DOCSLIB.ORG

CONFERENCE SCHEDULE, Basel, 3.-6

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

CONFERENCE SCHEDULE, Basel, 3.-6. July 2019 Wednesday, July 3, 2019 GROSSER SAAL NEUER SAAL KLEINER SAAL STUDIO ECKENSTEIN KLAUS-LINDNER-SAAL STUDIO I 09.00 REGISTRATION 10.00 OPENING 10.30 Themed Session: Free Papers Free Papers Free Papers Free Papers Studio 31 (4) Elizabethan and Jacobean Notational Issues and Medieval Music Theory and Musical Life in Basel Music Printing Installation, Live Praises of Music beyond Practice Chair: Inga Groote Chair: Performance Chair: Chair: Thomas Schmidt Chair: Andreas Haug Katherine Butler Paul Kolb Daniela v. Aretin Melinda Latour O'Brien Fabian Kolb Pipers, Paupers, and Ligatures and musical Griechische Begriffe in der The Sound of Friendship: Promoting Musical Princes: Social Class in the Meaning lateinischen Paschal de L’Estocart and Knowledge. Pictorial and Praise and Dispraise of Musikterminologie des his circle at the University Verbal Paratexts in the Music Mittelalters. Adaptation, of Basel from 1581–1583 Design of German Music Transformation und Theory Prints and Musical Übersetzung (paper in German, Textbooks around 1500 printed Version in English) Samantha Arten Nicolò Ferrari Giovanni Varelli John Kmetz Ginte Medzvieckaite (11.00) Johannes Keller “God is pleasde, with such Text Underlay in Firminus The Roman schola cantorum Musicians in Motion: Positioning Devotional (Arciorgano) & Ensemble lyke armony”: Protestant Caron’s Masses according to the Carolingians: Workplace Mobility, Music Prints within Italian Domus Artis Praise of Music in a Reading of the lost Berlin Charitable Giving, and the Printed Book Market 1520- Elizabethan and Early Diptych Erasmus Foundation at the 1640 Jacobean England University of Basel (1533- 1633) Janet Pollack David I Lewis Charles M. Atkinson Daniel Trocmé-Latter Marianne C.E. Gillion “Secrets of Future and Learning to Interpret On Modulation in Early Latin Lutheran hymnody in Musical Proofreading at an Celestial Harmony”: Praise Mensural Rhythm: Rules or Medieval Chant: The φθοραί Reformation Basel Early Modern Printing of Music Literature and Experience? in Byzantium and the vitia in House: The Case of the Commendatory Verses in the West Graduale Romanum Early Modern English Music (Antwerp: Officina Books Plantiniana, 1599) Samantha Bassler Christian Goursaud Alejandro Enrique Planchart Harald Gropp Louisa Hunter-Bradley “Hath brought Madde Men The Notation of Busnoys's A Newly Discovered Von Mainz nach Basel --- Cover to cover: Tracing the into Their Perfect Wits and Missa L'homme armé: An Sequentia in Benevento 40 nicht nur Peter Schöffer publishing process from Senses”: Praises of Music, Assessment of the Sources and its implication for the commissioning through to Medicine, Philosophy, transmission of Carolingian sales of De la Hèle's Octo Theology, and Disability in Music to Southern Italy Missae (1578) at the Early Modern England Officina Plantiniana 12.30 LUNCH 14.00 Free Papers Themed Session: Free Papers Paired Papers/Free Papers Free Papers Studio 31 (4) Music in England: Lute Song The Renaissance Musical Renaissance Motet Medieval Songs and its Soundscapes and Installation/Live and Beyond Work: Foundations, Chair: Birgit Lodes Sources Mythmakers Performance Chair: Repertories and Practices Chair: Christian Thomas Chair: Chair: Chair: John Griffiths Leitmeir Richard (Anthony) Soterraña Aguirre Lance Davis Morrison Christelle Cazaux-Kowalski Blaithin Therese Hurley Johannes Keller Robinson Presentation Research Lord, Don't Remember / Don't A Conductus and its ‘A time in Foreign and (Arciorgano) & Ensemble ‘The Poet with his luryng Project: The Renaissance Forget: Imitatio in the Late Prosula? Dic Christi and Strange Countries’ – Domus Artis Lute, his Sonets syngeth Musical Work (15 min.) Domine, non secundum Bulla fulminante in the Thomas Whythorne’s Mid- shrill’: Elizabethan and Tradition Codex Buranus (D-Bs Clm Sixteenth-Century Musical Jacobean Voice Types and John Griffiths 4660) and other Journey to France, the Lute Song The Architecture of “peripheral” sources Flanders, Germany, Renaissance Musical Switzerland and Italy Narrative (15 min.) Katie Bank Carlos Gutiérrez Peter W. Urquhart Anne-Zoé Rillon-Marne Evan MacCarthy Rethinking ‘Light’ Song in Fluid Multiplicities: Thinking Questions about pitch Melismas in the Codex The Voyage through Early Modern England the Ontology of Musical content in 16th c. Buranus Montaigne’s Ears Works through Renaissance performance of Benedicta es Philosophy (15 min.) Pilar Ramos On glosas and again on the Musical Work in 16th Century (15 min.) Joseph Sargent Ana López Samuel Michael Bradley Jennifer Bain Marina Toffetti Revisiting George Marson: Los brazos traigo cansados: The Intersection of Notation, Contrafacta and Musical Musical Heritage and Music, Biography, Context Origins and Transformation Style, and Performers’ Quotation in the Repertory Transnational Cultural of a Romance in the Chromatic Instincts in the of Hildegard of Bingen Identity: the Dissemination Renaissance (15 min.) Music of Jean Guyot and Assimilation of Italian Music to the North of the Alps and the Genesis of a Pan-European Style Caitlin Roxana Quigley Manuel del Sol Megan K. Eagen-Jones Santiago Ruiz Torres Bartłomiej Gembicki David Francis Gallagher Nolan Making Pange lingua of Mid-Sixteenth Century Peculiarities in the The Musicology of Better notes? – A The Music of Philippe de Johannes de Urrede in Early Centonate Motets as Riddles transmission of the Legendary Places. Venice Provocative Proposal for Monte in the Paston Modern Spain (15 min.) in Music and Text Aquitanian Notation in and its Mythmakers the Tuning of Marenzio's Collection Plainchant Sources from 'O voi che sospirate' Aragon (11th-14th Centuries) 16.00 COFFEE BREAK 16.30 Free Papers Free Papers / Paired Free Papers Themed Session: Free Papers Themed Lecture Recitals: (4) Around Josquin Papers Chant traditions in Local Silvestro Ganassi’s Music Printing Why did Nicola Vicentino Chair: Spanish and Italian Sacred Liturgies I Fontegara: Status Chair: Choose to Introduce his Polyphony Chair: Giovanni Varelli quaestionis and Recent Enharmonic System Chair: Daniele Filippi Research Developments through Solmization? Chair: Chair: Martin Kirnbauer Giorgio Peloso Zantaforni Owen Lewis Rees Gionata Brusa Dina Titan Tim Crawford Anne Smith, Johannes Word and Music at Play: the Music at Spanish Habsburg I Libri Ordinari come fonte per Silvestro Ganassi’s A tool for exploring early Keller and Ivo Haun case of Non te smarir cor exequies: the Evidence of la conoscenza della prassi Diminution Style – A New printed music: F-TEMPO Why Did Nicola Vicentino mio va’ passo passo the libros de exequias esecutiva: un’indagine Interpretation of (Full-Text search of Early Choose to Introduce his Attributed to Josquin esplorativa Fontegara Music Prints Online) Enharmonic System [Paper read in Italian] through Solmization? Elizabeth Randell Upton Emilio Ros-Fábregas Giulia Gabrielli Martina Papiro Lynette Bowring Josquin des Prez, Virgo A new manuscript of Il ‘canto del popolo’ in Beyond illustration: The Materiality and the Musical Salutiferi, and Lucrezia Spanish Renaissance Sudtirolo dal Medioevo al title pages of Ganassi’s Work in Renaissance Italy Borgia polyphony from Totana Seicento: alcuni nuovi Fontegara 1535 & Regola (Murcia) contributi Rubertina 1542 [Paper read in Italien] Jeffrey J. Dean Andrea Puentes-Blanco Ute Evers Thilo Hirsch Susan Forscher Weiss O felix urbs Aquensium: a An Iberian Holy Week Cycle Kommt das „Augsburger Il dolce suono – Acoustical Originality and Imitation in new composer and a of Responsories and its Osterspiel“ wirklich aus measurements and Sixteenth-Century Musical context for Josquin's early Italian Connection Augsburg? practical experiences with Grammars: The Curious works 'new' viols after Ganassi Case of Ambrosius 1542/43 Wilfflingseder’s Erotemata Musices (Nuremberg, 1563) Jane Daphne Hatter Sigrid Harris Samuel James Barrett William Dongois and Tiago Royston Gustavson Puns as prayers in late- His Cross to Bear: Imitatio Imitation and Affiliation in the Simas Freire The Choirbook of Count medieval music or How do Christi and the Affects of Medieval Latin Hymn Ganassi: musicien- Anton of Isenburg- you solve a problem like “la the Soul in Gesualdo’s Repertory spéculateur ou musicien- Büdingen, [Ronneburg] mi la?” Responsoria (1611) pédagogue. 1558–1560: A Neglected Monument of Music Printing 18.30 19.00 RECEPTION IN THE MUSIKMUSEUM AND VISIT OF THE EXHIBITION “KLANGBILDER” Thursday, July 4, 2019 GROSSER SAAL NEUER SAAL KLEINER SAAL STUDIO ECKENSTEIN KLAUS-LINDNER-SAAL STUDIO I 09.00 Themed Session: Celebrating Free Papers Free Papers Themed Session: Themed Session: Short Papers (3) the Census-Catalogue at 40: 13th-Century Motet / Lyrics Lute Music Monastic Music from the Matters and Materialities Permixtiones I Manuscript Studies Past and Chair: Chair: Marc Lewon Bay to Biscay to the Baltic in Music of the Habsburg Chair: Charles M. Arkinson Future, Part I, Beyond the Sea: a European Court and the Czech Lands Census-Catalogue (I) Perspective – Part I Chair: Chair:Margaret Bent Chair: Magnus Williamson Matthew Paul Thomson Agnieszka Leszczyńska Lois Breckon Jiri K. Kroupa Matthieu Romanens Beyond the Fringes of Cen- Fixity, Variance, and Emanuel Wurstisen, his The Comparative Silence of «Qui operatus est mihi?» Num est rithmus modulatio Cat: Polyphonic Insertions in Compositional Process in Lute Tablature and their Florentine Nuns after Some New Insights in sine ratione? Auf der Suche Plainsong Sources, 1400- Thirteenth-Century
Recommended publications
  • Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort Olson25@Marshall.Edu

    Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]

    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support.
  • Dir So, Trobar Vers, Entendre Razo. Poetry and Music in Medieval Romance Lyric*

    Dir So, Trobar Vers, Entendre Razo. Poetry and Music in Medieval Romance Lyric*

    Philomusica on-line 16 (2017) Dir so, trobar vers, entendre razo. Poetry and music in medieval Romance lyric* Maria Sofia Lannuti Università degli Studi di Pavia-Cremona [email protected] § Fino a che punto, nella lirica romanza § To what extent, in medieval del medioevo, l’idea di un’originaria Romance lyric, is the idea of an simbiosi tra parola e musica è original symbiosis between word and storicamente fondata? Prendendo in music historically grounded? Taking considerazione documenti e testi into account medieval documents letterari e non, il saggio intende and texts, both literary and non- sostenere l’ipotesi che un aspetto literary, this essay explores the fondamentale del rapporto tra poesia e interpretive hypothesis that one musica sia rimasto invariato dalle fundamental aspect of the relation- origini della lirica romanza fino alla fine ship between poetry and music del Trecento: l’indipendenza delle due remained unchanged from the forme d’arte nel processo creativo, e origins of Romance lyric through to conseguentemente il prevalere di una the end of the fourteenth century: the divisione delle competenze e dei ruoli independence of the two forms of art tra poeti e musicisti. in the creative process, and conse- quently the prevalence of a division of competence and role between poets and musicians. «Philomusica on-line» – Rivista del Dipartimento di Musicologia e beni culturali e-mail: [email protected] – Università degli Studi di Pavia <http://philomusica.unipv.it> – ISSN 1826-9001 – Copyright © 2017 by the Authors Philomusica on-line 16 (2017) Tacea la notte placida e bella in ciel sereno la luna il viso argenteo mostrava lieto e pieno..
  • SSCM - AHS Joint Meeting April 23-26, 2015 Iowa City

    SSCM - AHS Joint Meeting April 23-26, 2015 Iowa City

    SSCM - AHS Joint Meeting April 23-26, 2015 Iowa City Abstracts Thursday Afternoon I. Plenary Session: Baroque Lives Roger Freitas (Eastman School of Music), Chair Supereminet omnes: New Light on the Life and Career of Vittoria Tarquini Beth Glixon (University of Kentucky) Vittoria Tarquini is known especially among Handel enthusiasts as the composer’s would-be paramour during his time in Florence in 1708; indeed, her relationship with Handel has taken on even greater significance over the last few decades as questions regarding the composer’s sexuality have been raised. The singer also occupies a niche in a particular corner of Florentine history as the supposed mistress of Grand Prince Ferdinando de’ Medici. Using newly discovered archival and visual material as well as a wide range of secondary sources, my paper traces Tarquini’s life and operatic career in Italy and Germany before looking at her years of retirement in Venice, where she died in 1746. Tarquini’s performance at Venice’s famed Teatro S. Giovanni Grisostomo in 1688 put her under the influence of the powerful Grimani family, and through Vincenzo Grimani she made the acquaintance of Prince Ferdinando, who would become her patron and employer ten years later. Rather than continuing her career in Venice, she moved to Hanover later in 1688, and soon married the French concertmaster Jean-Baptiste Farinel. She subsequently spent a number of years singing in Naples, where she was a favorite of the Viceroy, the Duke of Medinaceli. While there she sang in various works of Alessandro Scarlatti, and premiered the title role in Il trionfo di Camilla, which became one of the most popular operas of the eighteenth century.
  • 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

    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
  • Download (15MB)

    Download (15MB)

    https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] VERSE FORM IN ENGLISH RENAISSANCE POETRY: A CATALOGUE OF STANZA PATTERNS BY MUNZER ADEL ABSI THESIS SUBMITTED IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH LITERATURE FACULTY OF ARTS UNIVERSITY OF GLASGOW 1992 ABSI, M.A. ProQuest Number: 10992066 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10992066 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC.
  • Sachgebiete Im Überblick 513

    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
  • Refrain, Again: the Return of the Villanelle

    Refrain, Again: the Return of the Villanelle

    Refrain, Again: The Return of the Villanelle Amanda Lowry French Charlottesville, VA B.A., University of Colorado at Boulder, 1992, cum laude M.A., Concentration in Women's Studies, University of Virginia, 1995 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia August 2004 ___________________________________ ___________________________________ ___________________________________ ___________________________________ ABSTRACT Poets and scholars are all wrong about the villanelle. While most reference texts teach that the villanelle's nineteen-line alternating-refrain form was codified in the Renaissance, the scholar Julie Kane has conclusively shown that Jean Passerat's "Villanelle" ("J'ay perdu ma Tourterelle"), written in 1574 and first published in 1606, is the only Renaissance example of this form. My own research has discovered that the nineteenth-century "revival" of the villanelle stems from an 1844 treatise by a little- known French Romantic poet-critic named Wilhelm Ténint. My study traces the villanelle first from its highly mythologized origin in the humanism of Renaissance France to its deployment in French post-Romantic and English Parnassian and Decadent verse, then from its bare survival in the period of high modernism to its minor revival by mid-century modernists, concluding with its prominence in the polyvocal culture wars of Anglophone poetry ever since Elizabeth Bishop’s "One Art" (1976). The villanelle might justly be called the only fixed form of contemporary invention in English; contemporary poets may be attracted to the form because it connotes tradition without bearing the burden of tradition. Poets and scholars have neither wanted nor needed to know that the villanelle is not an archaic, foreign form.
  • Graduate-Dissertations-21

    Graduate-Dissertations-21

    Ph.D. Dissertations in Musicology University of North Carolina at Chapel Hill Department of Music 1939 – 2021 Table of Contents Dissertations before 1950 1939 1949 Dissertations from 1950 - 1959 1950 1952 1953 1955 1956 1958 1959 Dissertations from 1960 - 1969 1960 1961 1962 1964 1965 1966 1967 1968 1969 Dissertations from 1970 - 1979 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 Dissertations from 1980 - 1989 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 Dissertations from 1990 - 1999 1990 1991 1992 1994 1995 1996 1998 1999 Dissertations from 2000 - 2009 2000 2001 2002 2003 2005 2006 2007 2008 2009 Dissertations since 2010 2010 2013 2014 2015 2016 2018 2019 Dissertations since 2020 2020 2021 1939 Peter Sijer Hansen The Life and Works of Dominico Phinot (ca. 1510-ca. 1555) (under the direction of Glen Haydon) 1949 Willis Cowan Gates The Literature for Unaccompanied Solo Violin (under the direction of Glen Haydon) Gwynn Spencer McPeek The Windsor Manuscript, British Museum, Egerton 3307 (under the direction of Glen Haydon) Wilton Elman Mason The Lute Music of Sylvius Leopold Weiss (under the direction of Glen Haydon) 1950 Delbert Meacham Beswick The Problem of Tonality in Seventeenth-Century Music (under the direction of Glen Haydon) 1952 Allen McCain Garrett The Works of William Billings (under the direction of Glen Haydon) Herbert Stanton Livingston The Italian Overture from A. Scarlatti to Mozart (under the direction of Glen Haydon) 1953 Almonte Charles Howell, Jr. The French Organ Mass in the Sixteenth and Seventeenth Centuries (under the direction of Jan Philip Schinhan) 1955 George E.
  • Guillaume De Machaut: Musician and Poet Sharon S

    Guillaume De Machaut: Musician and Poet Sharon S

    Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1999 Guillaume de Machaut: Musician and Poet Sharon S. Pearcy Eastern Illinois University This research is a product of the graduate program in Music at Eastern Illinois University. Find out more about the program. Recommended Citation Pearcy, Sharon S., "Guillaume de Machaut: Musician and Poet" (1999). Masters Theses. 1697. https://thekeep.eiu.edu/theses/1697 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. THESIS/FIELD EXPERIENCE PAPER REPRODUCTION CERTIFICATE TO: Graduate Degree Candidates (who have written formal theses) SUBJECT: Permission to Reproduce Theses The University Library is receiving a number of request from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow these to be copied. PLEASE SIGN ONE OF THE FOLLOWING STATEMENTS: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. -. II I respectfully request Booth Library of Eastern Illinois University NOT allow my thesis to be reproduced because: Author's Signature Date thesis4 form GUILLAUME DE MACHAUT: MUSICIAN AND POET BY SHARON S. PEARCY /t}S'I - THESIS SUBMITTED IN PARTIAL FULFILLMENT OF TIIE REQUIREMENTS FOR TIIE DEGREE OF MASTER OF ARTS IN TIIE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSTIY CHARLESTON, ILLINOIS 1999 YEAR I HEREBY RECOMMEND THIS TIIESIS BE ACCEPTED AS FULFILLING THIS PART OF TIIE GRADUATE DEGREE CITED ABOVE Abstract The life of Guillaume de Machaut (c.
  • Appendix 2: General Course Overview

    Appendix 2: General Course Overview

    Appendix 2: General Course Overview Week 1 Introductions and syllabus. Secular vs. Sacred and Vocal vs. Instrumental What are the issues of “Early Music”? • performance, sources, scores, and instruments Module 1: Secular Vocal Music (750–1750) Periodization of Music History: • Medieval (750–1400) • Renaissance (1400–1600) • Baroque (1600–1750) MEDIEVAL Types of professional musicians • Troubadours vs. clerical musicians • Monophonic vs. polyphonic song • Improvised vs. written traditions Week 2 Polyphonic formes fixes chansons • ballade, rondeau, and virelai • ars nova vs. ars subtilior RENAISSANCE Chanson in the 16th century • Music, language, and expression Writing/printing music for amateurs • Italian madrigal Week 3 Italian vs. English madrigal • madrigalism • prima vs. seconda pratica Solo songs: Lute songs and Italian monody BAROQUE Basso continuo Invention of Opera • Monteverdi’s L’Orfeo (1607) Week 4 Assignment 1: Liner Notes Due Divas and Castrati • from court opera to public opera French Opera • Louis XIV • Jean-Baptiste Lully English Opera: Purcell • basso ostinato or ground bass Week 5 Opera seria: International opera in Italian • George Frideric Handel • da capo aria • recitative secco • recitative accompagnato Exam I Week 6 Module 2: Sacred Vocal Music (750–1750) MEDIEVAL Development of Musical Notation: • Charlemagne and Rome Plainchant for the Mass • syllabic, neumatic, melismatic Plainchant for the Office • mode Week 7 Notre dame polyphony: Notating rhythm • organum duplum and quadruplum • Magnus liber organi Vitry and
  • A Lo Largo De Los Últimos Años Ha Tenido Lugar Una Especie De Revolución En La Comprensión Y La Interpretación De La Música Medieval

    A Lo Largo De Los Últimos Años Ha Tenido Lugar Una Especie De Revolución En La Comprensión Y La Interpretación De La Música Medieval

    A lo largo de los últimos años ha tenido lugar una especie de revolución en la comprensión y la interpretación de la música medieval VOCES DEL PASADO EN MEDIOS DEL FUTURO: Un panorama del interés por la lírica medieval y su traducción a los media y lenguajes audiovisuales de principios del siglo XXI. Lucía Díaz Marroquín State University of New York, Stony Brook INTRODUCCIÓN A lo largo de los últimos años ha tenido lugar una especie de revolución en la 1 comprensión y la interpretación del repertorio lírico medieval. Las razones han sido varias, pero entre ellas destacan tres: •el perfeccionamiento y generalización de los medios de difusión audiovisuales, que ha permitido poner a la disposición de un público más amplio un repertorio que antes pertenecía prácticamente al terreno del esoterismo. •el creciente interés de los músicos, musicólogos y ciertos intérpretes especializados en el repertorio popular por recuperar, editar, interpretar y grabar las obras recogidas en las fuentes medievales. •la noción, cada día más extendida entre los investigadores, de que para comprender el significado de una manifestación artística nada resulta tan útil como situarla en relación con el resto de las manifestaciones culturales contemporáneas. Este trabajo está basado en esta última idea de interdisciplinariedad; tanto la que a lo largo de los últimos años ha animado a colaborar a intérpretes musicales y a investigadores, como la que a partir de ahora pueden llegar a establecer los investigadores de la literatura y los músicos. LA CURIOSIDAD POR LA LÍRICA MEDIEVAL 1) La Literatura ... Tanto en Europa como en Estados Unidos los departamentos de Literatura y 2 Música llevan ya años interesándose por el repertorio de la lírica medieval tradicional.
  • The Middle Ages, Part 2

    The Middle Ages, Part 2

    A-R Online Music Anthology www.armusicanthology.com Content Guide The Medieval Period, Part 2: Polyphonic Traditions Karen M. Cook is associate professor of music history at By Karen M. Cook The Hartt School at the University of Hartford. She specializes in late medieval music history, with current The University of Hartford research projects treating various aspects of mensural theory and notation in late-fourteenth-century France. Assigned Readings She also focuses heavily on the intersections between Core Survey music and medievalism, particularly in video games, the subject of several recent publications in the journal Historical and Analytical Perspectives postmedieval and the Oxford Handbook of Music and Composer Biographies Medievalism. Supplementary Readings - Anonymous IV, excerpt from De mensuris et discantu - Johannes de Grocheio, excerpts from De musica Suggestions for Further Reading Summary List Genres to Understand Musical Terms to Understand Contextual Terms, Figures, and Events Main Concepts Scores and Recordings Exercises This workbook is for authorized use only. Unauthorized copying or posting is an infringement of copyright. If you have questions about using this article, please contact us: http://www.armusicanthology.com/anthology/Contact.aspx Content Guide: The Medieval Period, Part 2 (Polyphonic Traditions) 1 ______________________________________________________________________________ Content Guide The Medieval Period, Part 2: Polyphonic Traditions Karen M. Cook Assigned Readings Core Survey o James Maiello, “Medieval