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Cambridge University Press 978-1-108-47491-7 — Composing Community in Late Medieval Music Jane D. Hatter Index More Information Index acrostic, 2, 31, 35, 53, 56, 208, 210, 211 In hydraulis, 74, 94, 201, 208 for choirboys, 31, 34, 55, 80 Buxheim Organ Book, 185 of Busnoys, 78 of Du Fay, 33, 51 Cambrai Cathedral, 6, 17, 20, 21, 22, 26, 31, 48, of Josquin, 1, 7, 209 49, 53, 62, 94 of Pierre de Castel, 31, 32 candles, 81, 82 of Robert Auclou, 20 canon, 139 Agricola, Alexander as puzzle, 134, 137 Cecus non judicat, 168 clefless, 138 Alamire, Petrus, 42 in hexachordal cantus firmus, 193 Alanus, Johannes in laments, 46, 108, 112 Sub Arturo plebs,6 in masses, 142 anagram, 57, 58, 160 mensuration canon, 133, 136, 142 Andrieu, Franciscus with solmization, 139 “Armes amours / O flour des flours,” 95 cantus firmus, 185 antiphon, 51 and alliteration of text, 150 Ave regina,26 and Du Fay’s last will and testament, 39 Regina celi, 142 and melody of, 164 Salve regina,94 and mensuration, 143, 156 Virgo prudentissima, 212 and music theory, 161, 163, 195, 205 Appenzeller, Benedictus, 118 and Petrucci, 167 ars subtilior, 57, 58, 59, 135 and polyphony, 195 artists, 2, 11, 13, 14, 17, 127, 133 and technique, 41 Auclou, Robert, 20 and the Requiem Mass, 108, 117, 121 authorship, 2, 56, 79, 110, 117, 160 as emblem, 208 canonic cantus firmus, 115, 116, 196 benefices, 15, 90 function of, 41 Binchois, Gilles, 51, 53, 79, 96, 98, 101, 102, hexachordal, 145, 147, 158, 167, 168, 175, 103, 104, 106, 107, 108, 121, 218 178, 186, 201, 205 Novum cantum melodie,6 homographic, 141, 142, 143, 144 Books of Hours, 23, 36, 67 in canon, 197 Bouts, Dieric, 129 in chanson-laments, 104 St. Luke Drawing the Virgin, 130 in laments, 45, 46, 72, 90, 111, 113, 114 Brumel, Antoine, 133, 145, 146, 147, 148, 149, in Latin, 53 150, 154, 164, 176, 177, 178, 184, 185, in masses, 2, 138, 140, 145, 146, 150, 177, 186, 194, 197, 205, 208 184, 185, 186, 192, 194 Missa Ut re mi fa sol la, 141, 144, in motet-chansons, 88 175 in motets, 1, 27, 28, 32, 42, 51, 66, 108, 126, Burgundy 141, 150, 153, 197, 203, 212 court of, 20, 104 in music education, 177 Busnoys, Antoine, 74, 75, 76, 78, 79, 82, 87, 112, melody of, 72 133, 158, 160, 161, 163, 164, 174, 201 motto of, 89, 145 Anthoni usque, 74, 77, 125, 160, 208 symbolic meaning of, 167, 169, 216 276 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-47491-7 — Composing Community in Late Medieval Music Jane D. Hatter Index More Information Index 277 Castel, Pierre de, 27, 31, 32 Ut queant laxis, 178 chanson, 63, 64, 66, 69, 70, 72, 73, 95, 101, 102, d’Este, Ercole I, 150, 207 103, 192 deductio, 171, 175, 183 ballade, 28, 104 Deschamps, Eustache, 95 as commemoration, 20 Desprez, Josquin, 1, 3, 7, 15, 19, 25, 56, 63, 70, rondeau, 64, 102 87, 91, 98, 100, 111, 112, 114, 115, 116, Chantilly Codex, 53, 58, 59, 61, 95 117, 118, 119, 120, 121, 139, 159, 164, Charles the Bold, 47, 76, 160 193, 197, 199, 201, 205, 209, 210, 213, Chartier, Alain, 102, 103 214, 215 Chigi Codex, 136 Absolve, quaesumus, 116, 118 churching, 81 Ce povre mendiant / Pauper sum ego,87 Cochlaeus, 175 Illibata dei virgo, 1, 7, 80, 85, 125, 208 commemoration, 20, 24, 37, 63, 95, 110, 116, Missa Hercules dux Ferrariae, 212 117, 118 Missa L’homme armé super voces musicales, community, 11, 128, 134, 216 138, 194 of artists, 14, 133 Missa La sol fa re mi, 125 in music, 3, 4, 6, 16, 20, 34, 38, 40, 41, 53, 56, Nymphes des bois, 98, 99, 111, 112, 118, 119 57, 62, 63, 64, 74, 78, 79, 80, 81, 92, 94, Pater noster / Ave Maria, 106, 117 95, 96, 100, 104, 106, 108, 114, 118, 120, Ut Phebi, 125, 193, 197 122, 209, 213, 216, 219 “Vive le roy,” 136 professional, 25, 26, 52, 120 devotional image, 21, 23, 24, 42 in music, 56 diminution, 28, 146, 150, 184 social network, 20 Domarto, Petrus de, 128, 141, 143, 144, 146, companions of music, 15 164 Compere, Loyset, 1, 3, 52, 63, 64, 67, 69, 70, 72, Missa Spiritus almus, 141, 143, 144 73, 74, 78, 79, 82, 83, 85, 87, 92, 95, 203 donor painting, 13, 40 Omnium bonorum plena, 61, 92, 94, 210 Du Fay, Guillaume, 6, 17, 19, 20, 22, 24, 26, 27, Sile fragor, 1, 85, 87, 218 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, Virgo celestis, 197 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 62, Compline, 26, 36, 37 63, 64, 71, 72, 73, 74, 78, 79, 82, 92, 100, composers 101, 102, 103, 120, 121, 160 professional, 3, 4, 5, 17, 25, 44, 52, 53, 56, 62, Ave regina celorum III, 6, 36, 39, 40, 41, 51, 74, 75, 79, 106, 108, 196, 208 74 compositional techniques, 2 “En triumphant,” 101, 103 polyphony, 26, 33, 36, 46, 47, 48, 49, 61, 64, Fulgens iubar, 27, 28, 31, 33, 35, 39, 51, 69, 70, 81, 82, 92, 94, 95, 96, 98, 99, 110, 55, 80 114, 120, 121, 130, 136, 137, 142, 153, “Hé, compaignons,” 20, 51 157, 167, 178, 190, 193, 194, 195, 196, last will and testament, 36, 38, 39, 40 205, 212 Missa Ave regina celorum,47 soggetto cavato, 44, 148, 159, 212, 226 Nuper rosarum flores,28 stretto fuga, 67, 69 Dürer, Albrecht, 1, 24 confraternities, 11, 24, 38, 56, 78, 79, 114, 218 endowment, 21, 22, 23, 24, 25, 32, 40, 49, 51, 71, contenance angloise,41 79, 82, 95, 116 Coter, Colijn de, 129, 133 endowments for performance of, 22 Cumming, Julie, 36, 41, 99, 100, 112, 195 epitaph, 101, 104, 108, 109, 110, 118 Eyck, Jan van d’Amerval, Eloy, 144, 145, 146, 150, 164 Madonna with Chancellor Rolin,13 Missa Dixerunt discipuli, 141, 143, 144 d’Arezzo, Guido Fallows, David, 25, 28, 31, 51, 101, 103, 116 Epistola ad Michaelem, 178 Fama, 92 Guidonian hand, 166, 169, 171, 175, 181, Feast of the Purification of the Virgin Mary, 28, 187, 196 32 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-47491-7 — Composing Community in Late Medieval Music Jane D. Hatter Index More Information 278 Index Festa, Costanzo soft, 34, 83, 84, 89, 145, 194, 202, 212, 213, “Counterpoint 115”, 203 215 food and wine, 15, 41, 85, 86 symbolic meaning of, 133, 171, 193, 196, Fortuna, 91, 92, 112, 218 205, 216 Franc, Martin le Heyden, Sebald, 138, 139, 148, 149 Le champion des dames, 101 De arte canendi, 138, 148 France Higgins, Paula, 3, 74, 75, 160 court of, 20, 104 homage, 56, 74, 121 in music, 163 Gaffurius, Franchinus, 5, 133, 155, 161, 163, in portraiture, 128 174, 175, 181, 182, 183, 195, 196, 200, monumental, 119 205, 209 monumental homage, 6 Practica musice, 201, 209 homorhythm, 151, 204, 213 Gallicus, Johannes, 179, 180, 181, 182, 183, 185 hora mortis, 39, 40, 106 gamut, 44, 156, 158, 166, 167, 169, 171, 172, humanistic compendia, 196 175, 177, 178, 185, 188, 205 hymn, 39, 62, 82, 204, 209 Guidonian, 3, 34, 138, 142, 147, 157, 161, 181 Greek hymn, 85 scala decemlinealis, 157, 158 polyphonic, 19, 21 scala generalis, 157, 158, 174, 175, 177, 178, 188 identity, 64, 91, 101, 150 genealogy, 74, 92, 93 artistic, 14, 16, 17 Ghiselin, Johannes, 133, 183, 185, 186, 194, corporate, 6, 11, 55, 127 197, 205 group, 16, 17, 57 Missa De les armes, 183 musical, 27, 49 Ghizeghem, Hayne van, 63, 64, 74 of Du Fay, 43 guilds, 5, 11, 14, 15, 24, 38, 52, 56, 61, 78, 79, professional, 7, 8, 12, 34, 52, 58, 79, 104, 114, 114, 127, 128, 129, 133, 218 125 paintings of, 13, 16, 20, 25, 35, 38, 133, 164 improvisation, 74, 178, 180, 185 indulgence, 23 Haggh, Barbara, 22 in-jokes, 7, 218 hexachord, 135, 175, 176, 185, 194, 212, 215 Isaac, Heinrich, 4, 56, 78, 131, 193, 200, 201, as cantus firmus, 7, 167, 168, 169, 192, 194, 202, 205, 213 195, 196, 197, 205, 234 O decus ecclesiae, 126, 131, 197, 218 in masses, 135, 138, 146, 147, 148, 149, isorhythm, 28, 51, 150 166, 175, 176, 177, 183, 184, 185, 186, isorhythmic. See motet: isorhythmic motet 194 in motets, 125, 193, 197, 201, 202, 203, L’homme armé, 140, 166, 168 204, 205, 215 La Rue, Pierre de, 42 symbolic meaning of, 7 Plorer, gemir, crier / Requiem, 121 Christian, 183 lament, 6, 100, 114, 115, 117, 121 fictive, 44, 212 of Andrieu, 95 genesis of, 166 before 1500, 6 hard, 43, 89, 145, 159, 175, 176, 181, 184, of Certon, 99 185, 186, 197, 201, 202, 213, 215 of Deschamps and Andrieu, 59 in humanistic compendia, 7, 187, 188, 190, déploration,98 192, 193 and development of style, 121 in music education, 3, 5, 17, 34, 127, 134, of Du Fay, 51, 101, 102 167, 175, 178, 196, 207 for Josquin, 115, 116, 117, 118, 121 in theory treatises, 5, 7, 55, 126, 130, 157, of Josquin, 111, 112, 114, 119 159, 161, 163, 171, 174, 176, 177, 183, for Machaut, 96 185, 195, 199, 200, 205, 206 of Machaut, 95 natural, 89, 168, 176, 181, 185, 189, 194, 197, of Mouton, 115 201 and memorializing works, 117 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-47491-7 — Composing Community in Late Medieval Music Jane D.
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    Volume 20, Number 1, March 2014 Copyright © 2014 Society for Music Theory Harmonic and Non-Harmonic Temporal Structures in Nancarrow’s Study No. 47 for Player Piano * Helena Bugallo NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.14.20.1/mto.14.20.1.bugallo.php KEYWORDS: Conlon Nancarrow, Studies for Player Piano, Study No. 47, player piano, notation, tempo templates, pitch-time isomorphism, rhythm, rhythmic harmony, temporal dissonance, temporal proportions, player-piano roll, punching score, isorhythm, tempo canon, acceleration, deceleration, structural syncopation, Henry Cowell. ABSTRACT: This article presents a critical score and a rhythmic analysis of Conlon Nancarrow’s Study No. 47 for player piano. A work representative of the composer’s technical and aesthetic interests in his late productive years, Study No. 47 has been available only on recording until now. The score is based on both Nancarrow’s short-handed manuscript of the piece—the so-called punching score —and his original player-piano roll. Merging information from both sources, it introduces a new type of notation—combining both traditional and graphic aspects—especially developed for Nancarrow’s late output. The score and the analysis are preceded, and contextualized, by a discussion on the development of Nancarrow’s temporal thinking both theoretically, under the influence of Henry Cowell, and practically through his sustained and exclusive work for decades with the player piano. Special attention is given to Nancarrow’s usage of tempo templates , with a proposed classification into harmonic and non-harmonic . Study No.
  • THE TALLIS SCHOLARS Vocal Ensemble

    THE TALLIS SCHOLARS Vocal Ensemble

    THE TALLIS SCHOLARS Vocal Ensemble The Tallis Scholars were founded in 1973 by their director, Peter Phillips. Through their recordings and concert performances, they have established themselves as the leading exponents of Renaissance sacred music throughout the world. Peter Phillips has worked with the ensemble to create, through good tuning and blend, the purity and clarity of sound which he feels best serves the Renaissance repertoire, allowing every detail of the musical lines to be heard. It is the resulting beauty of sound for which The Tallis Scholars have become so widely renowned. The Tallis Scholars perform in both sacred and secular venues, giving around 80 concerts each year. In 2013 the group celebrated their Photo © Nick Rutter 40th anniversary with a World Tour, performing 99 events in 80 venues in 16 countries. They now look ahead to their 50th anniversary in 2023. In 2020 Gimell Records celebrated 40 years of recording the group by releasing a remastered version of the 1980 recording of Allergri’s ‘Miserere’. As of the beginning of the cancellations caused by the COVID-19 crisis, the Tallis Scholars had made 2,327 appearances, worldwide. 2021/22 season highlights include performances in Amsterdam, Vienna, Paris, the RheinVokal and Regensburg Festivals, Klangvokal Musikfestival Dortmund, Bremen Musikfest and tours of Italy, in addition to their usual touring schedule around the USA, Europe and the UK. As part of the postponed Josquin des Prez’ 500th anniversary celebrations The Tallis Scholars will sing all eighteen of the composer’s masses over the course of 4 days at the Boulez Saal in Berlin in July 2022.