Music for the Lute 1/2006 Tree Edition
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Prelude | Grove Music
Prelude (Fr. prélude; Ger. Vorspiel; It., Sp. preludio; Lat. praeludium, praeambulum) David Ledbetter and Howard Ferguson https://doi.org/10.1093/gmo/9781561592630.article.43302 Published in print: 20 January 2001 Published online: 2001 updated and revised, 1 July 2014 A term of varied application that, in its original usage, indicated a piece that preceded other music whose tonic, mode, or key it was designed to introduce; was instrumental (the roots ludus and Spiel mean ‘played’ as opposed to ‘sung’); and was improvised (hence the French préluder and the German präludieren, meaning ‘to improvise’). The term ‘praeambulum’ (preamble) adds the rhetorical function of attracting the attention of an audience and introducing a topic. The earliest notated preludes are for organ, and were used to introduce vocal music in church. Slightly later ones, for other chordal instruments such as the lute, grew out of improvisation and were a means of checking the tuning of the instrument and the quality of its tone, and of loosening the player’s fingers (as was the Tastar de corde). The purpose of notating improvisation was generally to provide models for students, so an instructive intention, often concerned with a particular aspect of instrumental technique, remained an important part of the prelude. Because improvisation may embrace a wide range of manners, styles, and techniques, the term was later applied to a variety of formal prototypes and to pieces of otherwise indeterminate genre. 1. Before 1800. David Ledbetter The oldest surviving preludes are the five short praeambula for organ in Adam Ileborgh’s tablature of 1448 (ed. -
APPENDIX 1 Inventories of Sources of English Solo Lute Music
408/2 APPENDIX 1 Inventories of sources of English solo lute music Editorial Policy................................................................279 408/2.............................................................................282 2764(2) ..........................................................................290 4900..............................................................................294 6402..............................................................................296 31392 ............................................................................298 41498 ............................................................................305 60577 ............................................................................306 Andrea............................................................................308 Ballet.............................................................................310 Barley 1596.....................................................................318 Board .............................................................................321 Brogyntyn.......................................................................337 Cosens...........................................................................342 Dallis.............................................................................349 Danyel 1606....................................................................364 Dd.2.11..........................................................................365 Dd.3.18..........................................................................385 -
0 – Inleiding – Drie Bedenkingen
0 – INLEIDING – DRIE BEDENKINGEN Bedenking 1 ‘Klassieke muziek’ is een wijd verbreid begrip. Toch is het een beetje een ongelukkige benaming. Het gaat om meer dan muziek uit de classicistische tijd – de tweede helft van de 18de eeuw. Mogelijk een betere omschrijving is: Europese (westerse) ‘kunstmuziek’, waarvan de geschiedenis een periode van ongeveer 1000 jaar omspant. Deze westerse ‘kunstmuziek’ onderscheidt zich: 1) van populaire muziek (volksmuziek – ‘wereld’muziek – jazz – pop – …), 2) van kunstmuziek uit andere culturen door: gecomponeerde en dus genoteerde meerstemmigheid Bedenking 2 De plaats die muziek in onze eigentijdse samenleving inneemt, is – vergeleken met het verleden – nieuw en bijzonder. Deze breuk met het verleden, die zich kort na 1900 begon af te tekenen onder invloed van allerlei technologische en maatschappelijke veranderingen, kunnen we ons als volgt voorstellen: de ste tot en met de 19 eeuw vanaf de 20 eeuw alle muziek is live muziek is eindeloos reproduceerbaar, waardoor live-uitvoeringen zwaar onder druk komen te staan ( zijn ze wel nodig? + al te kritische benadering ) beperkt aanbod onbeperkt aanbod het overgrote deel van de muziek is de gehoorde muziek is vaak niet eigen- eigentijds en is dus een directe tijds, waardoor een eigentijds klankbeeld uitdrukking van de tijdsgeest veel minder eenduidig wordt de gehoorde muziek past in de eigen muziek kan uit alle leefruimtes komen, leefruimte, zowel geografisch als zowel geografisch als naar stand en naar stand en geloof geloof - wat met het echte begrip? pas -
Agnieszka Leszczyńska Uniwersytet Warszawski ————
ARTYKUŁY agnieszka leszczyńska uniwersytet warszawski ———— EMANUEL WURSTISEN, HIS TABLATURE AND LINKS TO POLAND LUTE MUSIC WITH MEDICINE IN THE BACKGROUND he lute tablature CH-Bu F IX 70, known as the Emanuel Wurstisen Lute T Book, has been kept at Basel University Library (Öffentliche Bibliothek der Universität Basel) since the early nineteenth century, but only became familiar to musicians and musicologists a little more than three decades ago, thanks to John Kmetz’s catalogue.1 A slightly modified and supplemented description of the tab- lature’s contents was soon presented by Christian Meyer.2 In 2012 Andreas Schlegel created a catalogue compiling data from both Kmetz and Meyer, and made it avail- able online, along with black and white reproductions of the manuscript, in eight volumes corresponding to the internal divisions found in the tablature.3 Later the entire digitalised source was made available online by Basel University Library.4 The repertoire contained in the tablature gradually attracted the interest of a growing number of musicologists and lutenists.5 One of the researchers who began to explore 1 John Kmetz, Die Handschriften der Universitätsbibliothek Basel: Katalog der Musikhandschriften des 16. Jahrhunderts: quellenkritische und historische Untersuchung, Basel 1988, pp. 206–229. 2 François-Pierre Goy, Christian Meyer and Monique Rollin (eds.), Sources manuscrites en tablature, luth et theorbe (c.1500–c.1800): Catalogue descriptif, vol. 1, Confoederatio Helvetica (CH), France (F), Baden-Baden 1991, pp. 1–27. 3 Andreas Schlegel (ed.), Basel, Öffentliche Bibliothek der Universität Basel, Musiksammlung (CH-Bu), Ms. F IX 70. Lautentabulatur, 1591 bis ca. 1594 in Basel geschrieben von Emanuel Wurstisen (1572–1619?) Bildteil. -
The Lute Society Microfilm Catalogue Version 2 12/13 the List Is Divided by Instrument. Works for Renaissance Lute with Voice A
The Lute Society Microfilm Catalogue Version 2 12/13 The list is divided by instrument. Works for Renaissance lute with voice and in ensemble are separated because of the size of the main list. The categories are: Renaissance lute Renaissance lute with voice Renaissance lute in ensemble (with other instruments) Lute in transitional tunings (accords nouveaux) Vihuela Baroque lute Renaissance guitar Baroque guitar Bandora Cittern Mandore Orpharion Theorbo Musical scores without plucked instrument tablature Theoretical works without music The 'Other instruments' column shows where there is music in the work for other listed instruments. The work also appears in the other list(s) for ease of reference. The list is sorted by composer or compiler, where known. Anonymous manuscripts are listed at the end of each section, sorted by shelf mark. Date references are to HM Brown Instrumental Music printed before 1600. Where the date is asterisked the work is not in Brown. Tablature style is shown as French (F), German (G), Italian (I), Inverted Italian (II) or Keyboard (K) The Collection and MCN fields identify each reel and the collection to which it belongs. Renaissance Lute Other Composer/ Compiler Title Shelf Mark or HMB Tab Format Coll MCN Duplicates Notes Instrument(s) Intabolatura di Julio Abondante Sopra el Julio Abondante 1546 I Print MP 59 Lauto Libro Primo 1 Julio Abondante Intabolatura di Lauto Libro Secondo 15481 I Print MP 60 GC 195 Intabolatura di liuto . , novamente Julio Abondante ristampati, Libro primo 15631 I Print MP 62 GC 194, -
Robert Toft. Aural Images of Lost Traditions: Sharps and Flats in the Sixteenth Century
Document generated on 09/26/2021 7:01 p.m. Canadian University Music Review Revue de musique des universités canadiennes Robert Toft. Aural Images of Lost Traditions: Sharps and Flats in the Sixteenth Century. Toronto: University of Toronto Press, 1992. viii, 199 pp. ISBN 0-8020-5929-5 Victor Coelho Number 13, 1993 URI: https://id.erudit.org/iderudit/1014301ar DOI: https://doi.org/10.7202/1014301ar See table of contents Publisher(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this review Coelho, V. (1993). Review of [Robert Toft. Aural Images of Lost Traditions: Sharps and Flats in the Sixteenth Century. Toronto: University of Toronto Press, 1992. viii, 199 pp. ISBN 0-8020-5929-5]. Canadian University Music Review / Revue de musique des universités canadiennes, (13), 145–153. https://doi.org/10.7202/1014301ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 1993 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ REVIEWS/COMPTES RENDUS Robert Toft. Aural Images of Lost Traditions: Sharps and Flats in the Sixteenth Century.Toronto: University of Toronto Press, 1992. -
Music in the Age of Copernicus Transcript
Music in the Age of Copernicus Transcript Date: Thursday, 23 February 2006 - 12:00AM Music in the Age of Copernicus Professor Adrian Thomas Introduction Without doubt, the most famous Pole, apart from or alongside Chopin and Pope John Paul II, is Nicholas Copernicus, or Mikołaj Kopernik, to give him his Polish name. He was born in 1473, the year that the first printing press was established in Poland, and he died in 1543, when the Polish King founded the Rorantist Choir at the Royal Court on Wawel Hill in Kraków. More is known about Copernicus's life than any Polish composer of the period. He was educated at the Jagiellonian University in Kraków, where he studied astronomy, philosophy, Latin and mathematics. Like many of his contemporaries, he went abroad to further his studies, in his case to Bologna (canon law, 1496-1500) and Padua (medicine, 1501). He then returned to Frauenberg (Polish Frombork), from whence he proceeded to contribute to civic society, being active for example in the the early stages of monetary reform in the 1520s. He had already begun to publish:Little Commentary appeared in 1514, and the following year he began what became his most famous work, De revolutionibus orbium coelestium, although it wasn't completed until the year of his death. As Norman Davies eloquently summed Copernicus's achievement: "His discovery, of the earth's motion round the sun, caused the most fundamental revolution possible in prevailing concepts of the human predicament". 1 Another major figure of our own times imagined Copernicus's discoveries thus: MUSIC 1 Henryk Mikołaj Górecki Symphony 2 'Copernican' (opening) What a magnificent, orbit-grinding sound that is! Later on in his Copernican Symphony, written to commemorate the 500th anniversary of Copernicus's birth, Górecki sets a sentence from De revolutionibus: "Quid autem caelo pulcrius, nempe quod continet pilcra omnia?" (What indeed is more beautiful than heaven, which of course contains all things of beauty?). -
– 427 – Zofia Dobrzańska-Fabiańska
Zofia DOBRZAńSKA-FABIAńSKA Jagiellonian University, Cracow Zdzisław JACHIMECKI’S Italian INFLUENCES IN POLISH MUSIC: AN Invitation to STUDY THE SIXTEENTH- AND SEVENTEENTH-Century RECEPTION OF Italian MUSICAL Culture IN POLAND Zdzisław Jachimecki’s book on Italian influences in Polish music (Wpływy włoskie w muzyce polskiej),1 his habilitation, takes up a special place in history of Polish musi- cology and in Polish musicological historiography. At the time it was published in 1911, a Seminar of Theory and History of Music was established at the University of Cracow, which meant musicology became a university discipline in Poland.2 Jachimecki’s treat- ise itself proved to be seminal. It initiated an important domain of research of music historians in the twentieth and twenty-first centuries devoted to Italo-Polish relationship in musical culture of the Polish-Lithuanian Commonwealth. It reflects both the state of knowledge on early Polish music and a specific understanding of how this art was related to Italian. 1. Italian influences in Polish music. Type of approach. Notions of ‘Italian music’, ‘Polish music’ and ‘universal style’ Jachimecki did not claim his book was a synthesis. On the contrary: it comprises nine separate studies-chapters, «not bound by historical causality» (p. VII), but arranged chron- ologically. The author intended to provide «an assessment and analysis» of the primary preserved (and known at the time) «monuments of music» of 1540-1640 and their «his- toric al elucidation». Most of these «monuments», proofs of «our -
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/ Sixteenth centuary accidentals and ornamentation in selected motets of Josquin Desprez: a comparativbe study of the printed intabulations with the vocal sources Erictoft, Robert 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: 09. Oct. 2021 g c1Yr, c-rj, prLr Ac.fl IN SELECTED MOTETS OF ,JOSQUIN DESPREZ: A COMPARATIVE STUDY OF T}LE PRINTED INTABULATIONS WITH THE VOCAL SOURCES VOLUME I by ROBERT ERIC TOFT Dissertation for the Degree of Doctor of Philosophy King's College University of London 198 ABSTRACT One of the major problems in Renaissance music scholarship has been to establish a precise understanding of the structure and development of pretonal polyphony. -
Copyright by Gary Dean Beckman 2007
Copyright by Gary Dean Beckman 2007 The Dissertation Committee for Gary Dean Beckman Certifies that this is the approved version of the following dissertation: The Sacred Lute: Intabulated Chorales from Luther’s Age to the beginnings of Pietism Committee: ____________________________________ Andrew Dell’ Antonio, Supervisor ____________________________________ Susan Jackson ____________________________________ Rebecca Baltzer ____________________________________ Elliot Antokoletz ____________________________________ Susan R. Boettcher The Sacred Lute: Intabulated Chorales from Luther’s Age to the beginnings of Pietism by Gary Dean Beckman, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2007 Acknowledgments I would like to acknowledge Dr. Douglas Dempster, interim Dean, College of Fine Arts, Dr. David Hunter, Fine Arts Music Librarian and Dr. Richard Cherwitz, Professor, Department of Communication Studies Coordinator from The University of Texas at Austin for their help in completing this work. Emeritus Professor, Dr. Keith Polk from the University of New Hampshire, who mentored me during my master’s studies, deserves a special acknowledgement for his belief in my capabilities. Olav Chris Henriksen receives my deepest gratitude for his kindness and generosity during my Boston lute studies; his quite enthusiasm for the lute and its repertoire ignited my interest in German lute music. My sincere and deepest thanks are extended to the members of my dissertation committee. Drs. Rebecca Baltzer, Susan Boettcher and Elliot Antokoletz offered critical assistance with this effort. All three have shaped the way I view music. -
Shakespeare 400 Music, Songs and Poetry from the Renaissance - the Cultural Bridge Between the Middle Ages and Modern History in Europe
13thInternational Music Festival Phnom Penh 3-7 November 2016 Shakespeare 400 Music, songs and poetry from the Renaissance - the cultural bridge between the Middle Ages and modern history in Europe European Union International Music Festival Phnom Penh www.musicfestival-phnompenh.org Contact 077 787038 / 015755718 / [email protected] Dear Music Lovers This year, I am pleased to invite you to explore European Renais- sance Music. The central inspirational figure - William Shakespeare - indeed influenced Drama and Music. His stage directions call for music more than 300 times, and his plays are full of beautiful tributes to music. The Festival will mark the 400th anniversary of Shakespeare’s death in 1616. The Renaissance in music occurred between 1450 and 1625, including the transitional period from Renaissance to Early Baroque. As in the other arts, the horizons of music were greatly expanded. The circulation of music and the number of composers and performers increased. The humanistic interest in language (Shakespeare and his contemporaries) influenced vocal music, creating a close relationship between words and music. Renais- sance composers wrote music to enhance the meaning and emotion of the text. The festival program is a snapshot of the musical life during the European Renaissance and leads us to refined musical forms, such as the opera during the end of the period. In six concerts, you will experience selected songs, poetry and pure instrumental forms. These performing practices took place mostly in domestic interiors in a private sphere of all milieu of society. I look forward to welcome again international artists, with their luggage of historical Instruments including a Spinet, Lute, and Viola da Gamba, to perform music from: England, France, The Nether- lands, Belgium, Germany, Italy and Spain I warmly invite all music lovers, young and old and also those new to classical music to take full advantage of the feast of music offered by this year’s concert program of European Renaissance music. -
Universiv Microtlms International 300 N
INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note w ill appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper left hand comer o f a large sheet and to continue from left to right in equal sections with small overlaps. I f necessary, sectioning is continued again-beginning below the first row and continuing on until complete.