DOCSLIB.ORG

The First Black Published Composer 101

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The First Black Published Composer I NHARVARD UNIVERSITY RESEARCHER Josephine Wright's prescient article, "lgna­ tius Sancho (1729-1780), African Composer in England," The Block Perspective in Music, vn/2 (Fall 1979), 134, she caJls Sancho "apparently the first black composer in history to publish his music." AJthough Sancho earns no biographical entry in The New Grove, E. L. Gerber's Neues historisch-biographisches lexikon der Ton­ künstler, Vierter The1/. S.-Z. (Leipzig: A. Kühnel, 1814), 15, gave him a 13-line article stating that he wrote a Theorie der Musik.' Unfortunately, this theory text seems Jost. But the Library of Congress owns Twelve Country Dances for the Year 1779. Ser for the Harpsichord By Permission Humbly Dedicated to the Right Hon­ ourable Miss North, by her most obedient Servant Ignatius Sancho (London: Printed for S. and A. Thompson N° 75 S• Pauls Church Yard [Price 6~]). Wright also identifies Sancho as composer of A Col/ection of New Songs Composed by an African and of two books of Minuels, Cotillions & Country Dances f or the Vio/in, Mando/in, German-Flute, and Harpsichord Composed by an Ajrican that are cata­ logued H. 1652.f (31); a. 9. b(l) and b.53. b(l) at the British Library. Gerber identified Sancho as originally ein Negersklave. On the other hand, he identified Joseph Boulogne, Chevalier de Saint-Georges (1739-1799), as racially ein Mulatte (Neues historisch-biographisches Lexikon, Zweyter Theil E.-1. (1812), 290). Dominique-René de Lerma, in "The Chevalier de Saint-Georges," The Block Per­ spective in Music, 1v / J (Spring 1976), 3-21, cited the chevalier's father as Joseph­ Jean-Nicholas Boulogne from France, where he had been in the parlement at Metz before assignment to Guadeloupe island as comptroller and secretary to the Ordre de Saint-Esprit. In footnote l, De Lerma cautions that "individual black composers" may well have ílourished on the European continent before the Chevalier de Saint­ Georges. If the Chevalier de Saint-Georges, even though a mulatto, be counted as Black,' then also would have to be so counted the Minas Gerais pleiad of eighteenth-century mulatto composers revealed by Francisco Curt Lange, the Rio de Janeiro cathedral Wright says that Sancho's surname was derived "from the squire in Cervante's(!) play(!]. Don Qui· xote" (p. 134). According to her, "Sancho v.as born in 1729 aboard a slave ship en ro u te from Guinea to the Olribbean pon of Cartagena, now located in North Columbia(!), Sonth America." She credits the Gerber eniry in her footnote 6 to the 1966 facsim1led v. 111, p. 15 (should be v. 111, second foliation, p. IS). 'lssued in 1974, Black Composers ~ries, Vol. 1 (Columbia M 32781), consisted entirely of music by the Che\aher de Samt·Georges. Samuel Coleridge-Taylor (father from Sierra Leone, mother English) occu· pies the first s1de of Vol. 2 in the same Black Composers Senes. Olly W1lson, "The Black-American Com­ poser ,'' The Bla<k Perspective m MuJ1c, 1/ I (Spring 1973), 33, chided lrving Kolodm lor quest1oning the "blackne~s" of the music included in Nataf1e Hmderas Plays Mus1c by Block Composers (Desto DC 710213). Robert Stevemon's "America's First Black Music Historian," Journal of the American Mus1colog1caf Soc1ety, xxvt/ 3 (Fall 1973), 383-404, grappled wllh the problem of racial mixing (pp. 388, 396, 400). 79 80 INTER·AMERJC'AN M USIC REVIEW chapelmaster often called the father of Brazilian music-José Mauricio Nunes Gar­ cia (1767-1830), and numerous other Brazilian mulattos who flourished before J 800. 1 In Portuguese, the word for mulatto is pardo.• The first Portuguese-born composer to publish both music and theoretical works who is identifiable as a pardo was Vicente Lusitano. Entered in ali international music lexicons from Gerber (111 (1813), 275) to The New Grove (x1, 340-341), he has hitherto emerged a somewhat shadowy figure. As authority for Vicente Lusitano's being a mulatto, Joao Franco Barreto (1600-ca. 1674)' thus identified him in his manuscript Bibliotheco Luzitana (Cadaval Ducal Library, Muge (Portugal], Sign. M.VI.14), fol. 953:• Víncencío Lusitano, natural de Olívenca, clerigo e homen pardo, compos em Padua, e na Hngua Italiana. Huma arte de canto ("Vicente Lusitano, native of Olivenca, clergyman and mulatto, wrote in Padua an Art of Singing in the ltalian language").... Barreto continues with details concerning the third edition of Lusitano's lntrodvt­ tione facilissima, et novissima, di Canto Fermo, Figvrato, Contrapon to semplice, et in concerto. Con Regole Generali per far fvghe differenti sopra il Canto Fermo, a ii. iii. & iiii. voci, & compositioni, proportioni, generi. S. Diatonico, Cromotico, Enarmonico (Venice: Francesco Rampazetto, 1561). This edition like the second which it duplicates (Venice: Francesco Marcolini, 1558), and thc first which differs only slightly (Rome: Antonio Blado, 1553),' presumably served as a textbook for the pupils whom Lusitano taught at Rome, Viterbo, and Padua. Ali three editions were dedicated to the same patron, Marc' Antonio Colon na, Duke of Marsi. 9 'Sce "Some Portuguese Sources for Early Braziltan Music History," Yearbook of the lnter-Ameru:on lnstllute far Musical Research, 1v (1968), 22-26. 'AntOnio Houaiss and Cathcrine B. Avery, Nóvo D1c1onár10 Applelon das Lfnguas Inglesa e Portu­ guesa (New York: Appleton-Century-Crof1s, 1967), p. 442: "pardo, mi [masculine·feminine]. mulatto." 'A native of L1sbon, Barre to published his translation of the Aeneid in 1664-1670, an /ndex de todos os Nomes proprios to conclude his three-volume edition of Camóes's Os lus1adas in 1669, and an Orto· graph1a da l111gua Portuguei.a in 1670. Concerning him see Oiogo Barbosa Machado, 81bltotheca lusitana (Lisbon; Ignacio Rodrigues, 1747), 11, 664-666; lnnocencio francisco da Silva, D1ccionáno B1bliograph1co Portuguez (lisbon: lmprensa Nacional, 1859), 111, 379-380. According to Barbosa Machado, the antiquarian Manuel Severim de Fana (1S82/3-16SS) induced Barreto to begin his 81blw­ theca Portuguei.o while rusticating at Redondo. Although ready for the press, its printing was disallowed (EJUS B1bliothecam lus//anom proped1em typis mandandom v1dere non licull). The copy in the Cadaval ducal library prov1ded Barbosa Machado "with many data which he [Barreto) had gathered with in­ defatigable zeal." ' Maria Augusta Alves Barbosa, Vincent1vs lvsitanvs ein porlURtes1scher Kompomst und Mus1k- 1'1eoret1ker des 16. Jo.hrhunderts (L1)bon: Secretaria de Estado da Cultura, Direccao Geral do Património Cultural, 1977 [printed and bound at Braga by Barbosa & Xavier, Artes Gráficas, Limitada, Rua Gabriel Pereira de Castro, 31-C)), p. 9 (note 10). Vicente Lusitano's mother was probably the Afncan Black, his fathcr the European. Sce Barbosa, p. S3: "ist es wohl moglich, dass er der Sohn einer Farbigen und cines weissen Portugiesen gewesen 1st." 'Facsímiles of the title pages (see below, pp. 94, 96) appear in Barbosa, at pp. 4-6. The first cdition at Brusscls, Bibliotheque Royalc, Sign. FS3 l 7 A L.P .. differs slightly from the second and third, which latter two duplicare each other 1ps1s verb1s. The title page of the first edition spells ln1rodu11one w1thou1 the double tt, contains punctuation and capitahzation variants, and begins in goth1c rather than roman type. A copy of the sccond edit1on knoY.n to Barbosa is al the Paris Bibliothequc Nationale, of the third at Brussels, Bililiotheque Royale, fS319 A L.P. Throughout the remamder of this article, no attempt at rigorous consistcncy will be made in spelling lntrodvtwne, lntrodvuwne, L1tier Pnmvs Ep1groma1vm, and other tilles containing capitalizcd u. 'Born at Civita Lavm1a February 26, 1S3S, l\larc' Antonio Colonna (11) d1ed at Medmaceh, Spain August 2, 1584. Thc death of two older brother~ left him m 1SS1 heir to the farnily tilles. In 1SSJ, the year of Vicente Lu~itano's dedicar ion, he cornmanded thc combined Spanish and Neapolitan cavalry in f1ghtmg The Firsl Black Published Composer 81 The first published (as opposed to manuscript) notice of Vicente Lusitano awaited Diogo Barbosa Machado's Bibliotheca lusirana (Lis bon: Ignacio Rodrigues, 1752), Ill, 779: Vicente, whose family name is unknown, was born in the small town of Oliven~a. Alentejo province. Pricst of the habit of St. Peter,' and a noted musician, he taught in the cities of Padua 'º and Viterbo with great success, and to the great profit of his students. '' He wrote the lntroduttione facilissima ... published by Francesco Rampazetto at Venice in 1561 " in large quarto, which is dedicated to Marc'Antonio Colonna, Duke of Marsi. Antonio Possevino cites this work in his Bibliotheca Selecta de ratione studiorum [Vol. 11, p. 223, Cologne edition of 1607); so does Fabiano Giustiniani in his /ndex universa/is alphabeticus, appendix under the word "musica" (Rome, 1612}. Canon Bernardo da Fonseca translated this work into Por­ tuguese in 1603. " Olivenr;a, 24 km southwest of Badajoz, Spain-which both Barreto and Barbosa Machado cited as Vicente Lusitano's birthplace-enjoyed close links with the port city of Ceuta (opposite Gibraltar in Africa) during Lusitano's lifetime. Ceuta, v.rested from the Moors by Portuguese king Joao 1 August 21, 1415, became five years later the seat of a diocese created by Pope Martin V September 6, 1420. On July 14, 1444, Eugene IV's bull Romanus Pontifex annexed Olivenr;a (and Valenr;a do Minho) to the diocese of Ceuca. From 1473 to 1513 Olivenca belonged lo Braga diocese but, by Leo X's bull of June 25, 1513, /nter curas multiplices, was again joined co Cueta-in which diocese it remained until June 9, 1570, when ic was made pan of the newly created diocese of Elvas." arouncl Siena. His father Ascanio died March 24, 1555, h1s mother Giovanna di Aragona Sepcember 11, 1575.
Recommended publications
  • Investigations Into the Zarlino-Galilei Dispute

    Investigations Into the Zarlino-Galilei Dispute

    WHERE NATURE AND ART ADJOIN: INVESTIGATIONS INTO THE ZARLINO- GALILEI DISPUTE, INCLUDING AN ANNOTATED TRANSLATION OF VINCENZO GALILEI’S DISCORSO INTORNO ALL’OPERE DI MESSER GIOSEFFO ZARLINO Randall E. Goldberg Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Jacobs School of Music Indiana University February 2011 UMI Number: 3449553 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 complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3449553 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106-1346 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee ____________________________ Thomas J. Mathiesen ____________________________ Massimo Ossi ____________________________ Ayana Smith ____________________________ Domenico Bertoloni Meli February 8, 2011 ii Copyright © 2011 Randall E. Goldberg iii Dedication For encouraging me to follow my dreams and helping me “be the ball,” this dissertation is dedicated with love to my parents Barry and Sherry Goldberg iv Acknowledgments There are many people and institutions that aided me in the completion of this project. First of all, I would like thank the Jacobs School of Music at Indiana University.
  • Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600

    Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600

    Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands.
  • La Musique À La Renaissance Philippe Vendrix

    La Musique À La Renaissance Philippe Vendrix

    La musique à la Renaissance Philippe Vendrix To cite this version: Philippe Vendrix. La musique à la Renaissance. Presses Universitaires de France, 127 p., 1999, Que sais-je ?, n. 3448. halshs-00008954 HAL Id: halshs-00008954 https://halshs.archives-ouvertes.fr/halshs-00008954 Submitted on 19 Mar 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. La musique à la Renaissance Philippe Vendrix INTRODUCTION Chaque époque a construit des discours sur la musique, non pas pour réduire une pratique artistique à un ensemble de concepts, mais plutôt pour souligner le rôle central de l’art des sons dans les relations que l’être entretient avec la nature, avec le monde, avec l’univers, avec Dieu, et aussi avec sa propre imagination. Parler d’esthétique ou de théorie esthétique à la Renaissance peut paraître anachronique, du moins si l’on se réfère à la discipline philosophique qu’est l’esthétique, née effectivement au cours du XVIIIe siècle. Si l’on abandonne la notion héritée des Lumières pour plutôt s’interroger sur la réalité des prises de conscience esthétique, alors l’anachronisme n’est plus de mise.
  • The Modal Gamut in the Sixteenth Century

    The Modal Gamut in the Sixteenth Century

    Page 61 C H A P T E R 3 The Modal Gamut in the Sixteenth and Early Seventeenth Centuries I. Introductory Remarks In this chapter we will trace the origins of eleven pitch-class tonality in the modally inflected music of the sixteenth century, particularly in the works of the Mannerist composers, beginning with Cipriano de Rore, through to the works of Orlando de Lasso.1 These composers consciously sought to express ever more highly emotional poetry (both secular and sacred) through their interpretation of the Greek diatonic and chromatic genera. The chapter then continues with a detailed discussion of selected madrigals by Claudio Monteverdi, whose music is emblematic of the evolving modal language of the early to middle seventeenth century 1Parts of this chapter were previously published in: Henry Burnett, “A New Theory of Hexachord Modulation in the Late Sixteenth and Early Seventeenth Centuries,” International Journal of Musicology, 8/1999,115-175. However, since writing that article, we find that our interpretation of the music in relation to our theory has changed drastically. Therefore this present chapter supercedes all analytical discussions contained in the previous article. Page 62 The inexhaustible diversity and richness of the harmonic style that typifies the music of these influential composers, and that of the early to middle seventeenth century in general, would seem to militate against the formation of a unified theory appropriate to this music. Part of the problem lies in the very nature of the music itself, which seems, on the surface at least, to be forever fluctuating between a chromatically extended modal system and an emerging “key-centered” diatonic one; the two systems often, even deliberately, work in opposition, even within the same composition.
  • Hélène Segré — (33) 6 14 32 77 43 - Helene.Segre@Wanadoo.Fr 3

    Hélène Segré — (33) 6 14 32 77 43 - [email protected] 3

    1 Les Sacqueboutiers, ensemble de cuivres anciens de Toulouse 22 bis rue des Fleurs - 31000 Toulouse Phone. (33) 5 61 13 00 18 - [email protected] Press contact : Hélène Segré — (33) 6 14 32 77 43 - [email protected] 3. Biography 4. 4 days - An international meeting 5. Competition 6 - 7. Jury 8. 40 years anniversary concert 9 - 10. Conferences 11. Discography 12. Around the world 13 -14-15 Presentation of the instruments 16. Media Les Sacqueboutiers ensemble de cuivres anciens de Toulouse Artistic Direction : Jean-Pierre Canihac et Daniel Lassalle Les Sacqueboutiers, an ensemble based in Toulouse, playing on early brass instruments have been in existence for nearly four decades during which time they have built up a reputation as one of the finest early music ensembles on the international scene. Regarded by specialists and the public alike as a reference in the interpretation of seventeenth-century instrumental music, particularly that of Italy and Germany, the ensemble has reaped the highest awards for its recordings. When they decided to form Les Sacqueboutiers in 1976, Jean-Pierre Canihac and Jean-Pierre Mathieu were among the first to embark on the adventurous rediscovery of early instruments. The quality of their work soon attracted attention, and they took part in the groundbreaking recording of Monteverdi's Vespro della Beata Vergine, conducted by Michel Corboz. Since then, they have per-formed music ranging from the Renaissance to Mozart, with many prestigious ensembles including Les Arts Florissants (William Christie), La Chapelle Royale (Philippe Herreweghe), A Sei Voci (Bernard Fabre-Garrus), Elyma (Gabriel Garrido), La Grande Ecurie et la Chambre du Roy (Jean-Claude Malgoire), the Clément Janequin Ensemble (Dominique Visse)..
  • Instrumentalists and Renaissance Culture, 1420–1600

    Instrumentalists and Renaissance Culture, 1420–1600

    Instrumentalists and Renaissance Culture, 1420–1600 This innovative and multilayered study of the music and culture of Renaissance instrumentalists spans the early institutionalization of instrumental music from c.1420 to the rise of the basso continuo and newer roles for players around 1600. Employing a broad cultural narrative interwoven with detailed case studies, close readings of eighteen essential musical sources, and analysis of musical images, Victor Coelho and Keith Polk show that instrumental music formed a vital and dynamic element in the artistic landscape, from rote function to creative fantasy. Instrumentalists occupied a central role in courtly ceremonies and private social rituals during the Renaissance, as banquets, dances, processions, religious celebrations, and weddings all required their participation – regardless of social class. Instrumental genres were highly diverse artistic creations, from polyphonic repertories revealing knowledge of notated styles, to improvisation and flexible practices. Understanding the contributions of instrumentalists is essential for any accurate assessment of Renaissance culture. victor coelho is Professor of Music and Director of the Center for Early Music Studies at Boston University, a fellow of Villa I Tatti, the Harvard University Center for Italian Renaissance Studies in Florence, and a lutenist and guitarist. His books include Music and Science in the Age of Galileo, The Manuscript Sources of Seventeenth- Century Italian Lute Music, Performance on Lute, Guitar, and Vihuela, and The Cambridge Companion to the Guitar. In 2000 he received the Noah Greenberg Award given by the American Musicological Society for outstanding contributions to the performance of early music, resulting in a recording (with Alan Curtis) that won a Prelude Classical Award in 2004.
  • ESTUDO DOS AJUSTES LARÍNGEOS E SUPRALARÍNGEOS NO CANTO DOS CONTRATENORES: Dados Fibronasolaringoscópicos, Vídeo-Radioscópicos, Eletroglotográficos E Acústicos

    ESTUDO DOS AJUSTES LARÍNGEOS E SUPRALARÍNGEOS NO CANTO DOS CONTRATENORES: Dados Fibronasolaringoscópicos, Vídeo-Radioscópicos, Eletroglotográficos E Acústicos

    TIAGO LIMA BICALHO CRUZ ESTUDO DOS AJUSTES LARÍNGEOS E SUPRALARÍNGEOS NO CANTO DOS CONTRATENORES: Dados Fibronasolaringoscópicos, Vídeo-radioscópicos, Eletroglotográficos e Acústicos Escola de Música Universidade Federal de Minas Gerais Junho/2006 TIAGO LIMA BICALHO CRUZ ESTUDO DOS AJUSTES LARÍNGEOS E SUPRALARÍNGEOS NO CANTO DOS CONTRATENORES: Dados Fibronasolaringoscópicos, Vídeo-radioscópicos, Eletroglotográficos e Acústicos Dissertação apresentada ao Programa de Pós- Graduação da Escola de Música da Universidade Federal de Minas Gerais, como requisito para a obtenção do título de Mestre em Música. Linha de Pesquisa: Música e Tecnologia Orientador: Prof. Dr. Maurício Alves Loureiro (Escola de Música) Co-Orientador: Prof. Dr. Maurílio Nunes Vieira (ICEX/ Física) Universidade Federal de Minas Gerais Escola de Música Universidade Federal de Minas Gerais Junho/2006 Para meus pais, sogros, irmãos e Chris, o meu agradecimento especial pela força de sempre e apoio mesmo em momentos conflitantes desta caminhada. Como diz o ditado: “No final tudo dá certo!” Obrigado! Amo Vocês! iv AGRADECIMENTOS À Deus por ser o pai criador do universo no qual deposito minhas esperanças e busco forças para completar os meus projetos. À Chris que sempre me apoiou antes do início desse projeto o qual finalizei agora. Por todo amor por ela despendido a mim, pela compreensão, carinho, amizade e cumplicidade nas tarefas que tive de realizar. Aos meus pais por terem me dado a oportunidade de sempre estudar e cursar um correto caminho pelo qual cheguei até aqui. Pelo amor e carinho mesmo nos momentos difíceis. Aos meus irmãos que mesmo estando em profissões diferentes da minha souberam entender e compreender os meus objetivos de vida.
  • 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/ 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.
  • Introduction

    Introduction

    INTRODUCTION. Nicola Vicentino dei Vicentini was born in Vicenza in 1511 and died around 1576-77 in Milan. His name and birthplace are recorded in a document concerning his appointment as chapel master in Vicenza in 1563.1 His date of birth can be assumed from two references in his trea- tise Ancient Music Adapted to Modern Practice (Rome, 1555): the wood- cut giving his age as forty-four and his assertion that he was thirty-nine in 1550. The year of his death, shortly after the plague that ravaged north- ern Italy in 1575 and again in 1576, is given by Ercole Bottrigari in // Desiderio (Venice, 1599).2 Vicentino studied in Venice under Adrian Willaert sometime during the 1530s. His first book of five-voice madrigals (Venice, 1546) proudly announces his indebtedness to his "unique" and "divine" master.3 Given the unexceptional music in this collection, Vicentino's comments about his new or rediscovered styles of composing, allegedly influenced by Willaert, amount to little more than the customary platitudes. Vicentino styled himself "Don" on the title-page, indicating that he should be considered a distinguished priest. Several other documents corroborate his vocation.4 Possibly this title of respect was accorded to Vicentino when he entered the service of Ippolito II d'Este, cardinal of Ferrara. Just as we cannot ascertain when Vicentino began and ended his studies with Willaert, so we cannot say when he joined and quit the retinue of the cardinal. It is possible, however, to suggest some reason- able hypotheses. For the years of study under Willaert, the mid- to late 1530s are plausible.
  • Universiv Microtlms International 300 N

    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.
  • Latin Derivatives Dictionary

    Latin Derivatives Dictionary

    Dedication: 3/15/05 I dedicate this collection to my friends Orville and Evelyn Brynelson and my parents George and Marion Greenwald. I especially thank James Steckel, Barbara Zbikowski, Gustavo Betancourt, and Joshua Ellis, colleagues and computer experts extraordinaire, for their invaluable assistance. Kathy Hart, MUHS librarian, was most helpful in suggesting sources. I further thank Gaylan DuBose, Ed Long, Hugh Himwich, Susan Schearer, Gardy Warren, and Kaye Warren for their encouragement and advice. My former students and now Classics professors Daniel Curley and Anthony Hollingsworth also deserve mention for their advice, assistance, and friendship. My student Michael Kocorowski encouraged and provoked me into beginning this dictionary. Certamen players Michael Fleisch, James Ruel, Jeff Tudor, and Ryan Thom were inspirations. Sue Smith provided advice. James Radtke, James Beaudoin, Richard Hallberg, Sylvester Kreilein, and James Wilkinson assisted with words from modern foreign languages. Without the advice of these and many others this dictionary could not have been compiled. Lastly I thank all my colleagues and students at Marquette University High School who have made my teaching career a joy. Basic sources: American College Dictionary (ACD) American Heritage Dictionary of the English Language (AHD) Oxford Dictionary of English Etymology (ODEE) Oxford English Dictionary (OCD) Webster’s International Dictionary (eds. 2, 3) (W2, W3) Liddell and Scott (LS) Lewis and Short (LS) Oxford Latin Dictionary (OLD) Schaffer: Greek Derivative Dictionary, Latin Derivative Dictionary In addition many other sources were consulted; numerous etymology texts and readers were helpful. Zeno’s Word Frequency guide assisted in determining the relative importance of words. However, all judgments (and errors) are finally mine.
  • Books About Music in Renaissance Print Culture: Authors, Printers, and Readers

    Books About Music in Renaissance Print Culture: Authors, Printers, and Readers

    BOOKS ABOUT MUSIC IN RENAISSANCE PRINT CULTURE: AUTHORS, PRINTERS, AND READERS Samuel J. Brannon 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 in the College of Arts and Sciences. Chapel Hill 2016 Approved by: Anne MacNeil Mark Evan Bonds Tim Carter John L. Nádas Philip Vandermeer © 2016 Samuel J. Brannon ALL RIGHTS RESERVED ii ABSTRACT Samuel J. Brannon: Books about Music in Renaissance Print Culture: Authors, Printers, and Readers (Under the direction of Anne MacNeil) This study examines the ways that printing technology affected the relationship between Renaissance authors of books about music and their readers. I argue that the proliferation of books by past and then-present authors and emerging expectations of textual and logical coherence led to the coalescence and formalization of music theory as a field of inquiry. By comparing multiple copies of single books about music, I show how readers employed a wide range of strategies to understand the often confusing subject of music. Similarly, I show how their authors and printers responded in turn, making their books more readable and user-friendly while attempting to profit from the enterprise. In exploring the complex negotiations among authors of books about music, their printers, and their readers, I seek to demonstrate how printing technology enabled authors and readers to engage with one another in unprecedented and meaningful ways. I aim to bring studies of Renaissance music into greater dialogue with the history of the book.