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Of at the of the Edited by Alice M. Hanson, Rice University ABSTRACTS of PAPERS READ at the FORTY-SEVENTH ANNUAL MEET]NG of the AMERICAN MUSICOLOGICAL SOCIETY Edited by Alice M. Hanson, Rice University BOSTON, MASSACHUSETTS 12-15 NOVEMBER 1981 CONTENTS Thursday, November 12 3:00-6:00 p.rn. Medieval and Early Renaissance Topics; Andrew Hughes, Chair 1 Musical Life in Florence; Ednond Strainchamps, Chair 3 Instrurnental Music of the 17th and I 8th Centuries; Neal Zaslaw, Chair 7 Studies in 0pera; Lowe11 Lindgren, Chair 9 Study Session: Music and Society in Boston, 1750-1850 Anne Dhu Shapiro, Chair 1l Friday, November 13 9:00 a.m.-12:00 Monophony; Alejandro Planchart, Chair L4 French Renaissance Music; Lawrence Bernstein, Chair l6 18th-Century Topics; Charles Shernan, Chair 19 20th-Century Topics1' Latry W. Peterson, Chair 2t Panel Discussion: Musicology I: Current Methodology- Opportunities and Lirnitations; Claude V. Palisca, Chair 24 Friday, Novenber 13 1Z:00-2:00 p.n. Alternative Approaches to Musical Dranaturgy in Conternporary Music Theater; Malena Kuss, Chair 24a Friday, Novernber 13 2:00-5:00 p.n. Ancient and Medieval Musical Thought; Marion Gushee, Chair 24b J. S. Bach; Robert L. Marshal1, Chair 27 19th-Century Manuscript Studies; Rufus E. Hal1nark, Chair 29 Music in Anerica; Charles E. Hanm, Chair 32 Panel Discussion: Musicology II: The Musicologist Today and in the Future; D. Kern Holoman, Chair 34 Saturday, Novenber 14 9:00 a.n. -12:00 Notre Dane Music and Theory; Rebecca Baltzer, Chair 35 Italian Music of the Late Renaissance and the Baroque; James F. Arnstrong, Chair 37 19th and Early 20th-Century Topics; Elaine Brody, Chair 40 Jazz Improvisation; Paul S. Machlin, Chair 43 Panel Discussion: The Music Research Library in Post-Industrial Arnerica; Lenore Cora1, Chair 46 Saturday, Novernber 14 12:00-2:00 p.n. Panel Discussion: Musicology III: Musicology Beyond the Academy, MaryAnn Bonino, Chair 48 Saturday, November 14 MEDIEVAL AND EARLY RENAISSANCE TOPICS, Thursday, Novenber 12, 2:00-5:00 p.m. 3-T:61-0o- p.ln. Italian Monody; H. Wiley Hitchcock, Chair 49 Buxtehude: Mattheson; George J. Buelow, Chair r. Andrew Hughes, University of Toronto, Chair Beethoven; Lewis Lockwood, Chair 54 Faur6; Mini S. Daitz, Chair 56 Study Session: Cantus--tonus: Medieval Chant and the MUSIC IN THE PAPAL CEREMONIALS THE LATE MIDDLE AGES Conception of ModaTfty;-Tance W. Brunner, Chair s9 OF Andrew Tomasello Sunday, Novernber 15 Yale University 9:00 a.rn.-12:00 Byzantium and its Neighbors--West and North; Kenneth The ordines ronani contain the directions for papal cere- nonies as practiE€?--in-the Ronan curia. In each epoch, the I-evy, Chair 62 papacy Studies in Italian Renaissance; Leernan ordo reflected its surroundings; consequently when the the L. Perkins, Roman Chair 65 wEisituated outside of Rolne, some of the old liturgy period, docunents Lu11y: Rameau; James R. Anthony, 68 became inexecutable. During the Avlgnon the Chair describe the processions and the great feasts as thev were Late 18th and Early l9th-Century Topics; Karl palace. Geiringer, Chair 70 celebrated in the papal Originally containing only the most basic liturgical ob- the rnanuscripts Index of Authors and Panelists 73 servances, by the end of the fourteenth century had rrirtually become liturgical chronicles both by containing personal accounts of the divine office throughout the church year and by incorporating a great diversity of ceremonies. The ceremonials frorn this tine indicate the variety of liturgical services in use and the variability of each. One finds the detailed description of the duties of the rninister- ing clergy. For the period of the Schism, the ceremonials show the importance of the singers in the execution of the liturgy, The texts permit us to see the evolution of the office of rnagister capeile, and we find the enuneration of his duties-aF They existed in the first decade of the fifteenth century. Papal Masses are the rnodels for all Masses, under- scoring again the irnportance of papal practice as the Tnodel for all liturgi-ca1 practice. THE TROUVERE CHANSON: A STYLlSTIC STUDY BY GENERATION Donna Mayer-Martin Wake Forest Universitv In 1960, the philologist Roger Dragonetti presented a breakdown F:,ggge!I" of trouve're poet-colnposers. Since then there-Tave Seen several literary analyses of the trouvdre art by generation, but none which treat the nusic of the trouve'res. The five generations given by Dragonetti. include the following dates: 1st Generation (1170-1210): Audefroi 1e Bastard, Blondel Ae 'lle-t1e-;TEdtelain de Coucy, Conon de B5thune, Gace Bru1"e; Znd Generation (1210-1230): Moniot d'Arras, Thlbaut de Moniot de Paris; 3rd Generation (1230-1260): -hanpagne,(Moniot d'Arras), (Thibaut de--elampagte);TMoniot de Paris), Colin Muset, Fienri, Duc de Brabant; 4th Generation (1260- 1280): Adan de 1a Hai1e, cillebert de-TernetlTlE; Charles Comte d'Anjou; 5th Generation (1280-1300): Guillaune 1e Paigneur d'Amiens. -:,H Saturday, November 14 MEDIEVAL AND EARLY RENAISSANCE TOPICS, Thursday, Novenber 12, 2:00-5:00 p.m. 3-T:61-0o- p.ln. Italian Monody; H. Wiley Hitchcock, Chair 49 Buxtehude: Mattheson; George J. Buelow, Chair r. Andrew Hughes, University of Toronto, Chair Beethoven; Lewis Lockwood, Chair 54 Faur6; Mini S. Daitz, Chair 56 Study Session: Cantus--tonus: Medieval Chant and the MUSIC IN THE PAPAL CEREMONIALS THE LATE MIDDLE AGES Conception of ModaTfty;-Tance W. Brunner, Chair s9 OF Andrew Tomasello Sunday, Novernber 15 Yale University 9:00 a.rn.-12:00 Byzantium and its Neighbors--West and North; Kenneth The ordines ronani contain the directions for papal cere- nonies as practiE€?--in-the Ronan curia. In each epoch, the I-evy, Chair 62 papacy Studies in Italian Renaissance; Leernan ordo reflected its surroundings; consequently when the the L. Perkins, Roman Chair 65 wEisituated outside of Rolne, some of the old liturgy period, docunents Lu11y: Rameau; James R. Anthony, 68 became inexecutable. During the Avlgnon the Chair describe the processions and the great feasts as thev were Late 18th and Early l9th-Century Topics; Karl palace. Geiringer, Chair 70 celebrated in the papal Originally containing only the most basic liturgical ob- the rnanuscripts Index of Authors and Panelists 73 servances, by the end of the fourteenth century had rrirtually become liturgical chronicles both by containing personal accounts of the divine office throughout the church year and by incorporating a great diversity of ceremonies. The ceremonials frorn this tine indicate the variety of liturgical services in use and the variability of each. One finds the detailed description of the duties of the rninister- ing clergy. For the period of the Schism, the ceremonials show the importance of the singers in the execution of the liturgy, The texts permit us to see the evolution of the office of rnagister capeile, and we find the enuneration of his duties-aF They existed in the first decade of the fifteenth century. Papal Masses are the rnodels for all Masses, under- scoring again the irnportance of papal practice as the Tnodel for all liturgi-ca1 practice. THE TROUVERE CHANSON: A STYLlSTIC STUDY BY GENERATION Donna Mayer-Martin Wake Forest Universitv In 1960, the philologist Roger Dragonetti presented a breakdown F:,ggge!I" of trouve're poet-colnposers. Since then there-Tave Seen several literary analyses of the trouvdre art by generation, but none which treat the nusic of the trouve'res. The five generations given by Dragonetti. include the following dates: 1st Generation (1170-1210): Audefroi 1e Bastard, Blondel Ae 'lle-t1e-;TEdtelain de Coucy, Conon de B5thune, Gace Bru1"e; Znd Generation (1210-1230): Moniot d'Arras, Thlbaut de Moniot de Paris; 3rd Generation (1230-1260): -hanpagne,(Moniot d'Arras), (Thibaut de--elampagte);TMoniot de Paris), Colin Muset, Fienri, Duc de Brabant; 4th Generation (1260- 1280): Adan de 1a Hai1e, cillebert de-TernetlTlE; Charles Comte d'Anjou; 5th Generation (1280-1300): Guillaune 1e Paigneur d'Amiens. -:,H 2 The trouvEres listed above are the fourteen who have been used TONUS COMMIXTUS IN THE CHANSONS OF GUILLAUME DUFAY as the focal points of the present study. These fourteen are among the most prolific of the trouvdres, and so provide a William Peter Mahrt solid foundation for such a project. Stanford University The cornplete works (chansons) of each of the fourteen trouvdres listed were analyzed, with the "best reading,,of The chansons of Dufay, when studied in relation to the each chanson being determined by in-depth manuscript itudies. 15th-century theory of mode, show clear and consistent nodal Peripheral rnelodies set to the same text, which are prevalent procedures: successive phrases define various aspects of node, in almost al1 of the manuscripts, were not considered in the particularly the interval species and the distinctions of study, since they most 1ike1y are later settings of a text. ambitus. While sone chansons have a consistent rnode through- out, others vary in mode. This modal variation is defined by Results of comparative analyses shohr that there are indeed the theoretical tradition frorn Marchetus of Padua to Johannis stylistic differences between generations of trouv6re composers, Tinctoris as a tonus cornrnixtus. The present paper is based particularly in the areas of phrase contour and text setting. upon an analysis oT-The repertory of chansons by Dufay for the Other areas of conparison and contrast considered in this pro- use of such "comnixed" nodes. The criteria for the analysis ject include the use of melodic forrnulae, modal/scalar vocabu- are taken directly fron 15th-century theoretical sources. lary, and nusical/textual formal structures. Four important conclusions are drawn: 1) The relation of two different rnodes in cornmixture is established by the ernphasis upon tones and figures the two modes have in cornmon. 2) Com- MUSIC OVERLAY OR TEXT UNDERLAY? nixture can be of varior-rs types--slnultaneous combination, SCRIBAL PRACTICE AND MANUSCR]PT PRODUCTION polar fluctuation, and successive change of node.
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