Chapter 3: the Ars Nova: Musical Developments in the Fourteenth Century I. Introduction A. Ars Nova (The New Art) Arose in Fourt
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TRECENTO FRAGMENTS M Ichael Scott Cuthbert to the Department Of
T R E C E N T O F R A G M E N T S A N D P O L Y P H O N Y B E Y O N D T H E C O D E X a thesis presented by M ichael Scott Cuthbert t the Depart!ent " M#si$ in partia% "#%"i%%!ent " the re&#ire!ents " r the de'ree " D $t r " Phi% s phy in the s#b(e$t " M#si$ H ar)ard * ni)ersity Ca!brid'e+ Massa$h#setts A#'#st ,--. / ,--.+ Mi$hae% S$ tt C#thbert A%% ri'hts reser)ed0 Pr "0 Th !as F rrest 1 e%%y+ advisor Mi$hae% S$ tt C#thbert Tre$ent Fra'!ents and P %yph ny Bey nd the C de2 Abstract This thesis see3s t #nderstand h 4 !#si$ s #nded and "#n$ti ned in the 5ta%ian tre6 $ent based n an e2a!inati n " a%% the s#r)i)in' s #r$es+ rather than n%y the ! st $ !6 p%ete0 A !a( rity " s#r)i)in' s #r$es " 5ta%ian p %yph ni$ !#si$ "r ! the peri d 788-9 7:,- are "ra'!ents; ! st+ the re!nants " % st !an#s$ripts0 Despite their n#!eri$a% d !i6 nan$e+ !#si$ s$h %arship has )ie4 ed these s #r$es as se$ ndary <and "ten ne'%e$ted the! a%t 'ether= " $#sin' instead n the "e4 %ar'e+ retr spe$ti)e+ and pred !inant%y se$#%ar $ di6 $es 4 hi$h !ain%y ri'inated in the F% rentine rbit0 C nne$ti ns a! n' !an#s$ripts ha)e been in$ !p%ete%y e2p% red in the %iterat#re+ and the !issi n is a$#te 4 here re%ati nships a! n' "ra'!ents and a! n' ther s!a%% $ %%e$ti ns " p %yph ny are $ n$erned0 These s!a%% $ %%e$ti ns )ary in their $ nstr#$ti n and $ ntents>s !e are n t rea%%y "ra'!ents at a%%+ b#t sin'%e p %yph ni$ 4 r3s in %it#r'i$a% and ther !an#s$ripts0 5ndi)id#6 a%%y and thr #'h their )ery n#!bers+ they present a 4 ider )ie4 " 5ta%ian !#si$a% %i"e in the " #rteenth $ent#ry than $ #%d be 'ained "r ! e)en the ! st $are"#% s$r#tiny " the inta$t !an#s$ripts0 E2a!inin' the "ra'!ents e!b %dens #s t as3 &#esti ns ab #t musical style, popularity, scribal practice, and manuscript transmission: questions best answered through a study of many different sources rather than the intense scrutiny of a few large sources. -
Playing with the Performer in Medieval Music: Machaut’S Ideas on Love and Order in Quant Vraie Amour / O Series Summe Rata / Super Omnes Speciosa (Motet 17)
UvA-DARE (Digital Academic Repository) Playing with the performer in Medieval music: Machaut’s ideas on love and order in Quant vraie Amour / O series summe rata / Super omnes speciosa (Motet 17) Boogaart, J. Publication date 2009 Document Version Final published version Published in Dutch Journal of Music Theory Link to publication Citation for published version (APA): Boogaart, J. (2009). Playing with the performer in Medieval music: Machaut’s ideas on love and order in Quant vraie Amour / O series summe rata / Super omnes speciosa (Motet 17). Dutch Journal of Music Theory, 14(1), 32-41. http://dpc.uba.uva.nl/vol14/nr01/art05 General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:24 Sep 2021 jacques boogaart Playing with the Performer in Medieval Music: Machaut’s Ideas on Love and Order in Quant vraie Amour / O series summe rata / Super omnes speciosa (Motet 17) Machaut’s seventeenth motet might be one of his earliest works. -
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 ... -
02 Chapter 1 Stoessel
Prologue La harpe de melodie faite saunz mirancholie par plaisir doit bien cescun resjorr pour l'armonie orr, sonner et vei'r. J With the prior verses begins one of the most fascinating musical works in the ars subtilior style, composed by the master musician Jacob de Senleches. This composer, as his name suggests, was a native of northern France whose scant biographical details indicate he was a valued musician at courts in the south at Castile, Navarre and possibly Avignon.2 La harpe de melodie typifies several aspects of the present study. Firstly, its presence in a n1anuscripe copied in the city of Pavia in Lombardy indicates the cultivation of ostensibly French music in the ars subtilior style in northern Italy. Secondly, its musical notation contains novel, experimental notational devices and note shapes that parallel intellectual developments in other fields of culture in this period. I "The melodious harp made without melancholy to please, well may each person rejoice to hear, sing and hear its harmony." (All translations are mine, unless otherwise specified.) 2 The conclusion that Jacob de Senleches was a native of northern France is made on the premise that Senleches is the near-homophone of Senlecques, a village just south of Calais in the County of Artois. The only surviving archival evidence concerning Jacob de Senleches consists of a dispensation made at the Court of Navarre by Charles II of Navarre on 21 sl August, 1383 which speCifies: ... 100 libras a Jacomill de Sen/aches, juglar de harpe, para regresar a donde se encontraba el cardenal de Aragon, su maestro (" 100 libras for Jacob de Senleches, player of the harp, to return to where he was to meet the Cardinal of Aragon, his master."), Jlid. -
240 Personen (90 Diagrammatiker) Microtonality (1285-1360) Al-Maraghi (Um 1423) Quellen-Kritik Lehrte Musiktheorie
1000 1200 1400 1500 1600 1700 1800 1900 Philippus de Caserta P. Tallanderius M. Schanppecher Johann Nikolaus Forkel (1749-1818) Robert Smith M Leos Janacek (1854-1928) (spätes 14. Jhd) (15. Jhd.) P. Aaron (16.Jhd.) Athanasius Musurgia Begründete Musikwissenschaft als Carl Dahlhaus (ca.1480-1545) Hochschuldisziplin (1772) Göttingen Vollständige Harmonielehre Johannes dictus J. De Olomons Kircher Universalis 1650 (1928 – 1989) Balloce (13.Jhd.) (1380-1443) M. Agricola S. Vanneo (1602 – 1680) C.G. Kratzenstein Kempelen Thomas Young Physiker M Harry Partch Erv Wilson Odo von Cluny (878-942) (16. Jhd) G.A. Bontempi Andreas (ca.1486-1556) (1723-1795) Naturforscher (1791) (1773-1829) 1863 physiologische E. Salomo um 1274) John Napier (1624-1705) J. S. Bach Eduard Sievers (1901 - 1974) (1928 – JJ) Aurelianus Reomensis H. Glareanus (1488-1563) (a,e,i,o,u) M Grundlagen für die Heinricus Ornithoparchus (1550-1617) (1685 – 1750) (1850-1932) (800 – 865) Theorie der Musik Augustensis Frutolfus (1490 – JJ) G. Dresseler Michael Mathematiker Sprachmelodie Carl Andreas Eitz Max Planck (1533-1585) ptolomäischer Kosmos (JJ - 1083) (JJ - 1103) J. Gallicus de Praetorius (1614 Logarithmus Adolf Alexandre-Théophile Lautphysiologie (1848 - 1924) (1858 – 1947) J. Wolter- Vandermonde M Akustiker Salzburg um 820 Franco of Cologne Mantua Robert (1571 – 1621) als Begriff) Scheibe Tanaka Shohei (1862-1945) (um 1470) storpius (1735-1796) Mathematiker Musica enchiriadis Joachim von Fiore (13. Jhd.) (1508-1554) Fludd Wohltemperierte Stimmung Robert Willis (1800-1875) (1574 – 1637) 1778 theory of music Hermann von Eduard Brandt Gilles Baroin (900) (1130/35-1202) Kopernikus Ramos de Pareja (Musik als Kunst) (2011) Dasia-Notation Keine Funde 1473-1543 S. -
The Rite of Spring: Rhythmic Rebirths As Delivered by Messiaen and Boulez
Te Rite of Spring: Rhythmic Rebirths as Delivered by Messiaen and Boulez* Wai Ling Cheong A century has passed since Te Rite of Spring (Le sacre du printemps) provoked a riot at the Téâtre des Champs-Élysées on 29 May 1913 and harvested a captivating success from the Parisian audience soon after wards.1 Some of the best minds of our times, Messiaen and Boulez foremost among them, attempted to unravel the ‘secrets’ of Te Rite of Spring, with rhythm prioritised as one of their main concerns. Even be- fore the end of World War II, during the difcult years of the Occupa- tion, Messiaen had already shared his pioneering study of Te Rite of Spring with his star students from the Paris Conservatoire at a private analysis class.2 Messiaen’s insightful analysis of Te Rite of Spring is often praised in a vacuum. For a very long time the details of Messiaen’s anal- ysis were known rather exclusively only to his students. In 1953 Boulez, then in his late twenties, published his exegesis of Te Rite of Spring – Stravinsky Remains (Strawinsky demeure) – which soon became one of his best known analyses and has since then left an indelible imprint on the reception history of the masterpiece.3 Te lack of any formal documen- * Tis project (CUHK14613417) is supported by the Hong Kong Research Grants Council. 1 According to Jonathan Cross, Sergey Diaghilev had assumed a critical role in engi- neering the riotous premiere. See Jonathan Cross, Rewriting “Te Rite of Spring”: Creative Responses to “Le Sacre du printemps”, in: Avatar of Modernity: Te Rite of Spring Reconsidered, ed. -
Project-Isorhythm 2019
Project 4: Isorhythmic Trio or Quartet after Messiaen What’s due when: 1. Online discussion comments posted by Tuesday October 1 at noon. 2. Preliminary analysis worksheet completed by Wednesday, October 2. 3. Rough draft completed by Wednesday, October 9. We will read them through (on piano, MIDI playback, and/or in ensemble) and discuss them in class. 4. Score and parts completed in neat copy (by hand or computer) by noon on Monday, October 14, to me by email (Sibelius or PDF; scans of neatly handwritten music are fine). Model: Messiaen “Liturgie de cristal” from Quartet for the End of Time. Instrumentation: 3-4 instruments. One and only one must be a “chord” instrument (piano, marimba, vibraphone, or guitar). The other 2-3 can be any available single-line instrument: voice, flute(s), clarinet, t. sax, bass. Duration: circa 2-5 minutes, circa 4-16 pages of score Formal procedure: Your piece will be based on one or more isorhythmic structures. Each isorhythm should employ a talea (rhythmic cycle) and color (pitch cycle) of different lengths. At least one of the isoryhthmic patterns should run through the entire movement. You may choose what elements are governed by isoryhthmic cycles: it could be certain instruments (like the piano and cello in the Messiaen), or it could be certain dimensions (for example, a harmonic progression, or the notes of a certain register) that are not necessarily localized to one particular instrument. Structure: Think about the relationship between isorhythmically determined and free writing in your piece. Remember that the isorhythmic elements are not “beyond your control” just because you follow a strict procedure, as you are determining the content of the talea and color. -
Pietro Aaron on Musica Plana: a Translation and Commentary on Book I of the Libri Tres De Institutione Harmonica (1516)
Pietro Aaron on musica plana: A Translation and Commentary on Book I of the Libri tres de institutione harmonica (1516) Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Joseph Bester, B.A., M.A. Graduate Program in Music The Ohio State University 2013 Dissertation Committee: Graeme M. Boone, Advisor Charles Atkinson Burdette Green Copyright by Matthew Joseph Bester 2013 Abstract Historians of music theory long have recognized the importance of the sixteenth- century Florentine theorist Pietro Aaron for his influential vernacular treatises on practical matters concerning polyphony, most notably his Toscanello in musica (Venice, 1523) and his Trattato della natura et cognitione de tutti gli tuoni di canto figurato (Venice, 1525). Less often discussed is Aaron’s treatment of plainsong, the most complete statement of which occurs in the opening book of his first published treatise, the Libri tres de institutione harmonica (Bologna, 1516). The present dissertation aims to assess and contextualize Aaron’s perspective on the subject with a translation and commentary on the first book of the De institutione harmonica. The extensive commentary endeavors to situate Aaron’s treatment of plainsong more concretely within the history of music theory, with particular focus on some of the most prominent treatises that were circulating in the decades prior to the publication of the De institutione harmonica. This includes works by such well-known theorists as Marchetto da Padova, Johannes Tinctoris, and Franchinus Gaffurius, but equally significant are certain lesser-known practical works on the topic of plainsong from around the turn of the century, some of which are in the vernacular Italian, including Bonaventura da Brescia’s Breviloquium musicale (1497), the anonymous Compendium musices (1499), and the anonymous Quaestiones et solutiones (c.1500). -
Review Volume 14 (2014) Page 1
H-France Review Volume 14 (2014) Page 1 H-France Review Vol. 14 (May 2014), No. 77 Deborah McGrady and Jennifer Bain, eds., A Companion to Guillaume de Machaut. Leiden and Boston: Brill, 2012. xx + 414 pp. Tables, figures, examples, bibliography, and index. €159.00 (hb); $218.00 U.S. (hb). ISBN 978-9004-22581-7. Review by Jared C. Hartt, Oberlin College Conservatory of Music. The current state of Machaut studies is at an all-time high. With the recent publication of the monograph Guillaume de Machaut: Secretary, Poet, Musician by Elizabeth Eva Leach, the ongoing project “Machaut in the Book” spearheaded by Deborah McGrady and Benjamin Albritton, and the in-progress edition of Machaut’s complete musical and poetic oeuvre led by R. Barton Palmer and Yolanda Plumley, it is fitting—and extremely well-timed—that a companion to this magisterial figure of the Ars Nova be compiled.[1] Editors Deborah McGrady and Jennifer Bain have set an ambitious goal for themselves in this volume of eighteen essays: “As the first collection to propose itself as an introduction to Guillaume de Machaut that would endeavor to provide the non-specialist with a broad overview of his corpus and its treatment in modern research, the present Companion also strives to sketch out new avenues of scholarly inquiry” (p. 7). The contributors, many of whom are Machaut specialists, are thus challenged with providing on the one hand an accessible overview for scholars new to Machaut—and given the book’s title, A Companion, this ought to be its primary objective—while on the other hand providing stimulating dialogue for scholars already fluent in Machaut’s musical and literary language. -
Machaut's Balade Ploures Dames (B32) in the Light of Real Modality
Sonderdrucke aus der Albert-Ludwigs-Universität Freiburg CHRISTIAN BERGER Machaut‘s Balade Ploures dames (B32) in the Light of Real Modality Originalbeitrag erschienen in: Machaut’s Music : New Interpretations / Herausgegeben von Elizabeth Eva LEACH. Woodbridge : Boydell Press, 2003 (Studies in Medieval and Renaissance Music ; 1), S. 193-204 13 Machaut‘s Balade Ploures dames (B32) in the Light of Real Modality 1 ______________________________________________________________________ Christian Berger Wulf Arlt zum 65. Geburtstag The most reliable basis for our analytical approach to musical works of the late Middle Ages is via their transmisison as written texts. Since these texts are themselves part of an earlier culture, reading them as instructions by which to reproduce the music of this culture requires that we study the presuppositions of this cultural system – the ‚webs of significance’ in which any individual is suspended. As Geertz stresses, to explore this webs does not need ‚an experimental science in search of law but an interpretive one in search of meaning.’2 Music history thus relies not only upon musical texts, but also upon the background of elementary music teaching against which to view the assumptions upon which those texts are based. The consequences of such an assumption may be demonstrated by means of a short example of chant repertory.3 Figure 13.1 represents two versions of ‘et porta coeli’, an excerpt from the responsory ‘Terribilis est’, distinguished only by the leap of a fifth at the beginning.4 At about 1100 John of Afflighem criticised this leap as a corruption of chant resulting from ‘the ignorance of the fools’.and the evidence of further testimonies upholds his opinion. -
How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Kane, Julie Ellen, "How the Villanelle's Form Got Fixed." (1999). LSU Historical Dissertations and Theses. 6892. https://digitalcommons.lsu.edu/gradschool_disstheses/6892 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 This manuscript has been rqxroduced from the microfilm master. UMI films the text directfy firom the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fiice, vdiile others may be from any typ e o f com pater 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 reproduced by sectioning the original, b^innm g at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Sachgebiete Im Überblick 513
Sachgebiete im Überblick 513 Sachgebiete im Überblick Dramatik (bei Verweis-Stichwörtern steht in Klammern der Grund artikel) Allgemelnes: Aristotel. Dramatik(ep. Theater)· Comedia · Comedie · Commedia · Drama · Dramaturgie · Furcht Lyrik und Mitleid · Komödie · Libretto · Lustspiel · Pantragis mus · Schauspiel · Tetralogie · Tragik · Tragikomödie · Allgemein: Bilderlyrik · Gedankenlyrik · Gassenhauer· Tragödie · Trauerspiel · Trilogie · Verfremdung · Ver Gedicht · Genres objectifs · Hymne · Ideenballade · fremdungseffekt Kunstballade· Lied· Lyrik· Lyrisches Ich· Ode· Poem · Innere und äußere Strukturelemente: Akt · Anagnorisis Protestsong · Refrain · Rhapsodie · Rollenlyrik · Schlager · Aufzug · Botenbericht · Deus ex machina · Dreiakter · Formale Aspekte: Bildreihengedicht · Briefgedicht · Car Drei Einheiten · Dumb show · Einakter · Epitasis · Erre men figuratum (Figurengedicht) ·Cento· Chiffregedicht· gendes Moment · Exposition · Fallhöhe · Fünfakter · Göt• Echogedicht· Elegie · Figur(en)gedicht · Glosa · Klingge terapparat · Hamartia · Handlung · Hybris · Intrige · dicht . Lautgedicht . Sonett · Spaltverse · Vers rapportes . Kanevas · Katastasis · Katastrophe · Katharsis · Konflikt Wechselgesang · Krisis · Massenszenen · Nachspiel · Perioche · Peripetie Inhaltliche Aspekte: Bardendichtung · Barditus · Bildge · Plot · Protasis · Retardierendes Moment · Reyen · Spiel dicht · Butzenscheibenlyrik · Dinggedicht · Elegie · im Spiel · Ständeklausel · Szenarium · Szene · Teichosko Gemäldegedicht · Naturlyrik · Palinodie · Panegyrikus