12:00 noon Peter M. Lefferts Informal Study Session: The l{incl Band. in Ameri-ca and University of Chicago Elsewhere (AMS) >z The notational systems used for polyphonic music in fourteenth-century England are relatively unfamiliar by com- Saturday, November 6 parison with those of France or Italy. This presentation aal- 1:00-4:00 P.M. dresses some of the topics raised in Margaret Bentrs prelininary assessment of the independence of English trecento notations, Music and (AMS) Liturgy 53 making distinctions which sharpen the focus aiE-n-iiio* the fielcl Aesthetic and (AMS) Critical Issues 55 of certain of her observations concerning two Debussy (AMS) of applicability 58 particular notat.ional complexes. The first of lhese is the set The (AMS) Twentielh Century in America 61 of similar notations found in the Robertsbridge Coalex (GB-Lb1 28550), the Sloane Ms (cB-Lbl 1210), ancl elsewhere; these nota- tions employ the downstemmed major semibreve' the sigmum rotun- Saturday, November 6 dum, and the upstemetl minim form. The note shapes are useal to 2:00-5:30 P.M. create ornamental, virtuosic subdivision of longer note values in an idiom whose origin may be instrumental rather than vocal. The Studies (SMT) in Classical Music 64 other set of notations is found in several major sources of the Special Topics (SMT) 65 polyphonic cantilena repertoire. h it the breve is perfect and usually subdivided 2 + 1, with the larger of these values (a major semibreve) represented either by a rhomb or a square (in Sunday, Novenber 7 the latter case, appearing to be an imperfect breve). Ligatures 9:00 A.M.-12:00 noon cum opposita proprietate present some anbiguities of inter- pretation in this notation, anbign-rities that probably explain the Renaissance Topics III: The (AMS) Franco-Flemings 68 introduction of the cauCla hirunalinis and of the unorthotlox c.o.p. Haydn (AMS) 70 ligature shapes cred.ited to Robertus de Brunham. Features of The Nineteenth Century in Anerica (AMS) both these notational complexes are elucidated, antl the question Twentieth-Century Topics (AMS) 76 of their relationship to Italian and French systems is d.iscussed. Symposium: Teaching Undergraduate Theory (SMT) 7a History of Theory (SMT) 7A THE CODEX REINA REVISITED Index of Authors and Panelists 81 John N5das University of caLifornia, santa Barbara The MS F-Pn nouv. acq. fr. 6771 (Codex Reina) stands as one of the most important collections of late fourteenth- and early fifteenth-century ltalj-an and French secular polyphony. Although much can be agreed upon, the pioneering studies and eClitions of the codex have left us with observations that remain contro- versj-aI, presenting collationa] problems that raise serious questions concerning not only the makeup of the source, but also the nature of the readings of the repertoire it transmits. A fresh examlnation of the physical aspects of this com- posite manuscript includes a new analysis of the types of paper, -l Saturday, November 6 FOURTEENTH- AND FIFTEENTH-CENTURY TOPICS (AMS) 9:00-1 1:00 A.M. Thursday, November 4, 2:00-5200 P.M. Analytical Stu(lies of Fifteenth- anal Sixteenth-Century (SMT) Music 51 Cralg Wright (Yale University), chair Saturday, 6 Novenber FURTHER ASSESSMENT OF TWO ENGLISH TRECENTO NOTATIONS 10:00 A.M.-12:00 noon Peter M. Lefferts Informal Study Session: The l{incl Band. in Ameri-ca and University of Chicago Elsewhere (AMS) >z The notational systems used for polyphonic music in fourteenth-century England are relatively unfamiliar by com- Saturday, November 6 parison with those of France or Italy. This presentation aal- 1:00-4:00 P.M. dresses some of the topics raised in Margaret Bentrs prelininary assessment of the independence of English trecento notations, Music and (AMS) Liturgy 53 making distinctions which sharpen the focus aiE-n-iiio* the fielcl Aesthetic and (AMS) Critical Issues 55 of certain of her observations concerning two Debussy (AMS) of applicability 58 particular notat.ional complexes. The first of lhese is the set The (AMS) Twentielh Century in America 61 of similar notations found in the Robertsbridge Coalex (GB-Lb1 28550), the Sloane Ms (cB-Lbl 1210), ancl elsewhere; these nota- tions employ the downstemmed major semibreve' the sigmum rotun- Saturday, November 6 dum, and the upstemetl minim form. The note shapes are useal to 2:00-5:30 P.M. create ornamental, virtuosic subdivision of longer note values in an idiom whose origin may be instrumental rather than vocal. The Studies (SMT) in Classical Music 64 other set of notations is found in several major sources of the Special Topics (SMT) 65 polyphonic cantilena repertoire. h it the breve is perfect and usually subdivided 2 + 1, with the larger of these values (a major semibreve) represented either by a rhomb or a square (in Sunday, Novenber 7 the latter case, appearing to be an imperfect breve). Ligatures 9:00 A.M.-12:00 noon cum opposita proprietate present some anbiguities of inter- pretation in this notation, anbign-rities that probably explain the Renaissance Topics III: The (AMS) Franco-Flemings 68 introduction of the cauCla hirunalinis and of the unorthotlox c.o.p. Haydn (AMS) 70 ligature shapes cred.ited to Robertus de Brunham. Features of The Nineteenth Century in Anerica (AMS) both these notational complexes are elucidated, antl the question Twentieth-Century Topics (AMS) 76 of their relationship to Italian and French systems is d.iscussed. Symposium: Teaching Undergraduate Theory (SMT) 7a History of Theory (SMT) 7A THE CODEX REINA REVISITED Index of Authors and Panelists 81 John N5das University of caLifornia, santa Barbara The MS F-Pn nouv. acq. fr. 6771 (Codex Reina) stands as one of the most important collections of late fourteenth- and early fifteenth-century ltalj-an and French secular polyphony. Although much can be agreed upon, the pioneering studies and eClitions of the codex have left us with observations that remain contro- versj-aI, presenting collationa] problems that raise serious questions concerning not only the makeup of the source, but also the nature of the readings of the repertoire it transmits. A fresh examlnation of the physical aspects of this com- posite manuscript includes a new analysis of the types of paper, -l 2 3 utter and most observat.ions on the characteristics of ruling and binding of the full-scale vlctory of conciliarism and the system. gatherings, and an effort to isol-ate distinguishing charac_ convincing defeat of the papal-hierocratic principal leaders of the council of constance was terist.ics of the indlviduar hands. The resulting evidence one of the Bishop of cambrai from 1397 Lo 1411. In the differs significantly from that publisheal thus far. rt brings us Pierre drAi1ly, closer to appreciating the working habits of the Bishopric of cambrai, he was Dufay's sovereign antl the first con- scri-bes ..rd th. personality nature of their collaboration. The resurts of this investigation ciliarist of stature to whose learning and dynamic man directly exposed. pemit an improved evaluation of scribal contributions to the the young was readings preserved in the codex. Thus, early in his life, Dufay was strongly attracted to the conciliar movement and its promise of representative church government. His comitment helps to explain a great many of his a FOTIRTEENTH- AND FIFTEENTH-CENTURY POLYPHONY later, seemingly unmotivated, actions and associations: taking IN EAST-CENTRAL EUROPEi degree in canon law, leaving the pope's service in the 1430s for NEW INTERPRETATIONST NEw SOURCES the Duke of Savoy, service on the radical Council of Basel in 1438, and life-1ong friendship with the canon lawyer and concil- Charles E. Brewer iarist Robert Auclou. FinalIy, there was Dufayrs association City University of New york with Cardinal Louis Aleman, a Savoyard, for whom the composer had worked in Bologna in the mid-'1420s.