DOCSLIB.ORG

Medren Basel 2019 Program.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

MedRen 2019 Basel 3-6 July 2019 Table of contents 1 Program Committee 2 2 Program 4 3 Abstracts 19 4 Practical information 141 5 Concerts & events 144 6 Supporters 152 Mailing list 153 1 MedRen 2019 Basel 3-6 July 2019 1 Program Committee Dr. Christelle Cazaux-Kowalski (Schola Cantorum Basiliensis) Prof. Dr. Felix Diergarten (Hochschule für Musik Freiburg) Prof. Dr. Inga Mai Groote (Universität Zürich) JProf. Dr. Irene Holzer (Universität Hamburg) Prof. Dr. Martin Kirnbauer (Schola Cantorum Basiliensis) Dr. Agnese Pavanello (Schola Cantorum Basiliensis) Prof. Dr. Katelijne Schiltz (Universität Regensburg) Prof. Dr. Thomas Schmidt (University of Huddersfiled) PD Dr. Hana Vlhovà-Wörner (Universität Basel / Academy of Sciences of the Czech Republic) Organization, coordination and support Birgit Knab Helpers Darina Ablogina Christoph Ballmer Kimon Barakos Leonardo Bortolotto Simon Burri Cathrin Dux Andreas Eng Christine Eng Robin Furger Helen Gebhart Hausdienst der Musik-Akademie Basel Simone Hutmacher-Oesch Kathrin M. Menzel Meike Olbrich Jonas Prina Isabelle Rohner Claudia Schärli Charlotte Schneider Iris Simon Andreas Westermann Arthur Wilkens Aliénor Wolteche 2 MedRen 2019 Basel 3-6 July 2019 Grüezi! Welcome! Liebe Kolleginnen und Kollegen, chers collègues, dear colleagues, Grüezi! We are delighted to welcome you to the «47th Medieval and Renaissance Music Conference 2019» on the Campus of the Musik-Akademie in Basel. Basel is proud to host this important meeting of scholars devoted to Medie- val and Renaissance Music – for the first time in Switzerland. MedRen 2019 has been organised by an association formed from members of the Schola Cantorum Basiliensis / FHNW and the Musicology Seminar of the University of Basel. But this event would not have been possible without the considerable financial and logistical support of several institutions. We are therefore most grateful to thank: The Basel branch of the Swiss Musicolo- gical Society (SMG), the Sulger Stiftung, the Swiss Academy of Humanities and Social Sciences (SAGW) and the Musik-Akademie Basel. Last but not least, we thank the team of the Schola Cantorum Basiliensis (lead by Birgit Knab), which has contributed to the planning and organization of the con- ference. Along with the compelling programme comprised of about 300 papers in five, sometimes even six parallel sessions, we would like to point out some special elements on the roster: First, there are many musical contributions interwoven within and between the papers (marked in the program with the symbol . Second, in tandem with the MedRen 2019 in Basel, the Musikmu- seum is hosting an exhibition which presents some of the musical treasures of the University Library in Basel: «Sound Pictures – Music manuscripts and prints from 16th-century Basel». We wish you (and ourselves) a pleasant and inspiring time in Basel! The Organizing Committee Irene Holzer (University of Hamburg) Michèle Kinkelin (University of Basel) Martin Kirnbauer (Schola Cantorum Basiliensis / FHNW) Agnese Pavanello (Schola Cantorum Basiliensis / FHNW) 3 MedRen 2019 Basel 3-6 July 2019 2 Program 4 MedRen 2019 Basel 3-6 July 2019 5 MedRen 2019 Basel 3-6 July 2019 6 MedRen 2019 Basel 3-6 July 2019 7 MedRen 2019 Basel 3-6 July 2019 8 MedRen 2019 Basel 3-6 July 2019 9 MedRen 2019 Basel 3-6 July 2019 10 MedRen 2019 Basel 3-6 July 2019 11 MedRen 2019 Basel 3-6 July 2019 12 MedRen 2019 Basel 3-6 July 2019 13 MedRen 2019 Basel 3-6 July 2019 14 MedRen 2019 Basel 3-6 July 2019 15 MedRen 2019 Basel 3-6 July 2019 16 MedRen 2019 Basel 3-6 July 2019 17 MedRen 2019 Basel 3-6 July 2019 18 MedRen 2019 Basel 3-6 July 2019 3 Abstracts SE-01: Themed Session: Elizabethan and Jacobean Praises of Music Wednesday, July 3, 10.30–12.30, Grosser Saal Chair: Katie Bank (Newberry Library): [email protected] Session abstract This panel presents research on the “praise of music” literature prominent in la- te sixteenth- and early seventeenth-century England: writings defending music (and especially church music) from those who opposed it on moral and theologi- cal grounds. Some of these were standalone works, most notably the anonymous Praise of Musicke (1586), John Case’s Apologia Musices (1588), and the anony- mous early Jacobean “Praise of Music” manuscript (BL Royal MS. 18. B. XIX); other praises of music appeared as sections within larger works; and still other praises of music were short, independent works, including ballads, partsongs, and commendatory verses. The genre responded to contemporary and artistic con- cerns, rapid social change, and religious upheaval, and in doing so attempted to shape the cultural narrative, employing stock formulae alongside complex rheto- rical craft. While praises of music have often been drawn upon by musicologists, literary scholars, and Reformation historians, there has been little concerted or sustai- ned attention given to the genre itself. This panel begins this examination with papers exploring four themes addressed across a range of praise of music texts: social class, Protestant theology, issues of language and artistry, and medicine and disability. Although often drawing upon traditional tropes with classical and medieval precedents, the ways in which early modern English authors reworked these tropes for their present age gives insight into the state of musical thought and its primary debates. Individual abstracts Pipers, Paupers, and Princes: Social Class in the Praise and Dispraise of Music Katherine Anne Butler (Northumbria University): [email protected] This paper examines how attitudes to social class—particular lower classes—inflected arguments surrounding the virtues and vices of music in a range of English ‘praise of music’ texts. It compares how authors presented the status of musicians, their attitudes towards the music-making and musical receptivity of different classes, as well as how the tendency to personify music for rhetorical effect meant that the language of class inflected the presentation of the arguments themselves. Under- standing the class issues underlying these debates sheds light on why the contro- versies surrounding music’s value seem to have had little impact on the growing levels of educated amateur musicianship in Elizabethan and Jacobean England. “God is pleasde, with such lyke armony”: Protestant Praise of Music in Elizabethan and Early Jacobean England Samantha Arten (Saint Louis University): [email protected] Responding to arguments of music’s inherent immorality and critiques of church music, praises of music in Elizabethan and early Jacobean England usually em- ployed theological reasoning alongside classical and mythological explanations. This paper examines Protestant elements in the genre, discussing the use of Scrip- ture and the writings of the church fathers, examining how these ideas are used 19 MedRen 2019 Basel 3-6 July 2019 to defend music and musical practice, and accounting for the authors’ choices of particular biblical passages and patristic authors. Alongside reference to several shorter works in the praise of music genre, I closely analyze two under-examined longer texts: the extended praise of music in Thomas Whythorne’s autobiography (1576) and the “Praise of Musick” manuscript (BL Royal MS. 18. B. XIX). “Secrets of Future and Celestial Harmony”: Praise of Music Literature and Commendatory Verses in Early Modern English Music Books Janet Pollack (Independent Scholar): [email protected] Commendatory verses—those brief laudatory verses written by men of status and the occasional woman—in English music books published before 1678 were frequently dismissed as ephemeral exercises in flattery. This study, however, finds that these verses frequently reveal familiarity with the issues and language used by authors of “Praise of Music” literature, and in a subtle way part take in the ongoing debate of the day concerning the virtues and vices of music. They offer insight into what was praiseworthy in music and music-making at the time and should be evaluated not as poetry per se but within the context of the larger “Praise of Music” literature. “Hath brought Madde Men into Their Perfect Wits and Senses”: Praises of Music, Medicine, Philosophy, Theology, and Disability in Early Modern England Samantha Bassler (New York University and Rutgers University at Newark): [email protected] In this paper, I investigate music’s capacity to affect healing, and how the over- lapping views of the dual capacity of music, to harm and heal the body and mind, appear in three works on music: the anonymous Praise of Musicke (1586) and works by William Byrd and Thomas Brice. The conflicting ideas about music’s potential to cure or harm, while appearing incongruous to post-Cartesian ideals, exemplify growing awareness of the mind-body connection, music, in relation to science. Early-modern awareness of disability, as an evolving and non-binary state, augments 21st-century understanding of the social model of disability and examp- les for advocacy. SE-02: Free Papers: Notational Issues and beyond Wednesday, July 3, 10.30–12.30, Neuer Saal Chair: Thomas Schmidt (University of Huddersfiled): [email protected] Ligatures and Musical Meaning Paul Kolb (KU Leuven): [email protected] By the late fifteenth century, ligatures seem anachronistic, a relic of earlier nota- tional practices now devoid of any clear meaning. In the literal sense they present a group of notes with a single symbol as an alternative to writing the notes in- dividually. Theorists most frequently explain how they should be interpreted in terms of note values without clarifying for what purpose they may have been used. Musicologists have tended to assume that ligatures are used primarily if not exclusively to indicate text placement, even though theorists rarely stated this explicitly before the sixteenth century. On the other hand, the variety seen in transmission—in which different scribes present the same piece with comple- tely different ligatures—gives the impression that they are sometimes, according to a recent article in Early Music, “purely scribal whim.” Ligatures nevertheless possess meaning beyond indicating text placement.
Recommended publications
  • The Sources and the Performing Traditions. Alexander Agricola: Musik Zwischen Vokalität Und Instrumentalismus, Ed

    The Sources and the Performing Traditions. Alexander Agricola: Musik Zwischen Vokalität Und Instrumentalismus, Ed

    Edwards, W. (2006) Agricola's songs without words: the sources and the performing traditions. Alexander Agricola: Musik zwischen Vokalität und Instrumentalismus, ed. Nicole Schwindt, Trossinger Jahrbuch für Renaissancemusik 6:pp. 83-121. http://eprints.gla.ac.uk/4576/ 21th October 2008 Glasgow ePrints Service https://eprints.gla.ac.uk Warwick Edwards Agricola’s Songs Without Words The Sources and the Performing Traditions* In 1538 the Nuremberg printer Hieronymus Formschneider issued a set of part- books entitled Trium vocum carmina1 and containing a retrospective collection of one hundred untexted and unattributed three-voice compositions, six of which can be assigned to Agricola. Whoever selected them and commissioned the publication added a preface (transcribed, with English translation in Appendix pp. 33–4) that offers – most unusually for the time – a specific explanation for leaving out all the words. This turns out to have nothing to do with performance, let alone the possible use of instruments, which are neither ruled in nor ruled out. Nor does it express any worries about readers’ appetites for texts in foreign languages, or mention that some texts probably never existed in the first place. Instead, the author pleads, rather surprisingly, that the appearance of the books would have been spoilt had words variously in German, French, Italian and Latin been mixed in together. Moreover, the preface continues, the composers of the songs had regard for erudite sonorities rather than words. The learned musician, then, will enjoy the
  • Matthaeus Pipelare's "Fors Seulement Chanson (II)" and Its Related Motet and Mass Performance Editions and Commentary George H

    Matthaeus Pipelare's "Fors Seulement Chanson (II)" and Its Related Motet and Mass Performance Editions and Commentary George H

    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Matthaeus Pipelare's "Fors seulement chanson (II)" and its related motet and mass performance editions and commentary George H. Black, Jr. Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Black, Jr., George H., "Matthaeus Pipelare's "Fors seulement chanson (II)" and its related motet and mass performance editions and commentary" (2003). LSU Doctoral Dissertations. 1444. https://digitalcommons.lsu.edu/gradschool_dissertations/1444 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. MATTHAEUS PIPELARE’S FORS SEULEMENT (II) CHANSON AND ITS RELATED MOTET AND MASS PERFORMANCE EDITIONS AND COMMENTARY A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music By George H. Black, Jr. B.M.E., Mississippi State University M.S.M., Southern Methodist University December 2003 ©Copyright 2003 George Herman Black, Jr. All rights reserved ii ACKNOWLEDGMENTS Thanks and appreciation are gratefully expressed to those who have assisted me in the completion of this project: To Dr. Kenneth Fulton and Dr. Sara Lynn Baird who have provided such knowledge and assistance throughout my studies; To Dr. William Grimes and Dr.
  • PETRUCCI G-01 ATLAS 6-04-2005 12:37 Pagina 645

    PETRUCCI G-01 ATLAS 6-04-2005 12:37 Pagina 645

    PETRUCCI G-01 ATLAS 6-04-2005 12:37 Pagina 645 ALLAN W. ATLAS PETRUCCI’S SONGBOOKS AND JAPART’S BIOGRAPHY My argument is entirely speculative. I will not insist that my proposed identification of Jean Japart with the Frater Joannes de Francia, a singer active in Venice in 1499, smacks of certainty; nor will I insist that the possibility that Japart enjoyed a collegial relationship with Petrus Castellanus, music editor of Odhecaton A, is the only explanation for his (Japart’s) seemingly extraordinary representation in Petrucci’s trilogy of songbooks. Rather, I simply ask “what if”? We know the following about the career of Jean Japart:1 1) he was a singer at the Milanese court of Duke Galeazzo Maria Sforza from no later than mid-April 1476 to February 6th, 1477, when he was one of twelve singers released from service in the wake of Galeazzo’s assassination some weeks earlier;2 2) upon leaving Milan, he must have gone directly to the Ferrarese court of Duke Ercole I d’Este, where he is accounted for from March 1477 to early February 1481;3 3) a Milanese document of July 1476 shows that he was promised a benefice at that time, so we may be sure that 1 The most comprehensive discussion of Japart’s life appears in the Introduction to my forthcoming edition, Jean Japart: The Collected Works, which will appear in the series Masters and Monuments of the Renaissance (New York: Broude Brothers Trust); see also, ALLAN W. ATLAS / rev. Jane Alden, “Japart, Johannes” in The New Grove Dictionary of Music and Musicians, rev.
  • Orgeltabulatur Des Fridolin Sicher Papier 1-VII + 140 F Olia 30,5/31 X 20,5/21

    Orgeltabulatur Des Fridolin Sicher Papier 1-VII + 140 F Olia 30,5/31 X 20,5/21

    eod.530 nach 2 Zeilen bricht die Notation ab, (250) Aliud de praesentacione B. M. V., ohne Notation. Sacre parentes virginis steriles naturaliter hanc dono ... , AH 4, p. 52; Rep. Hymn. 17662, (250) am untern Rand Datierung 1493 sowie der Sinnspruch Justus primo est accusator sui j[psius], (251) De sancto Leon­ hardo, ev. von der Haupthand, aber in Bastarda. Gaudeat christo populus red- emptus terni letetur ... , (251) De sancto Josepho. Joseph stirpis dauitice / .sponse alme t~eothice ... - ... almi precibus iungamur in celestibus. Amen. Folgt (253 -256) papierener Teil, leer, (257-258) wieder Pergament. Hymnus. [C]horus noue-iherusalem noua meli dulcedine .. .- ... nos ordinet pallatio. Per sec[ u] la ... paraclito Amen. AH 50, p. 285; Rep. Hymn. 2824, (259-260) wie­ der Papier, leer. BRUGGISSER-LANKER, Musik und Liturgie (2004), p.41-43; CARL P.E. SPRINGER, The Manus­ cripts of Sedulius. A Provisional Handlist, Philadelphia 1995, unsere Hs. p. 186; MARXER, Cho­ ralgeschichte (1908), p.12 unsere Hs. erw. Zu den hier enthaltenen Hymnen vgl..das alteste der vier Zürcher Chorbücher, Cod. 528 (um 1200). Cod.530, Orgeltabulatur des Fridolin Sicher Papier 1-VII + 140 F olia 30,5/31 x 20,5/21 . Fridolin Sicher, 1517, N achtrag 1531 bis Tintenfoliierung des Schreibers, nach f. 30 ein Folium übersprungen, heute f. 30 , f. 78 und77 in umgekehrter Reihenfolge. Quaternionen, ausser IV[-l]I-VII, das vor­ derste Blatt ist das Spiegelblatt, IV[-1]5-8, f.4 mit Text herausgeschnitteri, Bruch im Text, V32-41, V42-51, V[(-1)]132-140, das letzte Blatt wieder Spiegelblatt, jedoch heute abgelõst und nur noch zu 1/10 erhalten (zwei kleine Reste auf dem Hoh,deckel aufgeklebt).

  • Some Notes on the Reception of Josquin and of Northern Idioms in Portuguese Music and Culture*

    Some Notes on the Reception of Josquin and of Northern Idioms in Portuguese Music and Culture* João Pedro d’Alvarenga From Robert Stevenson’s contribution to the 1971 Josquin Festival-Conference we learn that the majority of the surviving evidence concerning Josquin’s impact in the Iberian Peninsula and particularly in Portugal dates from the late 1530s and 1540s onwards.1 By then, thanks to his reputation, Josquin had become a symbol in Portuguese humanistic culture and, as Kenneth Kreitner puts it in a recent article, he had turned into ‘a kind of obsession’ for Spanish musicians and patrons.2 Yet (again in Kreitner’s words) ‘during his own lifetime, if the extant sources are any indication, Josquin seems to have been regarded in Spain as just one composer among many’.3 The main surviving collection of Portuguese sources of polyphony dating from the first half of the sixteenth century consists of just five manuscript volumes, all originating from the Augustinian monastery of Santa Cruz in Coimbra (Coimbra, Biblioteca Geral da Universidade MM 6, MM 7, MM 9, MM 12, and MM 32).4 The manuscripts transmit Spanish, northern, and local repertories. According to Owen Rees, they were all compiled from around 1540 to the mid-1550s. Most of the pieces in Coimbra MM 12, apparently the oldest member of the group, can be related to the Spanish court. Coimbra MM 6 includes no northern composers.5 Other important, coeval Portuguese extant sources of different provenance are: – Ms. CIC 60 in the National Library of Portugal [Lisbon CIC 60]: a small songbook of unknown origin containing both sacred and secular Iberian repertories.
  • Poetic Anthologies of Fifteenth-Century France and Their Relationship to Collections of the French Secular Polyphonic Chanson

    Poetic Anthologies of Fifteenth-Century France and Their Relationship to Collections of the French Secular Polyphonic Chanson

    POETIC ANTHOLOGIES OF FIFTEENTH-CENTURY FRANCE AND THEIR RELATIONSHIP TO COLLECTIONS OF THE FRENCH SECULAR POLYPHONIC CHANSON Kathleen Frances Sewright A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by John L. Nádas Tim Carter Jon W. Finson James Haar Hana Vlhová-Wörner ABSTRACT Kathleen Frances Sewright Poetic Anthologies of the Fifteenth Century and their Relationship to the French Secular Polyphonic Chanson (under the direction of John L. Nádas) This dissertation is a study of four poetry sources—three manuscripts and one early print—and their relationship to the fifteenth-century French secular polyphonic chanson. Three of the poetic sources are true anthologies, and all were compiled from smaller, internally consistent collections of poems, many of which poems survive with musical settings in notated sources of the period. This suggests that at least some of the exemplars from which this poetry was copied were themselves notated. The first chapter examines Berlin, Staatliche Museen Preußischer Kulturbesitz, Kupferstichkabinett MS 78.B.17 (the “Rohan Chansonnier”), and identifies collections from Paris and central France, as well as collections featuring poetry by Alain Chartier and members of the French royal court. Chapter 2 investigates Paris, Bibliothèque Nationale, MS fonds français 1719, and determines that at least two, and possibly three of its constituent collections were copied from musical exemplars, including one from the French royal court of the 1470s and 80s. Chapter 3 studies Antoine Vérard’s ground-breaking print Le Jardin de plaisance et fleur de rethoricque, an extremely important repository of many fifteenth- century chanson texts.
  • Notation and Editing | Prifysgol Bangor University

    Notation and Editing | Prifysgol Bangor University

    09/24/21 Notation and Editing | Prifysgol Bangor University Notation and Editing View Online Dr CT Leitmeir Accone, Frank A. D’, and Biblioteca comunale di Siena, Siena, Biblioteca Comunale Degli Intronati, MS K.I.2 (New York: Garland Pub, 1986), Renaissance music in facsimile Accone, Frank A. D’, and Biblioteca estense (Modena, Italy), Modena, Biblioteca Estense E Universitaria, MS Alpha F. 9.9 (New York: Garland, 1987), Renaissance music in facsimile Accone, Frank A. D’, and Biblioteca nazionale centrale di Firenze, Florence, Biblioteca Nazionale Centrale, MS Banco Rari 230 (New York: Garland Pub, 1986), Renaissance music in facsimile Accone, Frank A. D’, and Biblioteca nazionale di Torino, Turin, Biblioteca Nazionale Universitaria, MS Ris. I. 27 (olim Qm III. 59) (New York: Garland Pub, 1986), Renaissance music in facsimile Accone, Frank A. D’, and Opera di S. Maria del Fiore (Florence, Italy), Florence, Archivio Musicale dell’Opera Di Santa Maria Del Fiore, Ms 11 (New York: Garland, 1987), Renaissance music in facsimile Accone, Frank A. D’, and Università di Pavia, Pavia, Biblioteca Universitaria, Aldini MS 362 (New York: Garland, 1986), Renaissance music in facsimile Agricola, Alexander, Misse Alexandri Agricole (Venezia: Petrucci, 1504) Aichinger, Gregor, Tricinia Mariana, Quibus Antiphonae, Hymni, Magnificat, Litaniae et Variae (niponti (Innsbruck): Apud Ioannem Agricolam, 1598) Apel, Willi, The Notation of Polyphonic Music, 900-1600, 5th ed. rev. and with commentary (Cambridge, Mass: Mediaeval Academy of America, 1953) Arcadelt,
  • Basiswissen Kirchenmusik Konzeption Band 4 · Orgelliteraturspiel – Orgelbaukunde · Gerhard Gnann · Frühformen Der Orgelmusik 13

    Basiswissen Kirchenmusik Konzeption Band 4 · Orgelliteraturspiel – Orgelbaukunde · Gerhard Gnann · Frühformen Der Orgelmusik 13

    Basiswissen Kirchenmusik Konzeption Band 4 · Orgelliteraturspiel – Orgelbaukunde · Gerhard Gnann · Frühformen der Orgelmusik 13 Band 1 · Theologie – Liturgiegesang · Barbara Lange · Kirchenlied und Gesangbuch 117 3.1 Deutschsprachiger Raum Das gesamte Spektrum kirchenmusikalischer Themen Ökumenische Darstellung der Themen Das Aufblühen der deutschen Orgelkunst um 1500 ist v. a. auf das Wirken zweier Meister zurückzuführen: Arnolt Schlick (um 1445– 1525) und Paul Hofhaimer (1459–1537). Durch politische Umstände 2.5.2 Katholische Singmesse – in vier Bänden Vernetzung der Artikel und durch dem humanistischen Kunstideal zugewandte Herrscher be- Messlieder bzw. Singmessen sind eine neue Gattung katholischer Kirchenlieder, die günstigt, kann sich nun in den Kunstmetropolen des Reiches und am mit der Aufklärung entstehen. Sie paraphrasieren Teile der Messliturgie und erklären Hofe kunstliebender Fürsten eine ebenso bedeutende wie eigenstän- auf diese Weise den Messablauf gewissermaßen „poetisch“. Die Lieder wurden par- Moderne didaktische Aufbereitung: Rand - dige Orgelmusik entfalten. allel zur stillen Messe gesungen (z.B. „zum“ Gloria, nicht „das“ Gloria). Das erste Grundlegendes Wissen für Kirchenmusikerinnen und bekannte Beispiel eines Messliedes ist im Wiener Gesangbuch Catholische in Reim zahlreiche infor mative, spalten mit Querverweisen, Tipps, Ergänzungen, Paul Hofhaimer, in Innsbruck und Salzburg zu Hause, wenn er nicht ge- verfasste Lehren, Gebett oder Gesänger von 1725 zu finden. rade mit Kaisern und Fürsten auf Reisen war, muss ein begnadetet 1756 verordnete Kaiserin Maria Theresia das Messlied Kommt, lasset uns Gott eh- Kirchenmusiker Hervorhebung wichtiger Lerninhalte, Auf gaben farbige AbbildungenLehrer gewesen sein. Für sein Renommé sorgten seine als „Paulo- ren auf deutsch und in den entsprechenden Übersetzungen für die gesamte mimen“ bezeichneten südwestdeutschen und schweizerischen Schüler Donaumonarchie. Ab 1782 wurde im Zuge der Gottesdienstreformen Kaiser Joseph für das Selbststudium, für eigene Notizen Abb.
  • (Re-)Constructing Renaissance Music

    (Re-)Constructing Renaissance Music

    Paul Kolb Reconstructing (and) the Composer’s Voice1 Florence, Biblioteca del conservatorio di musica, MS Basevi 2442 (hereafter Florence 2442), sometimes called the »Strozzi Chansonnier«, is an incomplete set of partbooks containing fifty-five French songs. Howard Mayer Brown, who wrote a series of articles on the manuscript, believed the partbooks to have been copied in Florence around 1527.2 More recently, scholars including David Fal- lows, following Joshua Rifkin and others, have tended to assume that the date of copying is earlier, perhaps around 1510 to 1515, and that it was copied in France, or at least the scribe was French.3 Many of the songs have concordances in Otta- viano Petrucci’s Canti series or elsewhere, but the unica require reconstruction, thanks to the missing bassus partbook. The composers represented in the part- books include Josquin des Prez, Ninot le Petit, Antoine Bruhier, Loyset Compere, 1 I would like to thank Wolfgang Fuhrmann, Klaus Pietschmann, and Immanuel Ott for generously inviting me to present at the workshop in Mainz; the vocal ensemble under the direction of Christian Rohrbach for performing my examples there; and especially the contributors to the reconstruction workshop in Salzburg, mentioned in full below, who have made this article possible. 2 Howard Mayer Brown, »Chansons for the Pleasure of a Florentine Patrician: Florence, Biblio- teca del Conservatorio di Musica, MS Basevi 2442,« Aspects of Medieval and Renaissance Music: A Birth day Offering to Gustave Reese, ed. Jan LaRue (New York, 1966), pp. 56–66. See also id., »The Music of the Strozzi Chansonnier (Florence, Biblioteca del Conservatorio di Musica, MS Basevi 2442),« Acta Musicologica 40/2 (1968), pp.
  • 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

    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ The motets of Henricus Isaac (c.1450-1517) : transmission, structure and function. Kempson, Emma Clare 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: 07. Oct. 2021 THE MOTETS OF HENRICUS ISAAC (c.1450-1517): TRANSMISSION, STRUCTURE AND FUNCTION Volume 1 A thesis submitted for the degree of PhD University of London by EMMA CLARE KEMPSON King's College London 1998 BIBL 10 UNW.