Sacred Music Volume 116 Number 2
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The Influence of Plainchant on French Organ Music After the Revolution
Technological University Dublin ARROW@TU Dublin Doctoral Applied Arts 2013-8 The Influence of Plainchant on rF ench Organ Music after the Revolution David Connolly Technological University Dublin Follow this and additional works at: https://arrow.tudublin.ie/appadoc Part of the Musicology Commons Recommended Citation Connolly, D. (2013) The Influence of Plainchant on rF ench Organ Music after the Revolution. Doctoral Thesis. Dublin, Technological University Dublin. doi:10.21427/D76S34 This Theses, Ph.D is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Doctoral by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License The Influence of Plainchant on French Organ Music after the Revolution David Connolly, BA, MA, HDip.Ed Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Music Dublin Institute of Technology Conservatory of Music and Drama Supervisor: Dr David Mooney Conservatory of Music and Drama August 2013 i I certify that this thesis which I now submit for examination for the award of Doctor of Philosophy in Music, is entirely my own work and has not been taken from the work of others, save and to the extent that such work has been cited and acknowledged within the text of my work. This thesis was prepared according to the regulations for postgraduate study by research of the Dublin Institute of Technology and has not been submitted in whole or in part for another award in any other third level institution. -
SEMIOLOGY and the INTERPRETATION of GREGORIAN CHANT (This Article Was Published in Divini Citltit* Splanion
I he Ntivc, Looking ta>\. SEMIOLOGY AND THE INTERPRETATION OF GREGORIAN CHANT (This article was published in Divini Citltit* Splanion. a Fe^kilirift prepared in honor of Joseph Lennards of the Netherlands on the occasion of his eightieth birthday. Mr. Lennards has devoted his life to the study of Gregorian chant and its teaching through the Ward method. The translation from the French was made by Virginia A. Schubert.) It is fitting to honor a recognized Gregorianist like Joseph Lennards, enthusiastic disciple of Dom Andre Mocquereau, with a discussion of the ideal of the founder of the school of Solesmes. This ideal was proclaimed throughout a long scientific and artistic career which began when a young monk of Solesmes undertook a study of chant more by duty than by choice, and consequently came to realize its incomparable value. Thus, beginning with the general introduction to La Palcographic mu>kalc of 1889 and continuing to the Monographic Crc'gorknnc 17/, written in 1926 to refute Dom Jeannin's theory of dividing chant into measures, one finds different formulations of the same very clear affirmation: "It is in the great variety of notations of neums that one must seek the light on every aspect of Gregorian chant." (Patiogriiphic niu^iuilt, XI, p. 19) The path was thus laid out, SEMIOLOGY 21 but it was a long and difficult one to follow. Is this surprising? When a musical repertoire, which was first only memorized and then fixed on parchment by procedures that were more or less precise, was submitted over several centuries to a deadly and sometimes sytematic degradation, the result is that such a repertoire is so deformed that its true nature can no longer be imagined. -
Contrapuntally Crafted, Harmonically Eloquent : Corelli's Sonatas and the Compositional Process in the Late 17Th Century
Contrapuntally crafted, harmonically eloquent : Corelli's sonatas and the compositional process in the late 17th century Autor(en): Sanna, Alberto Objekttyp: Article Zeitschrift: Basler Jahrbuch für historische Musikpraxis : eine Veröffentlichung der Schola Cantorum Basiliensis, Lehr- und Forschungsinstitut für Alte Musik an der Musik-Akademie der Stadt Basel Band (Jahr): 37 (2013) PDF erstellt am: 10.10.2021 Persistenter Link: http://doi.org/10.5169/seals-868876 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte -
Sacred Music Volume 115 Number 2
Volume 115, Number 2 SACRED MUSIC (Summer) 1988 n 1 ?i^ Aachen, Minister SACRED MUSIC Volume 115, Number 2, Summer 1988 FROM THE EDITORS Quality in Sacred Music 3 THE ROLE OF SEMIOLOGY, SOME REFLECTIONS Fr. Columba Kelly, O.5.B. 5 DOM EUGENE CARDINE, AN OBITUARY Reverend Richard M. Hogan 12 GREGORIAN CHANT IN TODAY'S PARISH Monsignor Richard J. Schuler 13 PRINTED EDITIONS OF THE CHANT BOOKS Monsignor Robert F. Hayburn 19 REVIEWS 26 NEWS 29 OPEN FORUM 31 CONTRIBUTORS 32 SACRED MUSIC Continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America. Office of publications: 548 Lafond Avenue, Saint Paul, Minnesota 55103. Editorial Board: Rev. Msgr. Richard J. Schuler, Editor Rev. Ralph S. March, S.O. Cist. Rev. John Buchanan Harold Hughesdon William P. Mahrt Virginia A. Schubert Cal Stepan Rev. Richard M. Hogan Mary Ellen Strapp Judy Labon News: Rev. Msgr. Richard J. Schuler 548 Lafond Avenue, Saint Paul, Minnesota 55103 Music for Review: Paul Salamunovich, 10828 Valley Spring Lane, N. Hollywood, Calif. 91602 Paul Manz, 1700 E. 56th St., Chicago, Illinois 60637 Membership, Circulation and Advertising: 548 Lafond Avenue, Saint Paul, Minnesota 55103 CHURCH MUSIC ASSOCIATION OF AMERICA Officers and Board of Directors President Monsignor Richard J. Schuler Vice-President Gerhard Track General Secretary Virginia A. Schubert Treasurer Earl D. Hogan Directors Rev. Ralph S. March, S.O. Cist. Mrs. Donald G. Vellek William P. Mahrt Rev. Robert A. -
Routes to the Düben Collection the Acquisition of Music by Gustav Düben and His Sons
Prejeto / received: 6. 5. 2015. Odobreno / accepted: 18. 6. 2015 ROUTES TO THE DÜBEN COLLECTION THE ACQUISITION OF MUSIC BY GUSTAV DÜBEN AND HIS SONS LARS BERGLUND Uppsala University Izvleček: Razprava opisuje, na kakšne načine so Abstract: The article describes the practices of prihajale muzikalije v Dübnovo zbirko. Glasbo acquisition of music behind the Düben Collec- so zanjo prepisovali iz tiskov, so pa tudi iz ra- tion. Music was copied into manuscripts from znih predelov Evrope pridobivali cele skupine prints, but was also obtained in the form of rokopisnih prepisov. Zdi se,da so bila tesna groups of manuscripts from different regions of osebna prijateljstva in zasebne mreže pri tem Europe. Close personal contacts and networks pomembnejše kot uradne tržne poti. seem to have been more important than tradi- tional trade routes. Ključne besede: Dübnova zbirka, 17. stoletje, Keywords: Düben Collection, seventeenth cen- glasba na Švedskem, razširjanje glasbe, zbirke. tury, music in Sweden, dissemination, music collections. Musical-cultural interchange and the transfer of music and musical cultures constitute in effect an exchange of knowledge, skills and values. In early modern Europe music travelled across the continent, being adopted, imitated and integrated in local contexts, often in cross-fertilization with local practices. Encounters with new and foreign sounds could be uncritically embraced – or resisted and rejected – but they always led to some kind of transformation of attitudes to listening, playing, composing or otherwise inter- acting with music. Even though transnational and transcultural interchange effectively entailed mental transformations of this kind, cultural transfer had in some way or other to be mediated by material means – by the transfer of material objects such as music prints or manuscripts, instruments or educational treatises: a transfer basically carried out by humans, who might be migratory musicians, postal carriers, shippers or couriers. -
Music Migration in the Early Modern Age
Music Migration in the Early Modern Age Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence Advisory Board Barbara Przybyszewska-Jarmińska, Alina Żórawska-Witkowska Published within the Project HERA (Humanities in the European Research Area) – JRP (Joint Research Programme) Music Migrations in the Early Modern Age: The Meeting of the European East, West, and South (MusMig) Music Migration in the Early Modern Age Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence Jolanta Guzy-Pasiak, Aneta Markuszewska, Eds. Warsaw 2016 Liber Pro Arte English Language Editor Shane McMahon Cover and Layout Design Wojciech Markiewicz Typesetting Katarzyna Płońska Studio Perfectsoft ISBN 978-83-65631-06-0 Copyright by Liber Pro Arte Editor Liber Pro Arte ul. Długa 26/28 00-950 Warsaw CONTENTS Jolanta Guzy-Pasiak, Aneta Markuszewska Preface 7 Reinhard Strohm The Wanderings of Music through Space and Time 17 Alina Żórawska-Witkowska Eighteenth-Century Warsaw: Periphery, Keystone, (and) Centre of European Musical Culture 33 Harry White ‘Attending His Majesty’s State in Ireland’: English, German and Italian Musicians in Dublin, 1700–1762 53 Berthold Over Düsseldorf – Zweibrücken – Munich. Musicians’ Migrations in the Wittelsbach Dynasty 65 Gesa zur Nieden Music and the Establishment of French Huguenots in Northern Germany during the Eighteenth Century 87 Szymon Paczkowski Christoph August von Wackerbarth (1662–1734) and His ‘Cammer-Musique’ 109 Vjera Katalinić Giovanni Giornovichi / Ivan Jarnović in Stockholm: A Centre or a Periphery? 127 Katarina Trček Marušič Seventeenth- and Eighteenth-Century Migration Flows in the Territory of Today’s Slovenia 139 Maja Milošević From the Periphery to the Centre and Back: The Case of Giuseppe Raffaelli (1767–1843) from Hvar 151 Barbara Przybyszewska-Jarmińska Music Repertory in the Seventeenth-Century Commonwealth of Poland and Lithuania. -
THE ACCOMPANIMENT of GREGORIAN CHANT by Patricia Burgstahler A.B., Nazareth College, 1956
THE ACCOMPANIMENT OF GREGORIAN CHANT by Patricia Burgstahler A.B., Nazareth College, 1956 Submitted to the Department of Music and the Faculty of the Graduate School of the University of Kansas in partial fulfill- ment of the requirements for the degree of Master of Arts. April, 1959 ACKNOWLEDGEMENTS I wish first of all to thank my husband, whose constant interest and encouragement made it possible for me to write this thesis, and then Dr. Joseph Yasser, to whom I am deeply indebted for his generous reading of this entire manuscript, his many constructive comments and bibliographical sugges- tions, and his enthusiastic approval of this application of his quartal harmonic system. To Dr. Milton Steinhardt and to Mr. George Michael I express my gratitude for their help- ful direction and valuable advice. 11 CONTENTS Page ACKNOWLEDGEMENTS· . 11 INTRODUCTION .... iv CHAPTER I HISTORICAL SURVEY OF GREGORIAN CHANT .... l Origins . ... 2 Early Forms ...... 3 Medieval Period .... 5 Modern Period ............. 9 ChronoloF," of the Chants. 11 CHAPTER II HISTORICAL SURVEY OF GREGORIAN CHANT ACCOMPANIMENT . 14 Early Polyphonic Settings and Later Art Forms . 16 Early Tertian Harmonizations ....•.• 18 Modern Tertian Harmonizations . .. 19 The Theory of Quartal Harmony ..... 26 CHAPTER III CURRENT RHYTHMIC THEORIES 35 The Mensuralist School. 36 The Accentualist School . 39 The Solesmes School 44 CHAPTER IV METHOD OF THE PRESENT ACCOMPANIMENT . 51 Harmony ....... 52 Rhythm. 57 Selection of Chants .. 60 CHAPTER V QUARTAL ACCOMPANIMENTS .. 63 Mass I. 64 Mass IV . 68 Mass XV • • • • • • • • • • • 73 Mass XVI with Ambrosian Gloria .. 77 Credo I . 81 Tones of the Gloria Patri . ... 85 Psalm Tones . • 87 Nativity Proper: Midnight Mass .•. -
The New Chantbooks from Solesmes by Peterjeffery
THE NEW CHANTBOOKS FROM SOLESMES BY PETERJEFFERY For Helmut Hucke For Helmut Hucke As many musicians know, the use of vernacular languages and pop- ular music in the Roman Catholic liturgy since the Second Vatican Coun- cil (1962-65) has brought about the widespread abandonment of Latin and of Gregorian chant, particularly in the United States. While there are many within the Church who would applaud this state of affairs,' at the highest levels it was never officially intended that Gregorian chant should disappear completely.2 The Council itself affirmed that "Gre- Peter Jeffery, a Visiting Scholar at the Harvard University Center for Literary and Cultural Studies, is on leave from the University of Delaware, where he is associate professor of music. He currently holds a five-year John D. and Catherine T. MacArthur Foundation fellowship and is working on two books: Liturgyand Chant in Early ChristianJerusalem and ProphecyMixed with Melody:From Early Christian Psalmody to Gregorian Chant. 1. Differing views on the role of Gregorian chant and other kinds of music in the contemporary liturgy are expressed in: Liturgyfor the People: Essays in Honor of Gerald Ellard, S.J., 1894-1963, ed. William J. Leonard (Milwaukee: Bruce, 1963); Joseph Gelineau, Voicesand Instrumentsin ChristianWor- ship: Principles, Laws, Applications,transl. Clifford Howell (Collegeville, Minn.: Liturgical Press, 1964); SacredMusic and LiturgyReform after VaticanII: Proceedingsof the Fifth InternationalChurch Music Congress, Chicago-Milwaukee,August 21-28, 1966, ed. Johannes Overath (Rome: Consociatio Internationalis Mu- sicae Sacrae, 1969); Lucien Deiss, Spirit and Song in the New Liturgy,transl. Lyla C. Haggard and Michael L. Mazzarese (Cincinnati: World Library Publications, 1970; 2d ed., 1976); In Caritate et Veritate: Festschriftfir Johannes Overath, ed. -
Contemporary Understanding of Gregorian Chant – Conceptualisation and Practice
Contemporary understanding of Gregorian chant – conceptualisation and practice Volume two of three: Appendices I Eerik Joks Submitted for the Degree of Doctor of Philosophy University of York Department of Music November 2009 384 List of contents Appendix 1 Interview with Michiko Hirayama in Rome, on 8.‐9.03.2006. 389 Appendix 2 Interview with Professor Godehard Joppich in Frankfurt, on 1.03.2005. 395 Appendix 3 Figure 1 (additional). Different possibilities of reception of MSLM. 405 Appendix 4 Intervjuu Arvo ja Nora Pärdiga 2005. aasta suvel. 406 Appendix 5 Interview with Professor Godehard Joppich in Frankfurt, on 20.12.2008. 415 Appendix 6 Questionnaire for Performers and Experts of Gregorian chant in English. 420 Appendix 7 Questionnaire for Performers and Experts of Gregorian chant in Estonian. 433 Appendix 8 The printed version of the Questionnaire for Performers and Experts of Gregorian chant in English (A5) (in the pocket on the back cover). 445 Appendix 9 Tables 92‐203 (TAO). Raw data of the results of questionnaire in the form of frequency tables. 446 Appendix 10 Correspondence to respondents concerning the Questionnaire. 489 Appendix 11 Table 25 (additional). Number of responses, mean values, and variance of the answers to the questions 1‐27 ‘Gregorian chant for me means [an argument]’; sorted by mean; AMP=4.3. 494 Appendix 12 Table 26 (additional). Number of responses, mean values, and variance of the answers to the questions 1‐27 ‘Gregorian chant for me is [an argument]’; sorted by variance; AMP=3.4. 495 Appendix 13 Table 27 (additional). Number of responses, mean values, variance, ratio of mean and variance, subtraction of mean and variance, position of the arguments in the table of the answers to the questions 1‐27 ‘Gregorian chant for me means [an argument]’; sorted by the subtraction of mean and variance (‘M‐V’). -
GIULIA GALASSO a Thesis Submitted in Partial Fulfilment of the Requirements of Birmingham City University for the Degree Of
THE MASS COLLECTION OCTO MISSAE (1663) BY FRANCESCO FOGGIA (1603-1688): AN ANALYTICAL STUDY AND CRITICAL EDITION GIULIA GALASSO A thesis submitted in partial fulfilment of the requirements of Birmingham City University for the degree of Doctor of Philosophy August 2017 Royal Birmingham Conservatoire, The Faculty of Arts, Design and Media, Birmingham City University ABSTRACT Francesco Foggia (1603-1688) was one of the most prominent maestri di cappella of seventeenth-century Rome and an important mass composer. Historically, he has been regarded as one of the last heirs of Palestrina, largely due to the writings of Giuseppe Ottavio Pitoni (1657-1743) and Giovanni Battista Martini (1706-1784). More recently, scholars have reassessed his style in his motets, psalms and oratorios. However, his mass style has received little rigorous scholarly attention. This is partly because of the scarcity of critical editions of his works. The present study presents critical editions of five of the masses from his Octo missae (Rome: Giacomo Fei, 1663). In conjunction with the three masses included in Stephen R. Miller‟s recent edition (2017), the entire volume is now available in full score. This enables an informed reassessment of Foggia‟s mass style. The present study analyses his use of features, such as time signatures, full choir and stile concertato, textures, thematic treatment and borrowing procedures. It compares Foggia‟s mass style with those of his predecessors, mainly Giovanni Pierluigi da Palestrina (c.1525-1594), Ruggero Giovannelli (c.1560-1625), near predecessor Gregorio Allegri (1582-1652) and contemporaries, Bonifatio Gratiani (1604/5-1664), Orazio Benevoli (1605-1672). -
Chicago Musical College the Benedictines and Gregorian
CHICAGO MUSICAL COLLEGE THE BENEDICTINES AND GREGORIAN CHANT A THESIS SUBMITTED TO THE FACULTY OF THE CHICAGO MUSICAL COLLEGE IN CANDIDACY FOR THE DEGREE OF MASTER OF MUSIC • BY SISTER URBAN GERTKEN OF THE ORDER OF SAINT BENEDICT St. Joseph, Minnesota CHICAGO, ILLINOIS JULY, 1938 , . I Thesis M 783.5 G384 c.1 • - - -·- ·- - SEP 4 1958 PREFACE Gregorian ohant, or in other words plain ohant, is church muslc sung in accord with the liturgy or regular prayers ot the Catholic church. It ls the special property of the Church inherited from ages past, and by her 1t ls to be reverently used and then transmitted to the tuture. Thls thesis is not a detailed history of church music but rather an exposition, showing the broad lines of the develop ment and adYanoement ot Gregorian ohant b7 members of the Order of St. Benediot. The aim ot the thesis ls not so much to lead the reader to admire Gregorian chant for its art1st1o value, but rather to create 1n the reader the desire to hear and to render plain song chant as the most titting musio for liturgical worship. This thesis was written under the direction of Doctor Gustav Dunkelberger whose assistance and encouragement were of great value. The writer wishes to acknowledge the courtes• of St. John's University for making source material available. Grateful acknowl edgment is a1so made of the hearty interest and encouragement of Mother Rosamond. 11 I A TABLE OF CONTENTS Page PREFACE • • • • • • • • • • • 11 CHAPTER I. SAINT GREGORY • • • • • • • • 1 H1s Work and Teaching Gregorian Chant II. -
The Politics of Plainchant in Fin-De-Siècle France
The Politics of Plainchant in fin-de-siècle France This book tells three inter-related stories that radically alter our perspective on plainchant reform at the turn of the twentieth century and highlight the value of liturgical music history to our understanding of French government anticlericalism. It offers at once a new history of the rise of the Benedictines of Solesmes to official dominance over Catholic editions of plainchant worldwide, a new optic on the French liturgical publishing industry during a period of international crisis for the publication of plainchant notation, and an exploration of how, both despite and because of official hostility, French Catholics could bend Republican anticlericalism at the highest level to their own ends. The narrative relates how Auguste Pécoul, a former French diplomat and Benedictine novice, masterminded an undercover campaign to aid the Gregorian agenda of the Solesmes monks via French government intervention at the Vatican. His vehicle: trades unionists from within the book industry, whom he mobilized into nationalist protest against Vatican attempts to enshrine a single, contested, and German, version of the musical text as canon law. Yet the political scheming necessitated by Pécoul’s double involvement with Solesmes and the print unions almost spun out of control as his Benedictine contacts struggled with internal division and anticlerical persecution. The results are as musicologically significant for the study of Solesmes as they are instructive for the study of Church–State relations. ROYAL MUSICAL ASSOCIATION MONOGRAPHS General Editor: Simon P. Keefe This series is supported by funds made available to the Royal Musical Association from the estate of Thurston Dart, former King Edward Professor of Music at the University of London.