DOCSLIB.ORG

Medren Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Medren Booklet Medieval and Renaissance Music Conference University of Sheffield, 5–8 July 2016 Organising Committee Tim Shephard Sanna Raninen Serenella Sessini Laura Cristina Stefanescu Conference Assistants Rachel Albert Joanna Booth Max Erwin Vickie Harley Eleanor Hedger Katie Hughes Ginte Medzvieckaite Annabelle Page Andrea Puentes Blanco Manuel del Sol Laura Ventura Nieto " " 2 " Welcome! We are delighted to welcome you to the Department of Music at the University of Sheffield! The department boasts a rich tradition of research into medieval and Renaissance music: Denis Arnold and Gilbert Reaney studied here in the 1940s, and since the 1970s it has been the home of Byrd scholar Alan Brown. The city was also home to the pioneering period luthier Michael Plant, and continues to enjoy regular visits from top period performers, recently including the Dufay Collective, the Marian Consort and the Hilliard Ensemble. Currently the department hosts the Leverhulme Trust-funded project Music in the Art of Renaissance Italy, c.1420-1540, involving most of this year's conference organisers. We have aimed to maintain MedRen's laudable inclusive and sociable traditions, but at the same time have sought to integrate research, performance and conviviality more seamlessly in the conference. This year, in the place of a wine reception, we feature a creative reconstruction of a masque held in Florence in the 1530s, featuring costumes, stories, live music, and, of course, masks. Also, instead of a full-length evening concert we have a conference consort--4D/O Beta--joining us throughout to contribute to workshops and provide live musical examples for papers. The heart of the conference are the over 120 papers delivered by you, the delegates. In addition to individual papers, we have sponsored sessions from two of the biggest current UK-based music research projects, the Tudor Partbooks project based at Newcastle and Oxford, and the Music in the Art of Renaissance Italy project, headquartered here at Sheffield. We are also lucky to have keynote contributions from two outstanding figures. Linda Austern's seminal work on music and gender in Renaissance England will be familiar to all, and Emma Hornby leads what must be one of the most vigorous medieval music research clusters anywhere in the world at Bristol. Sheffield is a friendly, relaxed city with a wealth of parks and gardens, and we hope you will enjoy your time here. As the home of John Ruskin, the city holds rich and diverse museum collections, which can be seen at the Graves Gallery, Millennium Gallery and Weston Park Museum. There are also significant historical sites to search out, including the early Tudor Bishop's House, Manor Lodge, and Sheffield Cathedral's Shrewsbury Chapel, and, a few miles outside the city, Chatsworth House and Hardwick Hall. Immediately to the west of the city is the beautiful Peak District National Park, which welcomes ten million visitors a year. Perhaps most importantly, a recent report named Sheffield the 'Real Ale Capital of the World', with 57 breweries in the city region. We are hugely grateful to the University of Sheffield, the Music & Letters Trust, the Royal Musical Association and the Plainsong and Medieval Music Society for their generous support of this conference, and also to the department's Admin Office, the faculty's Finance Team, and the university's Room Booking Service for their indispensable practical assistance. In the circulation space you will find stalls from several publishers whose participation of course brings important income to the conference, and we hope you will support them by browsing their displays. We wish you an enjoyable and productive conference! The Organising Committee 3 " Keynote Lectures Tuesday 5.7. 17:45 (Lecture Theatre 4, The Diamond) Deciphering the musical language of Old Hispanic chant: adventures on musicology's periphery Dr. Emma Hornby, Bristol University Early medieval Iberia had a fully developed liturgy, whose chants (and melodies) are preserved for the entire calendar year. This material is independent of the Roman liturgy and its Gregorian chant. Despite the preservation of thousands of Old Hispanic chants, the repertoire has rarely been studied by musicologists. This is primarily because (with two dozen exceptions) the melodies are preserved only in unpitched neumes. This keynote paper introduces the little-known Old Hispanic liturgy and its potential significance for musicologists. My analyses have been undertaken in collaboration with the ERC-funded Old Hispanic Office project team at the University of Bristol, and in particular with Rebecca Maloy (University of Colorado at Boulder). We know nothing of the Old Hispanic melodies’ pitches, goal tones, reciting notes, and cadential pitches. This has major implications for the analytical questions we are able to ask, and the methodologies we can productively employ in trying to address those questions. I explore the extent to which we can approach an understanding of the Old Hispanic chants’ melodic grammar, based on the extant evidence, and consider the implications that our analytical methodologies might have for those studying Gregorian chants, where there is always the possibility of transcribing, at least tentatively, into pitched notation. Our analyses point towards a large but bounded set of melodic strategies that stretches across genres. These strategies reveal much about an intensive and unique burst of non-Roman, non-Carolingian musical creativity in or before the 9th century. Emma Hornby is a lecturer at the Bristol University, and her research is focused on medieval western liturgical chant. She is currently working on Old Hispanic chant in collaboration with Professor Rebecca Maloy (University of Colorado at Boulder). Their first joint monograph is Music and Meaning in Old Hispanic Lenten chants: Psalmi, Threni and the Easter Vigil Canticles (Boydell & Brewer, 2013). They are now working on the Old Hispanic responsory tradition. Emma also has research interests in the transmission of western liturgical chant (including aspects of orality), the relationship between Old Roman and Gregorian chant, analysis of formulaic chant, and the relationship between words and music in the Middle Ages. Emma is co-editor, with J.R.Watson, of the Canterbury Dictionary of Hymnology (online publication, 2013). Her first book, Gregorian and Old Roman Eighth-Mode Tracts, was published by Ashgate in 2002 and her second book, Medieval Liturgical Chant and Patristic Exegesis: words and music in the second-mode tracts was published by Boydell and Brewer in 2009. She is co-editor, with David Maw, of Essays on the History of English Music in Honour of John Caldwell: Sources, Style, Performance, Historiography (Boydell and Brewer, 2010). Emma has published articles in Plainsong and Medieval Music and The Journal of Musicology; her Journal of Musicology article was included in Thomas Forrest Kelly’s collection of seminal articles in the field, Oral and Written Transmission in Chant (Ashgate, 2009). Emma is director of the Bristol University music department’s Schola Cantorum,which specialises in medieval music. Emma won a prestigious Philip Leverhulme Prize in 2009, and has also been awarded grants by the AHRC/ESRC Religion and Society Programme (2009-11) and by the European Research Council (2013- 18). The ERC Starting Grant project has a separate web page: bristol.ac.uk/oho-project Sponsored by Royal Musical Association 4 Thursday 7.7. 16:30 (St George's Church) Anne Boleyn, Musician: A Romance Across Centuries and Media Prof. Linda Austern, Northwestern University This paper situates Anne Boleyn's reputed musicality within five centuries of endless fascination with the doomed second wife of Henry VIII. From less than a year after her execution through our own time, an ever-expanding array of biographical accounts, scholarly studies, and more imaginative representations of Anne in every conceivable artistic medium have presented her as a singer, instrumentalist, composer, and/or consumer of musical performances and products. What remains to be fully acknowledged are ways in which even the most otherwise rigid academic studies from the eighteenth through twentieth centuries participate in what recent historians and cultural critics have identified as successive romanticisms of Anne, and, conversely, how often even unabashedly fictitious representations of her have successively replicated musical information first put forward the year of her death. At the center of this endless stream of contrasting depictions stand questions of Anne’s musical agency, musical training, and with whom she shared her prodigious musical abilities and exacting tastes. Linda Austern is Associate Professor of Musicology at Northwestern University. Her publications include over thirty articles and four books, the most recent of which are “’Lo Here I Burn’: Musical Figurations and Fantasies of Male Desire in Early Modern England,” in Eroticism in Early Modern Music, ed. by Bonnie Blackburn and Laurie Stras (Ashgate, 2015); and “’The Mystic Pow’r of Music’s Unison’: The Conjuncture of Word, Music, and Performance Practice in the Era of Katherine Philips,” in ‘That Noble Flame’: Essays on the Poetry of Katherine Philips, ed. by David L. Orvis and Ryan Singh Paul (Duquesne University Press, 2015). Her co-edited book Beyond Boundaries: Rethinking the Circulation of Music in Early Modern England is forthcoming from Indiana University Press this year. Sponsored by Music & Letters " " 5 Tuesday 5 July LT5
Load more

Recommended publications
  • A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature
    A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor RESEARCH IN MEDIEVAL CULTURE Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor MEDIEVAL INSTITUTE PUBLICATIONS Western Michigan University Kalamazoo Copyright © 2015 by the Board of Trustees of Western Michigan University All rights reserved Manufactured in the United States of America This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Taylor, Robert A. (Robert Allen), 1937- Bibliographical guide to the study of the troubadours and old Occitan literature / Robert A. Taylor. pages cm Includes index. Summary: "This volume provides offers an annotated listing of over two thousand recent books and articles that treat all categories of Occitan literature from the earli- est enigmatic texts to the works of Jordi de Sant Jordi, an Occitano-Catalan poet who died young in 1424. The works chosen for inclusion are intended to provide a rational introduction to the many thousands of studies that have appeared over the last thirty-five years. The listings provide descriptive comments about each contri- bution, with occasional remarks on striking or controversial content and numerous cross-references to identify complementary studies or differing opinions" -- Pro- vided by publisher. ISBN 978-1-58044-207-7 (Paperback : alk. paper) 1. Provençal literature--Bibliography. 2. Occitan literature--Bibliography. 3. Troubadours--Bibliography. 4. Civilization, Medieval, in literature--Bibliography.
    [Show full text]
  • Introduction Edited by Simon Gaunt and Sarah Kay Excerpt More Information
    Cambridge University Press 0521574730 - The Troubadours: An Introduction Edited by Simon Gaunt and Sarah Kay Excerpt More information Introduction Simon Gaunt and Sarah Kay The troubadours, like other celebrities, need no introduction. They are part of the furniture of our cultural knowledge, an unfor- gettable heirloom in the European heritage. Who has not heard of the courtly world they ornamented and entertained, voicing for it the exquisite refinements of medieval love? For a glamorous period, this tradition of poet-composer-performers (460 of whose names we know) dazzled Southern French and neighbouring Euro- pean courts with their songs (some 2,500 of which survive) in which passion and decorum are craftily combined.1 Although this period was relatively short-lived (c. 1100 –c. 1300), its spark was sufficient to light the broader flame of subsequent European poetry. The rise of courtliness, in the senses both of ‘courtly love’ and ‘courtly living’, in which the troubadours played a determining role, helped to shape mainstream Western culture; while their commentaries as moralists, and as political and cultural critics, provide vital testimony to the attitudes which underlie and helped to form our own. The significance of the troubadours is acknowledged in the space assigned to them in many different academic contexts: as part of the history of European poetry and music; as evidence for the history of social, gender and sexual relations, and the political and ideological world of medieval Europe; as a strand in the linguistic diversity of the Romance languages. The range of these contexts, however, suggests the complexity of the phenomenon.
    [Show full text]
  • 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.
    [Show full text]
  • From Your Belly Flow Song-Flowers: Mexica Voicings in Colonial New Spain (Toward a Culturally-Informed Voice Theory and Practice)
    FROM YOUR BELLY FLOW SONG-FLOWERS: MEXICA VOICINGS IN COLONIAL NEW SPAIN (TOWARD A CULTURALLY-INFORMED VOICE THEORY AND PRACTICE) by BETHANY MARIE BATTAFARANO A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of requirements for the degree of Master of Arts March 2021 THESIS APPROVAL PAGE Student: Bethany Marie Battafarano Title: From Your Belly Flow Song-flowers: Mexica Voicings in Colonial New Spain (Toward a Culturally-informed Voice Theory and Practice) This thesis has been accepted and approved in partial fulfillment of the Master of Arts degree in the Department of Musicology by: Ed Wolf Chair Lori Kruckenberg Member Drew Nobile Member And Kate Mondloch Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded March 2021. ii © 2021 Bethany Marie Battafarano This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs (United States) License. iii THESIS ABSTRACT Bethany Marie Battafarano Master of Arts School of Music and Dance March 2021 Title: From Your Belly Flow Song-flowers: Mexica Voicings in Colonial New Spain (Toward a Culturally-informed Voice Theory and Practice) In colonial New Spain, Indigenous peoples sang, played, and composed in western European musical styles, and Spanish composers incorporated Indigenous instruments, rhythms, and languages into their compositions. However, modern vocalists in the United States often overlook or misrepresent Indigenous features in performances of New Spanish repertoire. Vocalists typically must make choices about vocal techniques alone and, largely for lack of resources, in uninformed ways.
    [Show full text]
  • University of Oklahoma Graduate College Rhetoric
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE RHETORIC AND GESTURE IN THE PERFORMANCE OF SEVENTEENTH-CENTURY VOCAL MUSIC A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF MUSIC By DANUR KVILHAUG Norman, Oklahoma 2016 RHETORIC AND GESTURE IN THE PERFORMANCE OF SEVENTEENTH-CENTURY VOCAL MUSIC A THESIS APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Jennifer Saltzstein, Chair ______________________________ Dr. Eugene Enrico ______________________________ Dr. Jeffrey Swinkin © Copyright by DANUR KVILHAUG 2016 All Rights Reserved. Table of Contents I. Introduction 1 II. Rhetoric in Quintilian’s Institutio Oratoria 5 - Music and Rhetoric in Institutio Oratoria 12 III. Rhetoric in Seventeenth and Eighteenth-Century Music Treatises 16 IV. Rhetoric in Performance 23 - Tempo and Meter 23 - Rhythm and Articulation 31 - Ornamentation 41 V. Case Studies 51 - Case Study 1 – “Or che’l ciel et la terra e’l vento tace” 52 - Case Study 2 – “Credo,” Missa Ego flos campi 66 - Case Study 3 —“Hor che tempo de dormire” 77 VI. Conclusion 90 Bibliography 93 Appendix – Scores 98 - Case Study 1 98 - Case Study 2 121 - Case Study 3 138 iv List of Figures Figure 1 – Homophonic rhythmic declamation in the first phrase of 35 “Domine Dominus Noster” v I. Introduction “Vocal and choral music in the seventeenth century are text centered. This may seem obvious, but it bears repeating.... Beyond good pronunciation, all subtleties of expressive singing—dynamic contrast, phrasing, variety of articulation, added embellishment—should be rooted in the performers’ comprehension of the text.”1 The above statement by Anne Harrington Heider underscores two simple concepts: performing the vocal music of the High Renaissance and Early Baroque requires intimate knowledge of its texts, and the clear transmission of textual meaning should be a singer’s primary goal.
    [Show full text]
  • Making Time in Music an International Conference 12–14 September 2016 Faculty of Music, University of Oxford
    Making Time in Music An international conference 12–14 September 2016 Faculty of Music, University of Oxford Draft schedule Monday 12 September Parallel sessions: A sessions will take place in the Denis Arnold Hall; B sessions will take place in Lecture Room A. Plenary sessions will take place in the Denis Arnold Hall. The poster session will take place in the JCR and the Committee Room. Tea and coffee breaks and lunches will be provided in the JCR and the Committee Room (included in registration fee). The conference dinner will take place on Monday 12 September at Pembroke College (pre- booking is required). 09:00 Registration (a welcome desk will be open in the Faculty reception area from 09:00) 11:00 Welcome 11:30– Session A1 Session B1 13:00 Interpersonal I Philosophy I Multimodal communication of time in Music as time, music as timeless ensemble performance Kristina Knowles (Northwestern Renee Timmers (University of Sheffield) University) Studying musicians’ gaze behaviour in the Politicking musical time light of synchronisation issues in ensemble Chris Stover (The New School) playing Sarah Vandemoortele, Stijn De Beugher, Geert Brône, Kurt Feyaerts, Toon Goedemé, Thomas De Baets, and Stijn Vervliet (LUCA School of Arts and KU Leuven) Coordination in vocal ensembles Distracted timekeeping Ryan Kirkbride (University of Leeds) Anthony Gritten (Royal Academy of Music) 13:00 Lunch 1 14:00– Session A2 Session B2 15:30 Psychology I MetreRhythmTempo I Timescales and temporal ranges: an enactive Tempo, drive and identity in Cape Breton and dynamic approach to temporality in traditional fiddle music musicking David Kirkland Garner Juan Loaiza (Queen’s University Belfast) (University of South Carolina) Ensemble performance from a systems- ‘Just in Time’: Herbert von Karajan as an theoretical perspective: opportunities and interpreter of Mozart’s Requiem challenges Karina Zybina Marc Duby (University of South Africa) (University Mozarteum, Salzburg) Rhythm in music: a comparative perspective Room for interpretation: musical tempo in John C.
    [Show full text]
  • The Development of the Spa in Seventeenth-Century France
    Medical History, Supplement No. 10, 1990, 23-47. THE DEVELOPMENT OF THE SPA IN SEVENTEENTH-CENTURY FRANCE L. W. B. Brockliss THE ESTABLISHMENT OF THE SPA In the Anglo-Saxon world the enthusiasm of the twentieth-century Frenchman for imbibing his country's mineral waters is proverbial. It is surprising, therefore, to discover that the French contribution to the resuscitation of the spa in the era of the Renaissance was minimal. For most ofthe sixteenth century, the nation that has given mankind the waters of Vichy and Evian (to name but two) was largely unmoved by the fad for the hot-spring and the mineral bath that swept the Italian peninsula, crossed the Alps into the territory of the Holy Roman Empire, and penetrated even our own shores. It was not that France's future spas were undiscovered, for many had a Romano-Gallic provenance. It was rather that the therapeutic potential of mineral waters remained unrecognized by the Galenic medical establishment and hence by the large majority of the court, aristocracy, and urban elite who formed their clients. Significantly, when Andreas Baccius published the first general guide to the spas of Europe in 1571 he had little to say about France. Passing reference was made to several Roman foundations but only the virtues of Bourbon-Lancy were described in detail.1 Significantly, too, the only member of the French royal family who definitely did take the waters in the first three-quarters of the sixteenth century was united by marriage to the house of Navarre and patronized, as did her daughter later, the springs of Beam, not those of France.2 The situation first began to change in the 1 580s when a number of local physicians started to promote the waters adjacent to the towns in which they plied their profession.
    [Show full text]
  • University Microfilms
    INFORMATION TO USERS This dissertation was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This lay have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • Petre Clemens—Lugentium Siccentur Motet in Honor of Clement VI
    Petre clemens—Lugentium siccentur motet in honor of Clement VI Ivrea, Biblioteca Capitolare MS 115 Philippe de Vitry (1291–1361) fols. 37v–38 ed. Anna Zayaruznaya 5 + + + + [Triplum] [O. ] & ‚ – ‚‚ ‚ ‚ ‚ – ‚ – ‚ ‚ ‚ Pe- tre cle - mens tam re quam no - mi‚ - ne cui‚‚ ‚ ‚ – nas-cen - + + [Motetus] [O. ] K K K K ‚ – ‚ & ‚‚ ‚ ‚ – ‚ Lu - gen - ti - um sic - cen - tur o - cu‚ - + Tenor [ . ] V b O ‚ ‚ – ‚ ‚ – – – \ [Non\ est inventus] \ 10 + + K & – ‚ ‚ ‚ ‚ ‚ ‚ – ‚ ‚ ‚ ti Do - nan - tis dex - te - ra non de - fu - + + ‚ ‚ ‚ & – ‚. ‚ ‚ ‚ ‚ ‚ ‚ ‚ – li, plau - dant se - nes,– ex - ul - tent par - vu - li, V b – – – – \ \ This edition is a companion to Anna Zayaruznaya, “Hockets as Compositional and Scribal Practice in the ars nova Motet—A Letter from Lady Music,” Journal of Musicology 30, no. 4 (2013): 461–501, and the text underlay has been subject to aggressive editorial intervention for reasons discussed there. It is not a diplomatic transcription, but rather an edition employing a simplified form of fourteenth-century French (ars nova) notation in score. Note-values have been left unreduced. Under the reigning mensuration (0. ) there are up to three minims (M) in each semibreve (S), up to three semibreves in each breve (B), and two breves in each long (L). When triple divisions of notes are involved, two processes occur in ars nova notation which do not happen in modern notation. In imperfec- tion, a smaller note “takes” value from a longer one so that the two together can add up to three beats. Thus MS MS denotes an iambic pattern, but if the minims were omitted the semibreves alone would have the value of three minims each (compare triplum and mote- tus in m.
    [Show full text]
  • Ext. Reiner Krämer
    9th EUROPEAN MUSIC ANALYSIS CONFERENCE — EUROMAC 9 Reiner Krämer*1 *McGill University, Canada [email protected] The Supplementum in Motets: Style, and Structure ABSTRACT menta at the end of Palestrina’s motets “Dies sanctificatus” (Schubert, 1993), and “Benedicta sit” (Schu- Background bert, 2007), and at the end of Lassus’s Kyrie in “Missa Je suis One common task in computational music analysis is the déshéritée” (Schubert, Lessoil-Daelman, 2013). use of key-finding algorithms when examining common prac- Aims and repertoire studied tice period music (or music that was composed between 1600- 1900). The notion of key does not exist in earlier eras. Musi- Supplementa occur in many types of Renaissance compo- cians in the Renaissance categorized music according to sitions and are quite varied. Therefore, the repertoire had to be modes. A mode is type of scale with a set of characteristic condensed to just one type of Renaissance composition, melodic behaviors. Would it not be great to build a mode find- namely the motet. Even at that level of granularity, there are ing algorithm? To build a mode-finding algorithm, we need to still over 4,000 motets available online. From these 4,000 evaluate methods of how to determine modal characteristics. motets, we examined a corpus of 400 motets written by One of the methods used to determine mode is finding the Josquin, Victoria, Palestrina, Ockeghem, Mouton, and many "final pitch." But what is the final pitch of a polyphonic work? additional composers active between the years of 1480 and Is it the tenor? Is it the root within the final cadence? We need 1620.
    [Show full text]
  • A Study of Musical Rhetoric in JS Bach's Organ Fugues
    A Study of Musical Rhetoric in J. S. Bach’s Organ Fugues BWV 546, 552.2, 577, and 582 A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Division of the College-Conservatory of Music March 2015 by Wei-Chun Liao BFA, National Taiwan Normal University, 1999 MA, Teachers College, Columbia University, 2002 MEd, Teachers College, Columbia University, 2003 Committee Chair: Roberta Gary, DMA Abstract This study explores the musical-rhetorical tradition in German Baroque music and its connection with Johann Sebastian Bach’s fugal writing. Fugal theory according to musica poetica sources includes both contrapuntal devices and structural principles. Johann Mattheson’s dispositio model for organizing instrumental music provides an approach to comprehending the process of Baroque composition. His view on the construction of a subject also offers a way to observe a subject’s transformation in the fugal process. While fugal writing was considered the essential compositional technique for developing musical ideas in the Baroque era, a successful musical-rhetorical dispositio can shape the fugue from a simple subject into a convincing and coherent work. The analyses of the four selected fugues in this study, BWV 546, 552.2, 577, and 582, will provide a reading of the musical-rhetorical dispositio for an understanding of Bach’s fugal writing. ii Copyright © 2015 by Wei-Chun Liao All rights reserved iii Acknowledgements The completion of this document would not have been possible without the help and support of many people.
    [Show full text]
  • Lo Chansonnier Du Roi Luoghi E Autori Della Lirica E Della Musica Europee Del Duecento
    Lo Chansonnier du Roi Luoghi e autori della lirica e della musica europee del Duecento Facoltà di Lettere e Filosofia Dottorato in Musica e Spettacolo Curriculum di Storia e Analisi delle Culture Musicali Candidato Alexandros Maria Hatzikiriakos Tutor Co-Tutor Prof. Emanuele Giuseppe Senici Prof. Davide Daolmi a Niccolò Ringraziamenti Seppur licenziata sotto il nome di un solo autore, questa tesi ha raccolto una considerevole quantità di debiti, nel corso dei suoi tre anni di gestazione, che mi è impossibile ignorare. Agli studi e al prezioso aiuto di Stefano Asperti devo non solo il fondamento di questo lavoro, ma anche un supporto indispensabile. Parimenti ad Anna Radaelli, sono grato per un sostegno costante, non solo scientifico ma anche morale ed emotivo. Non di meno, i numerosi consigli di Emma Dillon, spesso accompagnati da confortanti tazze di caffè nero e bollente, mi hanno permesso di (ri-)trovare ordine nel coacervo di dati, intuizioni e deduzioni che ho dovuto affrontare giorno dopo giorno. A Simon Gaunt devo un prezioso aiuto nella prima e confusa fase della mia ricerca. A Marco Cursi e Stefano Palmieri devo una paziente consulenza paleografica e a Francesca Manzari un’indispensabile expertise sulle decorazioni del Roi. Ringrazio inoltre Davide Daolmi per la guida, il paziente aiuto e le numerose “pulci”; Maria Teresa Rachetta, filologa romanza, per aver lavorato e presentato con me i primi frutti di questa ricerca, lo Chansonnier du Roi per avermi dato l’opportunità di conoscere Maria Teresa Rachetta, l’amica; Livio Giuliano per ragionamenti improbabili ad ore altrettanto improbabili, sulla sociologia arrageois; Cecilia Malatesta e Ortensia Giovannini perché … il resto nol dico, già ognuno lo sa.
    [Show full text]