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 " "

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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

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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

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5 Tuesday 5 July

LT5 LT6 LT7 LT4 12:30-13:30 WELCOME

13:30-15:00 S1: Printed sources of chant S2: Music and Art in Renaissance S3: Fifteenth-Century English Chair: David Burn Italy 1 Music: In Memory of Brian Trowell Chair: Tim Shephard Chair: Andrew Wathey Alessandra Ignesti (McGill Sanna Raninen (University of Sheffield): Margaret Bent (All Souls College, University): Music Books in Renaissance Italian Art: Oxford): Young Choristers in the Venetian Formats and Performance Sub Arturo plebs Revisited Republic: Sources and Teaching Methods Miguel Ángel López Fernández & Laura Ventura Nieto (Royal Holloway, David Fallows (University of Carmen Julia Gutiérrez University of London): Manchester): (Universidad Complutense de 'Sweet-Tasting Suffering’: Religious Fauxbourdon in the Carols Madrid): Mysticism, Saint Teresa of Ávila and An invented repertoire? An Italian Depictions of Saint Cecilia approach to the process of composition of the Cisneros Cantorales Marianne C.E. Gillion (Universität Antonio Cascelli (Maynooth University): Reinhard Strohm (University of Salzburg): Armonia, seeing, and hearing in Paolo Oxford): ‘Laborious efforts’: The printing of Veronese’s Le nozze di Cana. Uses of foreign polyphony in 15th- early sixteenth century graduals century Austria

15:00-15:30 BREAK

6 15:30-17:30 S4: Reformation S5: Iberia - Sources S6: Italy - the Long Sixteenth S7: PERFORMANCE WORKSHOP Chair: Grantley McDonald Chair: Esperanza Rodriguez-Garcia Century He Who Wins The Prize: Josquin, Chair: Dan Donnelly the true competitor Matthew Laube (University of David Andrés-Fernández (Universidad Elizabeth G. Elmi (Indiana University): Matthew Gouldstone & 4 O/Beta Cambridge / Université Libre de Austral de Chile / The University of Written and Oral Practice in Late- Bruxelles): Sydney): Quattrocento Neapolitan Song Singing, Religious Identity and the Four Spanish Manuscript Processionals Clandestine Book Trade in the at the University of Sydney Southern Netherlands, 1550–1600 Alanna Ropchock (Case Western Andrea Puentes-Blanco (Institució Milà i Bláithín Hurley (University of Warwick Reserve University): Fontanals (CSIC, Barcelona) and / University College Cork): Fractured Cycles: The Polyphonic University of Barcelona): Gossip, News and Music: The Barber Mass in the Early Lutheran Liturgy Printed Books of Polyphony at Barcelona, Music Teacher in Early-Modern Biblioteca Universitaria: New Unknown Venice Editions by Giovanni Pierluigi da Palestrina and Gioseppe Caimo Luca Vona (University La Sapienza, Ana Sá Carvalho (University of Oxford): Momoko Uchisaka (University of Rome): The Council of Trent and polyphony for Sheffield): Towards a Reformed Theology of the Office in Iberian sources Love and Madness in Isabella Music during the Reign of Edward VI Andreini's Performance at the Medici Wedding in 1589 Samantha Arten (Duke University): Augusta Campagne (University of Protestant Advocacy for Musical Music and Performing Arts, Vienna): Literacy in The Whole Booke of Lute and harpsichord together? - Psalmes Evidence from the intabulations in the prints of Simone Verovio 17:45-18:45 KEYNOTE 1: Emma Hornby (Bristol University): Deciphering the musical language of Old Hispanic chant: adventures on musicology's periphery

7 $

Wednesday 6 July

LT3 LT5 LT6 LT7 9:00–10:30 S8: English song S9: Finding Individual Style in Detail: S10: Motet in the Fifteenth and S11: Reshaping Medieval Song Chair: Lisa Colton Analysis in Motet, Mass, and Madrigal Sixteenth Centuries 1 Chair: Helen Deeming Chair: Bonnie Blackburn Chair: Paul Kolb Louise McInnes (University of Cathy Ann Elias (DePaul University): Daniel Trocmé-Latter (Homerton Meghan Quinlan (Merton College, Sheffield): A New Look at the Compositional College, Cambridge): University of Oxford): Carols and Vernacular Musical Process in "Je suis Deshéritée" Masses “A modal idiot?” Mode and ficta in 'In Fear for my Life': Trouvère Song, Culture in the Late Middle Ages Billon’s Postquam impleti sunt Political Unrest, and Contrafacture in King Louis IX's France Simon Bate (King's College London): Dan Donnely (University of Toronto, Vicente Chavarría (Katholieke Matthew Thomson (St Peter's ‘Jesu swete now wyll I syng’: A nun’s CRRS): Universiteit Leuven): College, University of Oxford): songbook as witness to musical life Building the Poet's Toolbox: Musical Séverin Cornet and that Flighty Monophonic Song in Motets: in late medieval Chester Structure and Poetic Norms in the Temptress, The Quinta Pars Performing Quoted Material and Cinquecento Performing Quotation Catherine Evans (University of Jennifer Thomas (University of Florida): Henry Hope (Magdalen/New College, Sheffield): Counterpoint, Stasis, and Trajectory: University of Oxford): 'To ear and heart send sounds and Controlling Time in Sixteenth Century Collecting Songs: Valentin Voigt and thoughts of gladness, That bruised Counterpoint the Jena Songbook bones may dance away their sadness': Elizabethan settings of Psalm 51

10:30-11:00 BREAK

8 11:00-12:30 S12: Sixteenth-Century England S13: Shearing the Golden Fleece: A S14: Motet in the Fifteenth and S15: Medieval and Renaissance Chair: Katherine Butler Multivalent Approach to L'homme Sixteenth Centuries 2 Musical Legacy Armé Chair: Christian Leitmeir Chair: Owen Rees Chair: Jeffrey Dean James Burke (University of Oxford): Brett Kostrzewski (Boston University): Lenka Hlávková (Charles University, Lorenzo Candelaria (The University of The ‘Sadler’ fragments (GB-Ob Mus. Before Burgundy: early L'homme Prague): Texas at El Paso): e. 21) and a lost mass Veni creator armé masses in France and the north On the style and function of unique The Creation of Euro-Aztec Catholic spiritus polyphonic songs in the Strahov Song in Sixteenth Century Mexico Codex (1467-1470) Christopher Ku (Worcester College, Matthew Hall (Cornell University): Jan Bilwachs (Charles University, Luiz Fiaminghi (State University of University of Oxford): Brumel's Missa L'homme armé: style and Prague): Santa Catarina, Brazil): The English long-note cantus transmission, 1485-1505 The Motet Collection Performing the Medievality of firmus: Ordinary texts for a proper Selectissimarum sacrarum Brazilian Oral Traditional Music tune cantionum...fasciculus primus by Carl Luython Samantha Bassler (Rider University Rachel Kurihara (Boston University): Esperanza Rodriguez-Garcia Ed Emery (SOAS, London): / Rutgers University): Busnoys's Missa L'homme armé in (University of Nottingham): Critical Categories for Analysis of A Case Study in Early Music and Barcelona and beyond after c.1500 Playing Motets in Alternative Medieval Dance Songs: Calais, Dunkirk Disability Studies: Voice, Gender, Performance Contexts ‘per la belleza and Kurdistan and (Dis)ability in Shakespeare’s & vaghezza loro’ Twelfth Night, Othello, and Richard II

12:30-13:30 LUNCH

13:30-14:30 CONFERENCE CONCERT AT FIRTH HALL

14:30-15:00 Website Launch (Firth Hall): DIAMM, PRoMS, Prosopography of English Church Musicians

9 15:30-17:30 S16: Chant and Liturgical Drama S17: Renaissance Theory 1 S18: Music, Materiality and History S19: Printed Sources of Music Chair: Marianne Gillion Chair: Christian Goursaud Chair: Barbara Eichner Chair: Thomas Schmidt Henry Parkes (Yale University): Ian Lorenz (McGill University): Franz Körndle (University of Martin Ham (University of Surrey): Suspending the Suspension of the Aron, Glarean, and Josquin’s Miserere Augsburg): Manfred Barbarini Lupus: composer Alleluia: Observations on the What is an organ book? and con artist Septuagesima Office and its Eleventh- Century Decline Henry T. Drummond (Merton College, Sabine Feinen (Department of Erich Tremmel (University of Elisabeth Giselbrecht (King's College University of Oxford): Musicology Weimar-Jena): Augsburg): London): Daring to Believe: Sounding Wonder in “Cristóbal de Morales, the light of Facts and omissions relating to Rediscovered songs: A manuscript the Miracles of Castrojeriz Spanish music”: Cristóbal de Morales’ Musical Instruments in the 16th addition to Peter Schöffer’s third Magnificats in Renaissance music Century song book (1536) theory Zoltan Mizsei (Liszt Ferenc University Alexander Jakobidze-Gitman Tess Knighton (Institució Milà i Grantley McDonald (University of of Music): (University Witten/Herdecke): Fontanals, Barcelona): Vienna): Laus angelorum – traces of angelic Spirits within the Body: The Break in Written and Unwritten Musics in Music, political panegyric and print at singing in Gregorian chant and the Humoral Theory by Zarlino Sixteenth-Century Barcelona the court of Maximilian I Renaissance motets Michael L. Norton (James Madison Johann Hasler (Universidad de Moritz Kelber (University of Louisa Hunter-Bradley (Royal University): Antioquia): Salzburg): Holloway, University of London): The When Words Collide: The Illusion of The Musical Examples in Athanasius A history of music in 100 objects? production of Plantin’s printed Liturgical Drama Kircher’s Musurgia Universalis (1650) polyphonic music editions, 1578 to 1621 18:30 MASQUE AT CUTLER'S HALL (Church Street, Sheffield S1 1HG)

10 $

Thursday 7 July

LT2 LT6 LT7 StG 9:00-11:00 S20: Songs in the Thirteenth S21: Madrigal S22: Renaissance Theory 2 S23: Tudor Partbooks: the Century Chair: Antonio Cascelli Chair: Ruth DeFord manuscript legacies of John Sadler, John Baldwin and their antecedents. English sources, Henry VIII to Charles I Chair: Magnus Williamson Catherine A. Bradley (State University Lucia Marchi (Northeastern Illinois Paul Kolb (University of Salzburg): Daisy Gibbs (Newcastle University): of New York at Stony Brook): University / De Paul University): Dots of division in theory and Singing the French Crown: Two Mini Clausulae and the Magnus liber Tasso, Marenzio and lesbian desire practice: Anomalies and their contexts Henrician sources and an antiphon organi newly attributable to William Cornysh Tiess McKenzie (University of Sigrid Harris (University of Adam Whittaker (Birmingham City Hector Sequera (Durham University): Saskatchewan): Queensland): University): William Byrd's incomplete unica Two Sides to the Story: Binary Rhythm “Dolce veleno”: Lust, Gluttony, and Exemplifying Imperfection and works in GB-Lbl Add. MS. 31992: An in the Bamberg and Montpellier Symbolic Cannibalism in Carlo Alteration in Fifteenth-Century assesment and reconstruction Manuscripts Gesualdo’s Ardita zanzaretta (1611) Theory: A comparison of the approaches of Johannes Tinctoris and Franchino Gaforus Warwick Edwards (University of Paul Schleuse (Binghamton University / Alexander Morgan (McGill University): Katherine Butler (University of Glasgow): State University of New York): Detection of Intervallic Rhythm in Oxford): Thirteenth-Century Latin song and the Adriano Banchieri on the Delights of Renaissance Music: A Systematic and Framing the Music: Borders for Idea of Musical Measure the Modern Madrigal Dynamic Tool for Fundamental Printed Music and Music Paper c. Counterpoint Analysis 1560-1600 Katherine Steiner (Pontifical Institute Evan Campbell (McGill University): Christian Goursaud (Birmingham John Milsom (Liverpool Hope of Mediaeval Studies, Toronto): Monteverdi's Medleys Conservatoire): University / Newcastle University): The Lady of St Andrews: Singing Roses Scribal Process in the Presentation Printed staves: what can we learn in the Mass Manuscripts of Tinctoris’s Music from them? Theory 11:00-11:30 BREAK

11 11:30-13:00 S24: The Presentness of the Past S25: Secular monody S26: Music in the Royal Court of S27: ROUND TABLE and the Timelessness of the France Tudor Partbooks: Describing and Present: Representations of Early Chair: Vincenzo Borghetti Identifying Scribal Traits Music on Stage and Screen Chairs: Adam Whittaker & James Cook Lisa Colton (University of Anne Levitsky (Columbia University): Jeannette D. Jones (Boston Julia Craig-McFeely (DIAMM) and Huddersfield): “Tell her, if it pleases her, to learn you University): Katherine Butler (University of Sacrificing the past, creating a and sing”: Learning and Embodiment in The Bourbonnais in the 15 th century: Oxford) timeless present: Music in The Wicker the Troubadour Tornada Historiography and Patronage Man(1973) Alex Kolassa (University of Alexandros Hatzikiriakos (Sapienza Naomi Gregory (University of Nottingham): University of Rome): Rochester): Presentness and the Past in The Chansonnier du Roi, Naples, and Allegorical Resonances: Music’s Role Contemporary British Opera the geography of thirteenth-century in Mary Tudor’s Entry to Paris (1514) music Carlo Bosi (Paris-Lodron-Universität Alex Robinson (Independent): Salzburg): The musical training of Louis XIII Espérance Or: The First Owner(s) of during the time he was dauphin (1601- the Manuscrit de Bayeux (F-Pn, F. Fr. 10): evidence from the Journal of Jean 9346) Héroard 13:00-14:00 LUNCH

14:00-16:00 S28: Georgian Music S29: Iberia - Performance and S30: Music in the German- S31: WORKSHOP Chair: Warwick Edwards Reception Speaking Areas Tudor Partbooks: Polyphonic Chair: Tess Knighton Chair: Moritz Kelber reconstruction: stylistic freedom, uncertainty and invention Tamar Chkheidze (Tbilisi State Manuel del Sol (Universidad Sanna Iitti (Independent):Itinerant Magnus Williamson (Newcastle Conservatoire): Complutense de Madrid): Musicians in Hamelin's Piper's Legend University): The Role and Function of Cantus Lamentations of Jeremiah in Medieval Lost Tenor of the Baldwin partbooks Firmus in the Church Polyphony and Renaissance Spain Khatuna Managadze (Batumi Art Santiago Ruiz Torres & Nuria Torres Aaron James (Eastman School of Marina Toffetti (University of Padua): Teaching University): (Universidad de Salamanca & Music, University of Rochester): Reconstructing lost voices: towards a The Lent Chants in Georgian Notation Universidad Complutense de Madrid): Lost Canonic Instructions in the methodology Manuscripts of XIX c. The reception of the hymn Te matrem Salminger Prints? dei laudamus in Castile.

12 Julia Miller (Antwerp University): Kirstin Pönnighaus (Department of Nicola Orio (University of Padua): Recorder Use in Spanish Churches and Musicology Weimar-Jena): Automatic Comparison of Cathedrals in the Sixteenth and Early A Reconstruction of Venediers Reconstructed Parts Seventeenth Centuries Masses - an attempt Barbara Eichner (Oxford Brookes University): A cause for thanksgiving: Cipirano de Rore's "Agimus tibi gratias" and Imperial politics 16:00-16:30 BREAK

16:30-17:30 KEYNOTE 2: Linda Austern (Northwestern University): Anne Boleyn, Musician: A Romance Across Centuries and Media 17:30-18:00 BREAK

18:00-19:00 S32: LIGHTNING TALKS David Burn (Katholieke Universiteit, Leuven): The Savoy-Nemours Chansonnier: A New Late Fifteenth-Century Song Source Štefánia Demská (Charles University, Prague): Traditions of Post-Pentecost antiphons in medieval music sources Max Erwin (University of Leeds): Mode/Row/Series: Medieval Thought (mis)Understood in Post-War Composition Gillian Hurst (University of St Andrews): The singing cadels of the St Andrews Gradual 19:30 CONFERENCE DINNER (Discovery Room, Inox Dine / Sheffield Students' Union, Level 5, Durham Street, S10 2TG; in the campus area

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Friday 8 July

LT2 LT5 LT6 LT7 9:00-10:00 BUSINESS MEETING

10:30-12:00 S33: Women Patrons in the S34: A Prosopography of English S35: Composition and Analysis S36: Songs in the Fourteenth Sixteenth century Church Musicians: Pilot Project Century Chair: Jennifer Thomas Chairs: Helen Deeming & Lisa Colton Aimee E. Gonzalez (University of Roger Bowers (University of Reiner Krämer & Julie E. Cumming Elena Abramov-van Rijk Florida): Cambridge): (McGill University): (Independent): Saints, Sons, and Sovereignty: A Case Study: the College Royal of the The Supplementum: Structure and Jewish traces in Italian medieval Mouton’s Gloriosa Virgo Margareta in Blessed Virgin Mary and St Nicholas, Evolution poetry: a revival of an old intuition the Court of Anne of Brittany (1477– Cambridge 1514) Vincenzo Borghetti (Universita degli James Cook (Bangor University) & Christian Leitmeir (Magdalen College, Zoltán Rihmer (Liszt Ferenc Studi di Verona): Ralph Corrigan (Independent): University of Oxford): University of Music): Reading Music, Performing Identity: Towards a prosopography of Musicians A 16th-century canon and its “Ludowice” and “O Philippe”: Which Margaret of Austria and her in Pre-Reformation England and Wales 1 preservation in an album leaf of came first? Chansonnier BrusBR 228 Johann Sebastian Bach

Ascensión Mazuela-Anguita Ralph Corrigan (Independent) & James Bernadette Nelson (Universidade Mikhail Lopatin (St. Hugh's College, (Institución Milá y Fontanals, Cook (Bangor University): Nova, Lisbon): University of Oxford): Barcelona): Towards a prosopography of Musicians 'Missas de Requiem’ in early 17th- Tornando indietro: Dante, Petrarch, Women and networks of musical in Pre-Reformation England and Wales century Lisbon: Traditions, and the topos of return in the patronage in the sixteenth-century 2 Compositional Processes, Influences Trecento madrigal Iberian world: Ana de Mendoza, Princess of Eboli (1540-1592)

12:00-12:30 BREAK

14 12:30-14:00 S37: Rome S38: Music and Art in Renaissance S39: Heroes of Early Modern Music Chair: Noel O'Regan Italy 2 in Historical Thought and Chair: Sanna Raninen Historiography Chair: Henry Hope Jeffrey J. Dean (Birmingham Serenella Sessini (University of Kai Marius Schabram (Liszt School of Conservatoire): Sheffield): Music Weimar): Ritual, codicology, and Josquin's Botticelli's Angels and the Heroes and authorities in music music for the Sistine Chapel Representation of tactus in Renaissance historiographical concepts of the late Italy fifteenth and sixteenth century Germany Mitchell Brauner (University of Laura Cristina Stefanescu (University of Michael Meyer (University of Zurich): Wisconsin-Milwaukee): Sheffield): Foundations of Music History: Tomás Luis de Victoria's Lamentation Giovanni Boccati, Music and the Concepts of Heroizing Composers in Lessons Sensory Experience in Paintings of the Sixteenth Century Germany Virgin in the Garden Rosemarie Darby (University of Tim Shephard (University of Sheffield): Stefan Menzel (Liszt School of Music Manchester): Orpheus and the Animals: Representing Weimar): Triple-choir Mass settings in the Persuasion Musically Arch Cantors and Mighty Fortresses - archives of the Chiesa Nuova, Rome Lutheran Historiography and Culture Protestantism 14:00 CONFERENCE END

$ POSTERS PRESENT IN THE FOYER: Joanna Booth (University of Sheffield): Music, Memory and Instruction on the 15th-century Cassoni Panels of Apollonio di Giovanni Annabelle Page (University of Sheffield): Virtue, Regulation and Disorder in Italian Representations of the Muses c. 1530

LT 2–7 at the Diamond Building (32 Leavygreave Road, Sheffield S3 7RD) StG = St George's Church Lecture Theatre (St George's Terrace, Sheffield S1 4DP; opposite the Diamond) $ $ $

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1: Printed Sources of Chant Chair: David Burn

1.1: Young Choristers in the Venetian Republic: Sources and Teaching Methods Alessandra Ignesti, McGill University

The publication of manuals on the elementary teaching of singing in church experienced a considerable increase when musical chapels were established in the major urban centres of the Venetian Republic in the fifteenth century. Examples include the widespread Breviloquium musicale of the Franciscan Bonaventura da Brescia (later changed to Regula musicae planae), first printed in Brescia (1497) and then repeatedly issued in Venice until mid-sixteenth century; the Regolette de canto fermo et de canto figurato latine et volgare of Simeone Zappa (1530); and the anonymous Compendium musices printed in Venice in 1499 and then incorporated as introduction into the collection of liturgical songs Cantorinus. The aim of this paper is to present a comprehensive overview of the methods for training young choristers in use in the Venetian Republic during the Renaissance. In particular, it will (1) detail the history of this kind of print in the Serenissima; (2) account for the teaching of plainchant, solmization, counterpoint, musica figurata, and musica ficta; (3) analyze pedagogical strategies; (4) compare the printed manuals with the methods conveyed in manuscript sources, such as the Compendium musicale of Nicola da Capua and the De preceptis artis musicae of Guilielmus Monachus.

1.2: An invented repertoire? An approach to the process of composition of the Cisneros Cantorales Miguel Ángel López Fernández & Carmen Julia Gutiérrez, Universidad Complutense de Madrid

The restoration of the Old-Hispanic chant was one of the greatest endeavors lead by Cardinal Cisneros, who ordered the edition of a printed Missale (1500) and Breviarium (1502) with the text of this repertoire, and four manuscript Cantorales with its music. Considering the studies by Rojo & Prado (1929), Imbasciani (1979) and Boyton (2015), it has been proved that the content of these Cantorales does not correspond to the original Old- Hispanic chant of the Middle Ages, and that some of them are composed through a system of formulas or patterns. However, Gutiérrez (2013) demonstrated that, at least in the case of Hymns and Preces, there can be found some parallelisms between the Old-Hispanic chant and the Cantorales. Would it be possible to find similar parallelisms in other genres and thus determine the dimension of “invention” of the Cantorales? Following this line of research, we are currently studying the presence of Old-Hispanic elements in the Cantorales’s chants. We have focused on the analysis of the verses of some genres, like Officium or Psallendum, and on their comparison with medieval manuscripts, because verses are often repetitive formulas that might give more clues about the “invention” level of the Cantorales.

1.3: ‘Laborious efforts’: The printing of early sixteenth century graduals Marianne Gillion, University of Salzburg

In the late fifteenth and early sixteenth centuries ambitious publishers throughout Europe issued a number of liturgical books, many containing musical notation, in order to capitalize upon the lucrative religious market. The printing of these books presented a number of conceptual, technical, and practical challenges. Exemplars needed to be selected and edited, the contents typeset and printed, and decisions taken regarding the volumes’ marketing and dissemination. A survey of early printed graduals in different

16 geographical regions offers intriguing evidence of how various publishers dealt with the complexities of printing the chant for the Mass. Luc’Antonio Giunta published his first Graduale Romanum in Venice between 1499 and 1500. This volume would mark the beginning of the printed chant tradition in the Italian peninsula. The system was one of interrelation, where firms would appropriate and adapt their competitors’ material. This contrasts with the situation in German-speaking regions, where individual publishers would often focus on printing graduals for specific liturgical uses. A comparison of the format, contents, and repertoire of printed graduals from the first decades of the sixteenth century emanating from Venice, Strasbourg, Turin, and Basel illustrates the multifaceted approaches firms employed to produce these volumes.

2: Music and Art in Renaissance Italy 1 Chair: Tim Shephard

2.1: Music Books in Renaissance Italian Art: Formats and Performance Sanna Raninen, University of Sheffield

References to music in the Renaissance art are often achieved by depicting musical instruments and also by books containing music; in particular the images of singing are emphasised by the presence of a book or a sheet of paper containing notation. The surviving music books from the turn of the sixteenth century display a wide variety of formats and sizes, and the dissemination and availability of books expanded further over the emergence of the printing press. Given the many guises of music sources available at the time, how are the music books depicted in the works of art, what is their role in the image, and how are the individuals engaging with the books? My presentation examines the different formats and function of music books presented in the Italian Renaissance art, with special interest on the material culture of the book.

2.2: ‘Sweet-Tasting Suffering’: Religious Mysticism, Saint Teresa of Ávila and Italian Depictions of Saint Cecilia Laura Ventura Nieto, Royal Holloway University of London

Early-modern Catholicism included some spiritual practices that were extremely eroticised. For example, mysticism had a sense of religiosity lived through corporeal experiences, including visions and the belief in a mystic union with Christ. The Spanish nun Saint Teresa of Ávila (1515-1582) in her writings narrating her visions include highly eroticised overtones to describe experiences that, although appearing impossible to verbalise, brought her true wisdom. These accounts informed the artistic productions of the period, such as Bernini’s famous sculpture representing the saint herself during her ecstasy. Saint Cecilia had a close relationship with music, being even considered its patroness, and her musical images started to multiply from the sixteenth century onwards. Moreover, her story has links with acquiring wisdom through conversion and includes visits of angels, which parallel Saint Teresa’s own religious experiences. Some of Saint Teresa’s writings were published in Italy in 1599, the same year Saint Cecilia’s remains were exhumed and representations of the martyr started to multiply. This paper will explore how mystic literature in general, and Saint Teresa’s writings in particular, could have informed the paintings of Saint Cecilia that appeared at very end of the sixteenth century.

17 2.3: Armonia, seeing, and hearing in Paolo Veronese’s Le nozze di Cana Antonio Cascelli, Maynooth University

The wedding of Cana is a theme that in several paintings comes to be associated with music performances. Jan Cornelisz Vermejen (1530) and Marten de Vos (1597) both include musicians in their reproductions of the biblical story. It is, however, Paolo Veronese’s painting (1562) of the same story that probably remains the most famous visual reproduction. Veronese too includes a group of performing musicians; but whereas in Vermejen’s and de Vos’ paintings the miracle is at the centre of the pictorial narrative and the musicians are only one element among many in the frame, placed either on one side or in the background, in Veronese’s the story becomes the occasion to represent a sumptuous and luxurious banquet, in an extraordinary theatrical setting in which the musicians are positioned in front of Christ, at the centre of the symmetrical perspective. Their position raises interesting questions about seeing and hearing in the context of principles of armonia and proportion in the Renaissance. If the figure of Christ is the only figure gazing directly at the viewers, his gaze is almost forced to traverse the sound of the musicians interposed between him and the viewers, establishing a dialectic between the senses involved and the original space of the painting (the refectory of the Benedictine Monastery of San Giorgio in Venice) . In this way the analysis of the painting aims to suggest a way of looking at images representing music and musicians beyond a traditional music iconography approach and to interpret the performativity embodied by such images.

3: Fifteenth-century English Music: In Memory of Brian Trowell Chair: Andrew Wathey

Brian Trowell, who sadly passed away in November of 2015, will undoubtedly be remembered as a luminary within the field of musicology. Not only did his own work influence many important strands of musicology, but also a great many of his students went on to become leaders in the field within their own rights. Whilst his interests were varied, Early Music remained one of his particular passions and it seems fitting that the

18 Medieval and Renaissance community should come together in celebrating his memory and his contributions to our discipline. Given his interest in fifteenth-century English music, a session consisting of papers on this theme seems particularly apt.

3.1: Sub Arturo plebs Revisited Margaret Bent, All Souls College, Oxford

The motet Sub Arturo plebs / Fons citharizancium / In omnem terram names fourteen English musicians and its composer, J. Alanus. Brian Trowell, in 1957, was the first modern scholar to unmask the Latinised English vernacular names and to offer some archival identifications. As knowledge of English fourteenth-century music increased, his dating of 1358 seemed too early. Roger Bowers moved it up to the early 1370s, believing the J. Alanus to be identified with a royal chaplain who died in 1373. This paper will argue that there are no strong reasons to identify the composer with this rather than some other J. Alanus; that some of the musicians may be identified with later candidates; and that the nearest musical comparands, technically and stylistically, date from after 1400, suggesting a new later dating of the motet.

3.2: Fauxbourdon in the carols David Fallows, University of Manchester The copious literature on fauxbourdon/faburden, to which Brian Trowell was a major contributor, oddly makes no reference to the clear need for an unwritten middle voice in a large proportion of the earliest surviving polyphonic carol burdens, as indeed added in the edition by John Stevens (1952). The precise details of these unwritten voices are always absolutely clear (though Stevens did not always get them right). But none of them corresponds precisely to the descriptions in the theorists; and nor do they work in the same way as the surviving continental fauxbourdons. They therefore constitute a new and structurally different form of fauxbourdon; and I wish to propose that they had a major impact on the evolution of fauxbourdon on the continent.

3.3: Uses of foreign polyphony in 15th-century Austria Reinhard Strohm, University of Oxford

After the pioneering efforts of Brian Trowell and his generation in demonstrating the dissemination of English music on the continent in the 15th century, and the comprehensive studies of its textual transmissions by Margaret Bent, Peter Wright, Gareth Curtis, David Fallows and others, we are still faced with the enigma of reception itself. Why was English and other Western European music transferred so far away from its origins? What was its use in the new environments? How could it be assimilated and integrated into regional traditions? The paper explores some of these transferrals to different locations around the Austrian region, on the basis of new local and regional research carried out in a collaborative study at the University of Vienna (www.musical- life.net).

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4: Reformation Chair: Grantley McDonald

4.1: For Piety and Propaganda: Singing Death in the Southern Netherlands during the Confessional Age, c. 1550–1600 Matthew Laube, University of Cambridge / Université Libre de Bruxelles

On the confessionally fractured landscape of the early modern Southern Netherlands, few events expressed and reinforced the religious orientation of an individual or community more clearly than death. Drawing on numerous hitherto unknown archival sources, this paper considers three aspects of the intersection of music and death among both Protestants and Catholics c.1550–1600. Protestant martyrs in the Southern Netherlands considered singing an integral part of their (often public) deaths. Importantly, their final actions—which often included singing psalms—were far from spontaneous, however, as devotional literature presented for its readers the deaths of previous Protestants, and offered these confessional dissidents from Tournai, Valenciennes and elsewhere a model on which to base their own untimely deaths. Equally, in the Catholic stronghold of Douai, not only was music fundamental to reflecting individual piety of the deceased, but funerals importantly provided income for Douai’s musicians—both of which took on greater significance as Catholic exiles poured into the city from the 1560s onwards as Calvinists sought control of the territory. Finally, this paper presents newly discovered sources from the collegiate church of St Amé to probe the musical means by which early modern Douaisiens memorialised the dead in the Age of Confessions.

4.2: Fractured Cycles: The Polyphonic Mass in the Early Lutheran Liturgy Alanna Ropchock, Case Western Reserve University

In the later sixteenth century, the polyphonic Mass Ordinary acquired a new performance context within the Lutheran church, an institution intrinsically opposed to the Catholic roots of this preeminent Renaissance genre. Martin Luther endorsed the Mass Ordinary because the texts express praise and thanks to God and, unlike the Eucharistic Canon, do not address the polemical topic of the Mass being a sacrifice. Luther’s followers adhered to his sentiments, as liturgical instructions in their church orders (Kirchenordnungen) require the singing of Latin Ordinary texts. Manuscript and printed music sources from churches such as the Leipzig Thomaskirche and St. Egídia in Bardejov corroborate these instructions and demonstrate that Lutherans often abridged masses by Josquin des Prez and his contemporaries to varying degrees.

This paper examines several cases of masses from Lutheran sources, revealing a unique reception trend that is counterintuitive to our current perception of Renaissance masses as five-movement works. Detailed source analysis will show that the decision to fracture these cyclic works was informed by liturgical aesthetics rather than doctrine or source availability. Moreover, the sources from early Lutheran churches represent a transmission pattern involving incomplete Mass Ordinaries that is distinct from non- liturgical sources such as treatises and duet collections.

4.3: Towards a Reformed Theology of Music during the Reign of Edward VI Luca Vona, University La Sapienza, Rome

This paper explores origins of Anglican sacred music both musicologically and theologically. It focusses in particular on England during the reign of Edward VI, because, although Edward’s reign lasted only six years, it established the foundations of English

20 Protestantism both theologically and musically, with the diffusion of the processional litany, of metrical psalmody, and the adaptation of plainchant. On the one hand, I will trace the dismantling and in the same time the survival of medieval musical theory and practice during the Reformation, highlighting the elements of continuity and discontinuity between the liturgical and musical practice before the Anglican reform and musical solutions proposed for the Book of Common Prayer in the 1549 and 1552 editions. On the other, I will relate Anglican Reformation thought to the musical aesthetics of Erasmus of Rotterdam, Luther, Melanchthon, Calvin and Cranmer, with the aim, ultimately, of defining a reformed theology of music.

4.4: Protestant Advocacy for Musical Literacy in The Whole Booke of Psalmes Samantha Arten, Duke University

It has often been noted that Protestant ideology led to an increase in general literacy rates in the sixteenth century. It is less often said, however, that Protestants helped advance musical literacy. Based on the evidence of The Whole Booke of Psalmes, by far the most popular and frequently printed book of music in sixteenth-century England, I argue that English Protestantism did exactly that. The epistle to the reader found in the first edition of 1562 served as an introductory music theory treatise intended to aid readers in learning to sing the Psalms and also any other “playne and easy Songes as these are.” Later editions included a music typeface that contained solmization syllables along with a new preface explaining their use. In this paper, I will show that both the music preface and the solfege psalters were far more prevalent than scholarship currently acknowledges. I will discuss the six-syllable solmization system in relation to William Bathe’s fixed-do system (A Briefe Introduction to the Skill of Song, c. 1596) and Thomas Morley’s system of mutation (A Plaine and Easie Introduction to Practicall Musicke, 1597). Finally, I will explain how these didactic aids served the Protestant musical ideology found in this psalter. In this way, I offer a new interpretation of sixteenth-century English Protestantism’s relationship to musical literacy.

5: Iberia - Sources Chair: Esperanza Rodriguez-Garcia

5.1: Four Spanish Manuscript Processionals at the University of Sydney David Andrés-Fernández, Universidad Austral de Chile & The University of Sydney

The processional book has been neglected by scholars in comparison with other liturgical books, such as the antiphonary or the breviary. Although the processional repertory has been widely studied by several scholars, not enough work has been devoted to the processional book itself. Particularly, for Spain, Michel Huglo cited in his Les manuscrits du processionnal catalog around seventy-five processional manuscripts from Spain. However, only nine of them have been studied in detail. Rare Books and Special Collections at Fisher Library, The University of Sydney has recently acquired two hitherto unknown processionals for its Spanish liturgical manuscript collection. In total, this deposit holds four Spanish processionals, all of which are unpublished and unstudied. As a result of a research-stay at the Medieval and Early Modern Centre at the University of Sydney, this paper reviews the relevant findings of this research, which covers the origin, history, content, paleographical features, and liturgical linkages of these processionals, which are related to different places of Spain; from the cathedral of Seville to the ‘Colegiata’ (collegiate church) of Calatayud.

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5.2: Printed books of polyphony at Barcelona, Biblioteca Universitaria: new unknown editions by Giovanni Pierluigi da Palestrina and Gioseppe Caimo” Andrea Puentes-Blanco, Institució Milà i Fontanals (CSIC, Barcelona) and University of Barcelona

Barcelona University Library preserves a rich bibliographical heritage consisting of manuscripts and printed books from the Middle Ages to the Early Modern period. Among the printed books, there is a collection of twenty-two printed books of polyphony from 1547 to 1613. The uniqueness of this collection lies in the existence of three unknown or lost editions by Giovanni Pierluigi da Palestrina (ca. 1525/26-1594) and Gioseppe Caimo (ca. 1545-1584). These editions are: 1) the lost book of Canzonette… libro primo (Brescia, 1584) by Gioseppe Caimo; 2) an unknown edition of Palestrina’s Litaniae published by Angelo Gardano in 1582; and 3) another unknown reprint of Palestrina’s Libro primo de madrigali for four voices (1580). Caimo’s edition was dedicated to the Duke of Savoy, who visited Barcelona a year after the publication. This paper aims to present this collection of printed books in the general framework of the “Books of Hispanic Polyphony” research project carried out by the Spanish National Research Council (CSIC-Institució Milà i Fontanals) and, particularly, in the context of my own research about manuscript and printed books of polyphony at Barcelona in the late sixteenth- and early seventeeth- century.

5.3: The Council of Trent and polyphony for the Office in Iberian sources Ana Sá Carvalho, University of Oxford

It is possible to find, in musicological literature published as late as 1997, several misassumptions regarding the Council of Trent and its impact on sacred polyphony. Although these erroneous perspectives have been challenged since the 1940s, these more up-to-date theories have, for a long time, left out peripheral countries. More recently, however, some studies have approached the influence of the Tridentine Council in a more holistic and geographically broader fashion, namely in what regards the liturgy in the Iberian Peninsula. If some alterations were quite pragmatic, being materialised in the 1568 Breviarium Romanum and the 1570 Missale Romanum, others do not seem to have been so much on the level of particular musical features (hardly spoken of or specified during the Council, in fact) but much more on the creation of a certain atmosphere, which should be propitious to devotion and to the restoration of faith. This paper will look at the Hispanic polyphonic Office in the late 16th and early 17th centuries, and in what ways it was (or not) affected by Tridentine decrees. This will hopefully contribute to a more balanced and knowledgeable perspective of Iberian Renaissance polyphony, both by its approach to a usually less studied repertory (polyphony for the Office) and by its research on a fundamental issue for Renaissance sacred polyphony: the aftermath of the Council of Trent.

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6: Italy - The Long Sixteenth Century Chair: Dan Donnelly

6.1: Written and Oral Practice in Late-Quattrocento Neapolitan Song Elizabeth G. Elmi, Indiana University

This paper investigates the complex relationship between oral and written practice in the song tradition of late-Quattrocento Naples by evaluating the contents of several Neapolitan musical manuscripts: Montecassino N871, Perugia 431, Seville 5-I-43+Paris N.A.F. 4379, and Bologna Q16. In each of these manuscripts, the transmission of Neapolitan song seems incidental to the composition of the larger collection, and that repertoire has been consequently underestimated in earlier scholarship. Taken together, however, the four sources preserve a significant body of over a hundred Italian-texted songs whose varying musical, textual, and material qualities show evidence of their connection to oral culture. This paper centers on two case studies drawn from these manuscripts, which attest to different stages in the transition from oral to written practice. The first, “Sera nel core mio”, appears fixed in written form but nevertheless shows connections to orality. In contrast, the second focuses on two songs with similar musical and textual fabric (both beginning “Quanto mi dolse...”), which allude more closely to the oral tradition in their material and compositional characteristics. These examples, framed within the larger Neapolitan corpus, reveal the manifold and evolving interactions between written and oral song traditions in the dynamic cultural milieu of Aragonese Naples.

6.2: Gossip, News and Music: The Barber Music Teacher in Early-Modern Venice Bláithín Hurley, University of Warwick / University College Cork

The duties of early-modern Venetian barbers included not only aiding their customers improve their appearance with a haircut or a beard trim, but also improving their social status by providing instruction in music. Documents exist which demonstrate that many Venetians harboured an interest in learning about music in its various aspects. Musical tuition was certainly available from private tutors for those who could afford it, but what of those aspiring musicians whose resources were limited? Not all the music teachers operating in Venice were professional musicians, some were enthusiastic amateurs or musical-instrument makers. However, the most common non-professional musician group to provide low-cost lessons were barbers and it was not unusual for an apprentice barber to receive music lessons from his master, with the expectation that he would perform in the shop and give lessons to customers. This increased the barber’s income, perhaps leading to requests for the apprentice to perform outside of the barber’s shop; something the apprentice was contractually obliged to do. In this paper I shall examine some barber apprenticeship contracts to establish the role of barbers in the musical education of early-modern Venetians.

6.3: Love and Madness in Isabella Andreini's Performance at the Medici's Wedding in 1589 Momoko Uchisaka, University of Sheffield

Isabella Andreini was a versatile, accomplished actress and poet in late sixteenth- and early seventeenth-century Italy. Besides her literary erudition, Isabella was renowned for the innamorata role on the stage of a commedia dell'arte troupe, the Compagnia dei Gelosi, which was active mainly in Northern Italy and France. In this paper, I spotlight Isabella's mad performance with singing in the comedy La Pazzia d'Isabella, staged at the 1589 wedding in Florence of Ferdinando I de' Medici and Christine of Lorraine. While the

23 mad Isabella's imitation of various tongues has been discussed as a representation of the disorder in the contemporary European society, some scholars have rather captured Isabella's madness and its cure as a contribution of the order at the Medici's wedding. In particular, Anne MacNeil presents Isabella as a sibylline figure who conveys with a musical offering the celestial message down to the terrestrial bride, drawing reference from Plato's Phaedrus. This paper relocates La Pazzia d'Isabella in theatrical and ceremonial contexts, and attempts to draw a different image of Isabella by highlighting the theme of love. This allows us to listen to Isabella's music in the joyous atmosphere.

6.4: Lute and harpsichord together? - Evidence from the intabulations in the prints of Simone Verovio Augusta Campagne, University of Music and Performing Arts, Vienna

The question, whether around 1600 lutes and harpsichords could or should have played together, has long been a controversial matter. Galilei, de'Bardi and Artusi, as well as certain modern authors like Morelli, are all more or less strongly opposed. The canzonetta anthologies, published between 1586 and 1600 by Simone Verovio however, include both a harpsichord part as well as a lute intabulation alongside the separate voice parts in choir book layout. As there are some conflicting ornaments and clashes between the intabulations of both parts, it has frequently been concluded, that the instruments should be used alternating, but never together. By examining some of these intabulations in detail, however, it will be shown that certain canzonettas have been very carefully arranged with complementing roles for the instruments, for example with alternating ornaments and passages. In others the harpsichord has a more ornamental function whereas the lute plays a more foundational part with chords over the bass. In sum, this paper shows that the Verovio intabulations contain ample evidence that the playing together of lutes and harpsichords around 1600 was a feasible possibility.

7: WORKSHOP He Who Wins The Prize: Josquin, the true competitor Matthew Gouldstone & 4 O/Beta

For many years, stylistic analysis has been accompanied by deep scepticism. Previous errors have left notable scars, and the composer affectionately known as Josquin has been most affected. A slight change in methodology on Josquin scholarship could potentially unlock further personal characteristics, and help to discover unique compositional tendencies.

Through both practical and theoretical analysis of source material, a variety of well known mass sections (Missa l'homme armé Sexti Toni, Missa Malheur me bat) may in fact be proven to have been later additions to an original compositional framework. Whether they were indeed composed by Josquin is another question. Extra connections with contemporary composers serve to highlight a strong focus on career progression, in addition to continuous personal achievement. A re-evaluation of chronology within the secure Josquin corpus is now necessary, and hopes to promote a fresh outlook on this frequently visited area of scholarship.

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24 # 8: English Song Chair: Lisa Colton

8.1: Carols and Vernacular Musical Culture in the Late Middle Ages Louise McInnes, University of Sheffield

One of the most interesting aspects of the English carol repertory, and something that sets it apart from other genres of the late medieval period is its extensive use of the vernacular. Carol texts are primarily English or Latin, or a mixture of both languages, with a very occasional inclusion of Anglo-French. In a period where vernacular musical culture is only sporadically preserved in English sources before 1500 and fourteenth- century manuscripts contain only a handful of examples, the carol repertory is able to offer a unique opportunity for research in this area.

This paper examines the significance of linguistic use in this insular genre, discussing possible reasons for the prolific use of the vernacular in polyphonic, monophonic and non-notated carols. Considerations of audience, issues of oral tradition, and diversity of subject matter (which can range widely from the celebration of the Virgin birth to the seduction of young maids, and the celebration of the Saints), will considered in order to begin to present a clearer linguistic understanding of the repertory.

8.2: ‘Jesu swete now wyll I syng’: A nun’s songbook as witness to musical life in late medieval Chester Simon Bate, King's College London

The manuscript El 34 B 7 in the Huntington Library, San Marino is a notated liturgical book associated with the Benedictine nunnery of St Mary, Chester. While it is justly characterised as a processional, much of the content is of a miscellaneous nature; at the back are copied a series of vernacular prayers and hymns, and it is known to musicologists as the source of the attractive Christmas song Qui creavit caelum. What little scholarly attention the manuscript has received has focused on the text, this having long been accessible in the edition by John Wickham Legg for the Henry Bradshaw Society. The music, meanwhile, remains largely unstudied, since the decision was taken not to print the notation in the aforesaid edition. The grounds for this omission—that the chant melodies are essentially those of the Use of Sarum—are based on perceptions of the fixity of liturgical use that have since shifted, and the processional is thus ripe for musical (re)assessment. My paper will survey the significant liturgical characteristics of El 34 B 7, before relating it to my broader project examining the musical experience of various ‘acoustic communities’ in Chester in the fifteenth and sixteenth centuries.

8.3: 'To ear and heart send sounds and thoughts of gladness, That bruised bones may dance away their sadness': Elizabethan settings of Psalm 51 Catherine Evans, University of Sheffield

The Psalms were generically instable texts in the early modern period. They move from literary works to devotional guides, public performances to private endeavours. Recent work by Hannibal Hamlin, Timothy Duguid, and Christopher Marsh has explored how the Psalms were used in a miscellaneous array of situations. I’m interested in how early modern authors used the Psalms to work out some of the temporal challenges of post- Reformation faith. Namely, in a world where “good works” no longer guaranteed salvation, why was there still a need for timely penance and praise? In this (primarily literature based) paper I shall be drawing on versions of Psalm 51 by Mary Sidney Herbert, Anne Lok, and Mathew Parker to explore how music was presented as a means to bridge the time-gap between man and God.

25 Several musical settings are connected to these texts, from an anonymous vocal solo to a choral setting by Thomas Tallis. This variety speaks to another intriguing aspect of the Psalms: the diversity of ways in which they could be used for devotional and creative acts. Rachel Willie has described the “dissonance” created by printing, disseminating, and singing psalms in these varied ways. However, I propose that this flexibility of the Psalms was crucial to their popularity, and intrinsically connected to their value as vehicles for spiritual engagement.

9: Finding Individual Style in Detail: Analysis in Motet, Mass, and Madrigal Chair: Bonnie Blackburn

The 2015 Cambridge History of Fifteenth-Century Music observes, “While out of fashion in certain quarters, style analysis is for this period a cutting-edge area of research, thanks both to our newfound intimacy with the music and the ever expanding range of techniques scholars are using to evaluate it.” This statement also holds true for the sixteenth century. Analysis of early music has often maintained a helicopter view, observing large-scale formal structures, general borrowing techniques, and overall texture. These practices show us a great deal about an oeuvre or a repertory, but not much about individual works. What distinguishes one work based on paraphrase, cantus firmus, or pervasive imitation from another? What does close reading of musical texts teach us about specific works, interpretation, composers’ individual styles, and compositional tricks and techniques— what do composers clearly understand that has remained below our collective radar? This panel examines compositional practices in the sixteenth- century genres of mass, motet, and madrigal, seeking to reveal the secrets composers employed in their quest for individual expression. As we seek to become more intimate with more music, our discernment of individual worth, expression, and identity will develop.

9.1: A New Look At The Compositional Process In “Je Suis Deshéritée” Masses Cathy Ann Elias, DePaul University

A diverse group of composers are part of a complex web of borrowings circling around “Je suis deshéritée.” Masses by Gombert, Guyon, and Palestrina based on the chanson reflect each composer’s style, yet with a special character induced by the simultaneous nexus between appropriated and new material. The composer takes ownership of what is borrowed, integrating it into a stylistic whole. We gain insight into this compositional process by examining how different composers negotiate the collision of sounds from the newly composed material, representing original creation, with the material borrowed from the model—a simple chanson that composers could have internalized, and thus, not inserted by selective copying from a score. By focusing on the compositional process as a whole—not on a two-step method of borrowed and new—we gain new insights that explain why the resulting masses, while audibly altered by the presence of the chanson, are still distinctively characteristic of the style of each composer. I will also discuss briefly other settings of “Je suis deshéritée” that have musical connections with these composers.

9.2: Building with the Poet’s Toolbox: Musical Structure and Poetic Norms in the Cinquecento Dan Donnely, University of Toronto, CRRS

Building on Cerone’s metaphor of the vertical interval as a letter, I have previously proposed a system for interpreting various contrapuntal structures as analogous to a number of poetic devices used in sixteenth-century verse. Key elements of this system

26 include contrapuntal repetition, which works in a manner analogous to repeated vocabulary or refrain, and modular manipulation, which produces the same-but-different quality of rhyme. I have furthermore posited that these kinds of poetic analogues exist at two levels: a more general structural level (e.g. rhyme schemes or dispositions of cadences), and a local lexical level consisting of specific words or contrapuntal combinations. In this presentation I show this system in action, translating the musical structures of specific works into their poetic analogues and demonstrating how these might be compared to contemporary aesthetic norms as advocated by Bembo and other critics. These comparisons—made in light of contemporary understandings of poetic style—may help to further our understanding of the complex relationship between style and genre in Italian Renaissance polyphony, especially with respect to differences in the use of imitation, modules, and other forms of repetition in sixteenth-century madrigals, motets, and mass movements.

9.3: Counterpoint, Stasis, and Trajectory: Controlling Time in Sixteenth Century Counterpoint Jennifer Thomas, University of Florida

Within the predictable forward motion of overlapping counterpoint in the ubiquitous “cut C” mensuration, 16th-century composers created a technique that allowed them to abruptly slow or halt music’s momentum and yet maintain rhythmic motion. I have called these passages “static contrapuntal modules” (SCM). Static contrapuntal modules are interlocking, motivically-generated patterns of short, repetitive contrapuntal blocks, usually imitative, in regular, often mechanical rhythms. SCMs suspend motion, prolonging a musical moment in time; their dissipation creates a renewed sense of momentum and direction, throwing the subsequent passage into sharper relief. Composers used static contrapuntal modules to retard motion before cadences, create suspense and expectation, articulate form, or create special effects. SCMs thus function as rhetorical devices—short figures based on specific techniques for expressive purposes. My paper will explain and interpret SCMs in works by Brumel, Josquin, Willaert, Clemens, Gombert, and Lasso. We lack contemporaneous evidence for the conception and use of SCMs, yet its use by many composers over a long period confirms that composers themselves shared the technique pedagogically or collegially or borrowed and replicated it in their own works after hearing it, adapting SCMs to their own styles and purposes and to changing aesthetic values.

10: Motet in the Fifteenth and Sixteenth Centuries 1 Chair: Paul Kolb

10.1: “A modal idiot?” Mode and ficta in Billon’s Postquam impleti sunt Daniel Trocmé-Latter, Homerton College, Cambridge

Little is known about the minor composer Jhan du Billon, despite the fact that he appeared in multiple volumes published by a number of important printers across Europe (including Attaingnant, Moderne, and Gardano). His motet Postquam impleti sunt dies purgationis Mariae first appeared in Peter Schoeffer’s Cantiones quinque vocum selectissimae in 1539. Although the piece is not ascribed to him in this publication, it does appear in subsequent publications and later manuscripts with his name. The piece contains several oddities in its writing, not least a sudden apparent forced modal shift during its final eight bars. This paper will explore these compositional discrepancies, with reference to issues of ficta in the handful of other surviving works by Billon, and assess

27 how these problems have been dealt with by modern-day editors and, to an admittedly limited extent, performers.

10.2: Séverin Cornet and that Flighty Temptress, The Quinta Pars Vicente Chavarría, Katholieke Universiteit Leuven

Despite being active in two major Flemish cathedral centers in the mid- to late sixteenth century, Séverin Cornet’s (c. 1530-1582) music has received little attention from present- day scholars. This French-born Antwerpian held a relatively stable career as kapelmeester at the Cathedral of Our Lady from 1572 until 1581; in his final year there, he was published three times by the famed Antwerp printer Christophe Plantin—unusual for the time— and his music was included further in posthumous compilations from France and Germany. This paper will examine Cornet’s collection of motets (Cantiones musicae, 1581) from a compositional standpoint, taking into account his Italian training and his often madrigalesque treatment of sacred texts. Cornet’s use of the fifth voice (quinta pars) was highly flexible and often mutable; it is does not have consistently the same polyphonic function, but even more intriguingly, it often jumps mid-motet to a completely different function. The performance implications of such treatment as well as its context within the added-voices tradition will be addressed as the picture of a little-known Flemish polyphonist slowly begins to emerge.

11: Reshaping Medieval Song Chair: Helen Deeming

Inspired by the concepts of mouvance, variance, as well as notions of interplay between textuality and orality pioneered Paul Zumthor, Bernhard Cerquiglini, Jacqueline Cerquiglini-Toulet and others, medievalists have moved away from understanding songs as fixed textual entities and, instead, drawn attention to their transmission patterns. Paradigmatic examples of this shift of focus are Mary O’Neill’s 2006 study of variance in trouvère melodies, or the scrutiny of medieval songs in their manuscript context as edited by Helen Deeming and Elizabeth Eva Leach (2015). Related to this endeavour, academics have begun to reassess the changing performativity of medieval songs: Ardis Butterfield (2002), Sarah Kay (2013), and others have foregrounded problems of compositional process and generic play; Gundela Bobeth and Sam Barrett (both 2013), in turn, have grappled with the diverse function of non-vernacular songs based on classical texts; and Marisa Galvez (2012) has attempted to trace the development of different kinds of song/songbook across medieval Europe. Reshaping Medieval Song sits squarely within this scholarly trajectory. Presenting individual case studies of thirteenth-century songs, the papers consider the changing nature of this repertoire in three different contexts: the transmission and repurposing of a single song within the same tradition; the quotation and transformation of various song melodies outside their generic context; and the translation of a songbook and its repertoire beyond its original historical environment.

11.1: ‘In Fear for my Life’: Trouvère Song, Political Unrest, and Contrafacture in King Louis IX’s France Meghan Quinlan, Merton College, Oxford

This paper investigates the political, codicological, and text-music relationships between two contrafacta: the trouvère song Quant je pluz sui en paour de ma vie by Blondel de Nesle, and an anonymous political song voicing the French baronage’s disaffection with

28 King Louis IX’s reforms. Through an analysis of the melody shared between both songs, I discuss how the music’s micro- and macro-structures reinforce and challenge the unease expressed in the songs’ texts. The political contrafact re-contextualises phrases about deception and subordination from Blondel’s song, inviting a comparison between Blondel’s narrator’s lady and the powerful figures under ridicule in the political song. Furthermore, the re-use of Blondel’s melody is politicised by a possible family relation between Blondel and the target of the political contrafact. Significant variation within the trouvère repertory can make it difficult to distinguish between the creative act of contrafacture and unintentional motivic re-use. This paper’s contrafacta, however, are identical both graphically and pitch-wise when they occur in TrouvK (F-Pa 5198), suggesting that the scribe attempted to emphasise their melodic ‘sameness’. The political contrafact refashions Blondel’s song on a level beyond the notes, and it is all the more powerful for it.

11.2: Monophonic Song in Motets: Performing Quoted Material and Performing Quotation Matthew Thomson, St Peter’s College, Oxford

Scholarly accounts of the interactions between polyphonic motets and monophonic song in thirteenth century, such of those of Mark Everist and Gaël Saint-Cricq, have shown the importance of motets in which the musico-textual pattern of one voice, in rondeau or ABABX form, is reflected in the other voices of the motet. Using these motets as a starting point, this paper considers motets that base themselves around the tonal characteristics or textual themes of a song voice, aiming to recontextualize the use of song in motets as part of wider trends of quotation and re-use. Not all of the song voices in these motets are truly pre-existent material, so this paper uses theories of quotation drawn from Roger Dragonetti, Sarah Kay, and Jennifer Saltzstein to argue that the techniques of musical and textual composition within these motets consciously frame the use of the song voice as an act of quotation. In motets that use song-like material, quotation can be implied, and perceived, even when there is no actual re-use of material taking place. The paper also considers implications of this model of quotation for other thirteenth-century musical genres.

11.3: Collecting Songs: Valentin Voigt and the Jena Songbook Henry Hope, Magdalen/New College, Oxford

The sixteenth-century Meistergesangbuch by the Magdeburg tax officer Valentin Voigt (D- Ju Ms. El. f. 100; siglum V) compiles over 400 songs, versifying Genesis and the Psalms, the Gospel readings for all Sundays of the liturgical year, and a range of other biblical, religious, and secular texts. Voigt did not create these songs ex nihilo, but based them on the musico-poetic models of 40 other song-writers, including a number of prominent thirteenth-century authors such as Frauenlob and Walther von der Vogelweide. Voigt’s collection is of interest not only as an object of musical analysis, but as a representative of the changing aesthetics and functions of (German) vernacular song. V is dedicated to the sons of Kurfürst Johann Friedrich I., the founder of the University in Jena, where the manuscript is kept today—shelved alongside the better-known fourteenth-century Jena Songbook (D-Ju Ms. El. f. 101; siglum J). A comparison of the two sources affords a discussion of their diverging aesthetic conceptions, and my paper argues that the two sources may, in fact, share more than their modern home: Voigt may have come into contact with J in Wittenberg, inspiring him to prepare his own collection.

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12: Sixteenth-Century England Chair: Katherine Butler

12.1: The ‘Sadler’ fragments (GB-Ob Mus. e. 21) and a lost mass Veni creator spiritus James Burke (University of Oxford)

Although rebound probably in the nineteenth century, John Sadler’s partbooks (GB-Ob Mus. e. 1-5) were originally protected by limp-parchment bindings, most likely home made. These bindings were cannibalised from 10 folios of a large choirbook, probably produced in the early sixteenth century. Its remnants contain fragments of the Gloria and Credo of an anonymous Mass Veni creator spiritus (or Salvator mundi domine). Although a very short transcription of their contents was made by Frank Harrison in 1958 (though his tenor parts made ‘a poor fit’ (p.261)), these fragments have since been gathering dust in the Bodleian library and appear to have been largely forgotten.

This paper takes a fresh look at the Sadler fragments (now under their own shelfmark of GB-Ob Mus. e. 21). It offers a new transcription of their contents, and considers what sort of choirbook they might have come from, and the institution this choirbook might have served. I also show how this choirbook might have ended up in the hands of John Sadler (b.1513) and how - and why - he fashioned it into bindings for his partbooks. I also examine the sad consequences that the re-binding of his partbooks had for the choirbook fragments, and how their remains were ‘preserved’ (and bound separately) in 1918.

12.2: The English long-note cantus firmus: Ordinary texts for a proper tune Christopher Ku, Worcester College, University of Oxford

A cantus firmus in England c.1500, at the most fundamental level, was the borrowing of a melodic excerpt that was usually, but not exclusively, from a pre‐existing plainsong that would be used as the basis against which the counterpoint of a polyphonic piece would be composed. Before placing this ‘fixed song’ into a voice, the excerpt would be framed within a mensuration or mensurations, the notes assigned rhythmic values, and the melody would be fitted to an unrelated text—that of the motet or movement of the Mass Ordinary. However, even after such alterations, composers and scribes still had a tendency to notate cantus firmi with the precise amount of notes that was in its original form. A direct consequence of preserving the melodic integrity of the source was an ambiguous underlaying of the new text, especially in cases where the syllables to be set outnumbered the amount of notes available. Citing examples from the Eton, Lambeth, and Caius Choirbooks and the Forrest-Heather Partbooks, this paper considers the various strategies that composers and scribes employed to ameliorate this difficulty, and how, by the 1530s, a clearer method of notating and texting long-note cantus firmi was developed.

12.3: A Case Study in Early Music and Disability Studies: Voice, Gender, and (Dis)ability in Shakespeare’s Twelfth Night, Othello, and Richard II Samantha Bassler, Rider University / Rutgers University

The field of Disability Studies is an established mode of inquiry within studies of music composed in the eighteenth, nineteenth, and twentieth centuries. This paper demonstrates how Disability Studies enhances understanding of pre-modern cultural and musical discourse, using music in Shakespeare’s plays as case studies. Leslie Dunn argues that musical discourse and dramaturgy surrounding Ophelia’s mad

30 scenes in Hamlet demonstrate her mental state to the audience. The mad songs are constructed as disruptive, invasive, and in opposition to social conventions. Ophelia’s character embodies madness, and early-modern madness is portrayed as particularly feminine and musical. Further research on madness and other early-modern disabilities reveals that men could also be feminized through an ailment and depict madness, often communicated through musical metaphor. Similarly, women with an ailment might display a combination of feminine and masculine traits, using music as a catalyst. This gender duality and disability appears in men and women who are unbalanced in their bodily humors, and yet demonstrate a sensitivity to the mind-body connection, and of course to music. I investigate instances of feminine and masculine voice in Shakespeare’s characters, as communicated through music, with the plays Twelfth Night, Othello, and Richard II.

13: Shearing the Golden Fleece: A Multivalent Approach to L’homme Armé Chair: Jeffrey Dean

Decades of scholarship have attempted to understand the origins and networks of transmission of the L’homme armé tune and masses. Formally, it appears to link chronologically and geographically disparate polyphonists into one “monolithic” compositional tradition. Functionally, this tradition has been associated with the Order of the Golden Fleece, since Prizer’s work on liturgies related to the Order ostensibly revealed the motivation for Missae L’homme armé; Prizer’s account is one to which virtually all subsequent scholarship on the tradition has conformed. While the connection between the Order and L’homme armé masses is undeniable, a close reading of the relevant sources and music suggests that the Order was but one of many engines of the burgeoning tradition. Allegorically, L’homme armé appears to have been as widely interpreted in the 15th and 16th centuries as it is now (Wright, Kirkman, Warmington), further suggesting that the concept of a monolithic tradition is a modern one. We advocate a multivalent approach to studying L’homme armé, considering the individual circumstances of a particular mass’s composition and transmission without presupposing an inherent association with the Order. This approach, while still engaging with the tradition at large, is source-based and mass-specific, and will take the form of case studies that allow for: (1) a more nuanced understanding of the tune’s origins; (2) the collection and collation of L’homme armé masses in Burgundy and by the Order under Busnoys and Charles the Bold; (3) the transmission of L’homme armé to (and through) Italy, where they were copied in neatly organized sets; and (4) the transmission of L’homme armé in Iberia through Burgundy. In our inquiry, we use singing from sources as an investigative method. Much has been made of L’homme armé’s role in musical “borrowing” (Rodin); it is possible that by dealing with the masses in both their sung and textual forms we can understand imitation, allusion, and parody in a manner closer to how these processes were experienced and practiced by 15th- and 16th-century singer- composers.

13.1: Before Burgundy: early L'homme armé masses in France and the north Brett Kostrzewski, Boston University

Neapolitan sources preserve a substantial amount of L’homme armé material: CS14 (four full masses plus two movements of another), Naples VI-E 40 (cycle of six masses), and the Mellon Chansonnier (the texted 3-voice chanson). Tinctoris’s employment in Naples also links the Aragonese Court to CS35, copied in Rome before 1490 and containing four additional L’homme armé masses. King Ferrante I of Naples and his daughter Beatrice’s political connection to Charles the Bold provide context for the Neapolitan branch of the tradition. The collation of L’homme armé masses into sets postdates the actual

31 composition of the earliest masses; the similar collection of five attributed masses in Chigi indicates that compilation was also occurring outside of Italy, and raises the possibility that this repertory arrived in Naples already collected.

13.2: Brumel's Missa L'homme armé: style and transmission, 1485-1505 Matthew Hall, Cornell University

We posit that the earliest L’homme armé masses, and the 3-voice chanson (attributed to Du Fay by Planchart), may have been composed independent of the Order; instead, the earliest phase of the tradition represents a local, Burgundian interest in the tune and its polyphonic treatment. It is not until Busnoys’s contribution that L’homme armé masses can be directly associated with the Order. Busnoys was employed by the Burgundian Chapel and likely in contact with one or more of the earlier L’homme armé composers; his mass is perhaps linked specifically with the 1468 festivities in Bruges associated with the Order’s meeting and the wedding of Charles the Bold. The tune’s association with the number 31, cited as evidence of a connection to the Order (Taruskin, Planchart), is not convincingly present in any music before the masses by Busnoys and in Naples VI-E 40. We believe Busnoys and the Burgundian Chapel collected the earlier masses on L’homme armé while also contributing new settings. This is consistent with their transmission as “sets” in Italian (primarily Neapolitan) sources (CS14, CS35, CS49, etc.) and in the Alamire source Vat234 “Chigi.”

13.3: Busnoys's Missa L'homme armé in Barcelona and beyond after c.1500 Rachel Kurihara, Boston University

The earliest presence of L’homme armé in Iberia evinces its Burgundian origin. Peñalosa’s Missa l’homme armé, preserved uniquely in Tarazona 2/3 (a choirbook with a predominantly Spanish repertory), simultaneously bolsters a burgeoning Spanish sacred repertory while contributing to a foreign tradition. We associate Peñalosa’s setting with those of Pierre de la Rue, suggesting the meeting in 1502 of the Burgundian, Aragonese, and Castilian Courts in Toledo — a meeting in which the Order played a critical role — as Iberia’s point of contact with L’homme armé.

14: Motet in the Fifteenth and Sixteenth Centuries 2 Chair: Christian Leitmeir

14.1: On the style and function of unique polyphonic songs in the Strahov Codex (1467- 1470) Lenka Hlávková, Charles University, Prague

Recent research on the 15th century collection of polyphony known as the Strahov Codex (CZ-Ps 47) has brought to the light new findings concerning its dating, cultural context and selected groups of its repertory. However, many important questions, above all concerning the manuscript’s origin and purpose, still remain without satisfactory answers. The aim of this paper is to discuss different aspects of the collection of polyphonic songs known only as unica from the Strahov Codex only. The inconsistent quality of the transmission of individual compositions, the range of musical styles, problems of Latin contrafacts etc. reveal questions concerning the manuscripts‘ private and institutional backgrounds. These aspects will also receive investigation with regard to the prepared critical edition.

32 14.2: The Motet Collection Selectissimarum sacrarum cantionum...fasciculus primus by Carl Luython Jan Bilwachs, Charles University, Prague

The motet collection by the organist and composer Carl Luython (1557/8 - 1620), who served at the court in Prague during the reign of the emperor Rudolph II., represents the main part of his vocal compositional output. Luython's collection was published by the Prague book printer Georg Nigrin in 1603. It comprises 29 six-voice motets based on sacred, mostly Latin texts. In many cases, these texts are not based on standard liturgical books, but probably newly composed in the Prague humanist environment. Although several musicological studies deal with the Luythons motets, his collection have not been evaluated as a whole yet. This paper discusses the selection and compilation criteria of the collection and attempts to explain its inner order, which remains up to now unclear. Is the content of the collection compiled with relation to the chapels in Prague Cathedral, other churches in Prague, local liturgical habits, or to the music-theoretical matters such as modes? The reception of the Luython's motets in Bohemia at the turn of 16th and 17th century, as well as concrete analyses of the motets will be taken into account.

14.3: Playing Motets in Alternative Performance Contexts ‘per la belleza & vaghezza loro’ Esperanza Rodríguez-Garcia, University of Nottingham

In his landmark article from 1981, Anthony M. Cummings widened the horizons of what was understood at the time as the standard performance context for motets, shifting beyond the fundamentally liturgical to also include devotional and recreational purposes. In the latest addition to our understanding of the performance of motets in liturgical contexts, David Crook (2015) refines Cummings’ findings, providing a more sophisticated view of motets by focusing on the exegetical potential of their texts. In contrast, performance of motets in non-liturgical contexts has attracted much less attention, despite the promising results shown in Cummings’ article concerning the domestic sphere, as well as in other studies dealing with public entertainment. My paper will explore some of those ‘alternative’ performance contexts for motets through a systematic study of post-Tridentine printed music books not primarily intended for liturgical use. The preliminary examination attests to the versatile nature of the motet as a genre apt for almost any musical occasion, with a selection based on quality criteria. As Conforti put it in the letter of dedication of his Psalmi motecta Magnificat et antiphona Salve Regina of 1592, motets were there ‘because of their beauty and grace’.

15: Medieval and Renaissance Musical Legacy Chair: Owen Rees

15.1: The Creation of Euro-Aztec Catholic Song in Sixteenth Century Mexico Lorenzo Candelaria, The University of Texas at El Paso

This paper focuses on the creative work of Fray Pedro de Gante, a native of Belgium and lay brother of the Franciscan Order, who arrived in the central valley of Mexico in 1523 and became the first dedicated teacher of European music and Catholic doctrine in the Americas. At the heart of this narrative is Fray Pedro’s “Indian chapel” of San José de los Naturales which served not only as a devotional and catechetical space for local Aztec communities but also as a vocational school specializing in music, art, and writing. The model of evangelization developed at San José de los Naturales was replicated as far south as the Yucatán Peninsula and as far north as Santa Fé, New Mexico well into the eighteenth century. Its greatest musical legacy, examined here, is the cultivation of the

33 widespread Christianized areíto--a song and dance ceremony that merged native sacred music customs with traditional doctrinal instruction in European Catholicism. Music and the visual arts are foregrounded here as key factors in the early successes of an evangelical campaign that was initially hampered by the absence of a common language and culture between colonizing Europeans and the indigenous peoples they encountered.

15.2: Performing the Medievality of Brazilian Oral Traditional Music Luiz Fiaminghi, State University of Santa Catarina, Brazil

Oral traditional Brazilian music is chronologically outside the sphere of Medieval/Renaissance zone. However, one of the richest things this musical tradition can offer to us is the abundance of Medieval and Renaissance traits we can find on it: modal cadences formulas, modal melodies with ficta notes nuances, additive rhythms based on the principle of periodicity and a diversity of polyrhythmic meters. Moreover, this is not exclusively a Portuguese heritage, but a strong influence from music traditions brought by African slaves. Some Arabic musical emblems, such as the expressive use of non-liturgical modes, microtones and syncopated rhythms formulas present in the Islamic Africa, are also found in the Brazilian melting pot of cultures. Besides these musical traits the romances themselves make direct reference to medieval themes. Medievalists as Paul Zumthor considered these features close to his concept of intertextualité and mouvance. Strong influenced by his referential writings, Anima is a collective of musicians from diverse background of musical experience that propose to read Medieval and Renaissance music not through the traces that arrived until Europe but by the lens of the Brazilian Oral Tradition. The perspective opened by this approach is wide and indeed not focused in a strictly musicological/historical point of view, but still fertile to dramaturgy insight and musical performance practice of both repertoire, originally separated by an ocean of time span and contrasting cultures.

15.3: Critical Categories for Analysis of Medieval Dance Songs: Calais, Dunkirk and Kurdistan Ed Emery, School of Oriental and African Studies, University of London

There appears to be renewed public interest in medieval dance and dance-song – particularly in the carol and the circumstances of its enactment (recent forays by Christopher Page and David Fallows). Commentaries have been written (Robert Mullally, The carole: a study..., 2011), but at a distance of 700+ years it is hard to know what might have been the performance aesthetic, the social anthropology and the choric practice of this long-flourishing genre of community dance with song and refrain. In short, to get a sense of its energy, its "groove" and the dynamics of its variations. I have taken a sideways step from my research into muwashshah and zajal dance song to study a culture where circle and line dance have a powerful historical presence through to the present day – the Kurdish peoples of Iraq, Iran, Syria and Turkey. A multi-site research project with Kurdish musicians in London (SOAS), in the Kurdish-majority refugee camps in Calais and Dunkerque, and in Iraqi Kurdistan (Nowruz festival 2016). The understandings from this research will be presented and assessed for their usefulness as tools for a greater understanding of medieval dance traditions. Particularly as regards the key-terms of iteration, variation, hierarchy, grounded pulse, conspicuous display, and drum.

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16: Chant and Liturgical Drama Chair: Marianne Gillion

16.1: Suspending the Suspension of the Alleluia: Observations on the Septuagesima Office and its Eleventh-Century Decline Henry Parkes, Yale University

For much of the early Middle Ages, religious communities of Western Europe customarily marked Septuagesima Sunday with the curious ceremony of the ‘suspension’ of the Alleluia (also variously termed a ‘farewell’, ‘burial’, or ‘deposition’). By ingeniously subverting and reworking valedictory scriptural texts, the singers dismissed their beloved chant and banished ‘him’ until the Paschal Vigil. In an ironic twist, however, this dismissal was itself dismissed. From a brief sentence in Bernold of Constance's Micrologus, it is widely understood that Pope Alexander II (1061–73) effected a reform of the Septuagesima and Sexagesima Offices, after which the celebration no longer had a sanctioned place. But was this a deliberate suppression or a positive refashioning of the pre-Lenten liturgy? And to what extent was the reform successful, either in Rome and in Bernold’s native Germany, given that so many manuscripts continued to record the Alleluia ceremony in the years after? Building on the work of Michel Robert and others, and with the help of previously unknown medieval accounts of the ‘suspension’, this paper offers a new assessment of Bernold’s fleeting account, with important implications for our understanding of liturgical authority in the eleventh century and the evolving identity of ‘Gregorian’ chant.

16.2: Daring to Believe: Sounding Wonder in the Miracles of Castrojeriz Henry T. Drummond, Merton College, University of Oxford

The Cantigas de Santa María (CSM), made at the court of Alfonso X of Castile in the later years of his reign, present a unique and fascinating instance of miracle narratives set to song. While we have taken significant strides in analysing these songs’ formal structures, we have not so extensively assessed their consumption through performance. How did people listen to these songs, and what were their expectations? Four CSM miracles that concern the town of Castrojeriz present a baffling case of grammatical ambiguities, dramatic non-sequiturs, and recurring enjambment that bifurcates narrative strophes with non-narrative refrains. Following up previous studies of this set, I consider how performers and auditors might have rationalised such ‘poorly’ composed songs. Taking CSM242 and CSM249 as case studies, I argue that their pervasive use of enjambed lines can be read as dramatic appropriation of the stanzaic form; here, interposed refrains function not only as builders of anticipation, but also as narrative cliffhangers that force auditors to reflect on their own acts of listening. This invites a greater consideration of miracles’ sonic properties, and the responsibilities of both performers and listeners in their realisation.

16.3: Laus angelorum – traces of angelic singing in Gregorian chant and Renaissance motets Zoltan Mizsei, Liszt Ferenc University of Music

The arguments the lecturer about to present are based mainly on his experience as a practicing musician; the observations in the title come from his impressions gained in hearing and singing music. The lecture shows several musical examples from early amprosian plainchant up to the late 16. century Costanzo Porta, where along with the mention of angels extra and unconventional musical material is involved. The paper is

35 divided in three parts: laus angelorum – consensus sedentium – concentus angelorum. The lecturer himself will sing the plainsong examples and will show poliphonic music of the recordings of his own ensemble Voces Aequales.

16.4: When Words Collide: The Illusion of Liturgical Drama Michael L. Norton, James Madison University

The expression “liturgical drama” was introduced by Charles Magnin in his Sorbonne lectures of 1834–35 as a metaphor to signal the survival of humankind’s “dramatic instinct” within the rituals of the medieval western Church. While Magnin knew few examples of what we would come to know as “liturgical drama,” his metaphor took hold, and by the time of his death in 1862, the expression had become firmly established as a distinct genre of musical texts. In this paper, I will argue that the genre “liturgical drama” is illusory, and I will show that the expression “liturgical drama” fails in having no definable referent. If seen according to the contexts of their presentation within the manuscripts that preserve them, the musical texts now called “liturgical drama” are of two types. The first type includes liturgical ceremonies that are preserved within liturgical books in contexts that make their liturgical usage clear. These make up the majority of the repertory of what is called “liturgical drama.” The second type includes a smaller number of settings that are preserved in manuscripts that offer no such liturgical context. Most of these settings are attached to manuscripts preserving sermons or other exegetical texts or are appended to books of liturgical readings.

17: Renaissance Theory 1 Chair: Christian Goursaud

17.1: Aron, Glarean, and Josquin’s Miserere Ian Lorenz, McGill University

Theoretical discourse on mode in polyphony began in the 1470s with Johannes Tinctoris. Pietro Aron (Trattato, 1525) and Heinrich Glarean (Dodecachordon, 1547) discuss mode with reference to multiple surviving polyphonic works. Aron argues for a rigorous application of the eight-mode system to polyphony, while Glarean proposes a twelve-mode system. Both use octave species and the final of the tenor voice as important criteria. Other factors for Aron are co-finals, differentiae, and cadences, whereas Glarean only occasionally uses the term phrasis— a modally characteristic melodic interval (Miller, 1965). Both discuss Josquin des Prez’s Miserere mei Deus. Where Aron classifies it as a mode 3 work ending on the differentia A, Glarean classifies it as an example of the Hypoaeolian mode (mode 10). A comparison of these competing approaches to mode, with reference to other pieces that they discuss with A and E finals, will shed light on how Aron and Glarean approached Phrygian modality in the first half of the sixteenth century.

17.2: “Cristóbal de Morales, the light of Spanish music”: Cristóbal de Morales’ Magnificats in Renaissance music theory Sabine Feinen, Department of Musicology, Weimar-Jena

When studying 16th century music one should also venture to consider contemporary perspectives and impressions. Besides the music and some references between different compositions it is difficult to gain more information on contemporary opinions regarding individual composers and their music. Some composers and musicians are however mentioned in renaissance music theories, as well as their music.

36 Cristóbal de Morales is part of a manageable number of renaissance composers who are mentioned in some music theories throughout the 16th century and beyond. Not only his masses and motets can be found as musical examples in these theories, his Magnificats were also important. Theorists as Juan Bermudo, Pietro Pontio, Lodovico Zacconi, Giovanni Maria Artusi, Pietro Cerone and Giovanni Battista Rossi mention Morales and use his Magnificats to illustrate different compositional aspects and to convey how Morales had been noticed since the 1550s. This paper will try to gain a renaissance perspective on Morales and his Magnificats by pointing out when exactly his Magnificats were used by renaissance theorists as examples and how he had been received by his contemporaries. The results will help further studies to understand the meaning of Morales’ Magnificats between the generations.

17.3: Spirits within the Body: The Break in the Humoral Theory by Zarlino Alexander Jakobidze-Gitman, University Witten/Herdecke

In the Book II of “Le Istitutioni harmoniche” (Chapter 8) Gioseffo Zarlino describes passions within the frames of the humoral theory. At first glance it seems to be a recapitulation of the popular views of Marsilio Ficino. However, Zarlino's further remark that the cold dryness “constringes the spirits” refutes this assumption: first, it uses the word in plural form (“spirits” instead of a “spirit”), second, it omits the obvious adjective (“animal”), and third, it implies that these spirits are confined within the human body and do not interact with the rest of the world. According to my thesis, these factors reveal a paradigmatical shift in the Renaissance thought. By (1) comparing how by Zarlino and Ficino the macrocosmos and the microcosmos relate to each other, and what role do proportions and the spirit(s) thereby play, and by (2) placing Zarlino's spirits within a context of the breakthrough in physiology accomplished by Jean Fernel and Andreas Vessalius, I will show that Zarlino in contrast to the traditional view regarded “spirits” as diffusing and dispersing phenomena that need to be brought to “harmony”, and heralded the understanding characteristic of the 17th century.

17.4: The Musical Examples in Athanasius Kircher’s Musurgia Universalis (1650) Johann Hasler, Universidad de Antioquia

The monumental two-volume Musurgia Universalis published in Rome in 1650 by the Jesuit Polymath Athanasius Kircher (1602–1680) constitutes a veritable one-author encyclopaedia of music and sound penned during the period of intense intellectual production that some authors have termed "the encyclopaedism of the baroque era". Of its total 1200 pages, 559 include musical notation of various types: basic theoretical expositions, transcriptions of animal calls, snippets from what we would now term "world music" (as reported from the Jesuit missions around the world), excerpts from contemporary composers, and even original compositions, usually illustrating musical techniques or procedures discussed in the text. This paper wishes to give an overview of some of the types of music found in the Musurgia, as well as sharing the academic community the proposed categories in which we consider they could be classified.

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18: Music, Materiality and History Chair: Barbara Eichner

During the last few decades the term ›materiality‹ became popular in different fields of scholarship. There are diverse understandings of the term which are founded in the heterogeneous epistemological interests of the various disciplines. This session will present three different perspectives on music and materiality asking for the relationship between people, music, and the material world.

18.1: What is an organ book? Franz Körndle, University of Augsburg

Until recently scholars dealing with early keyboard music seemed to know, which kind of music books were used by organists in the 15th and early 16th century. Sources like the well-known ‚Buxheim organ book’ led to the assumption that people of that time in churches could hear polyphonic settings of liturgical melodies. When almost twenty years ago the true – and very small – size of the Ileborgh tabulature was revealed, there were only little doubts on this traditional view. A newly identified source from mid-fifteenth century Fritzlar, a fragment and inventories from Nuremberg shed new light on our interpretation of organ music in early modern times. All these manuscripts indicate that organists typically used to play from plainsong notation. This observation should enforce a re-considering of early organ books. The famous tabulature codices or fragments most likely represent exceptional elaborated sources. A normal organ book contained nothing else than all parts of plainsong to be played by an organist. We, therefore, (1) again should ask for the purpose of the polyphonic keyboard manuscripts and (2) search for the way of organ playing from monophonic notation.

18.2: Facts and omissions relating to Musical Instruments in the 16th Century Erich Tremmel, University of Augsburg

Our knowledge about instruments and their use is based on rather few text source types – treatises, tutors, inventories, and archival references. Even then the common misconception about a primarily “vocal” age would hardly match the extraordinarily rich variety of instruments developed during that age and finally descripted in Praetorius’ Syntagma II. The often ignored contexts of these sources require further investigations to reveal clues about questions of recent interest like matters of instrumentation, of preferences and aesthetics, general and specific notation.

18.3: Written and unwritten musics in sixteenth-century Barcelona Tess Knighton, Institució Milà i Fontanals (CSIC)

This paper considers the ways in which musical repertories, both written and unwritten, circulated in a sixteenth-century European city such as Barcelona. New evidence from research in notarial and other city archives sheds light on several aspects of the dissemination of both music and musical knowledge among the citizens that are otherwise difficult to encounter in traditional institutional sources: the copying of music, music booksellers, musical apprenticeships, the extent of musical literacy, music education and music book ownership in the domestic sphere, the performers and sources (printed verse, contemporary literature) of unwritten musics and the role of musical memory, particularly with regard to the blind street musicians known as oracioners. The overall aim is to try to draw closer to an understanding the daily musical life of the citizens of Barcelona, and the urban spaces in which musics of different types were heard and performed.

38

18.4: A history of music in 100 objects? Moritz Kelber (University of Salzburg)

In 2010 the BBC and the British Museum created a radio project called A History of the World in 100 Objects. In October 2010, Neil Mac Gregor, the director of the British Museum, published the results in the eponymous best-selling book. The idea to write a world history by looking at everyday objects or ›applied art‹ is thought-provoking. In my paper, I discuss the viability of this approach for history of medieval and early modern music. Music historiography largely focusses on composers, musical works, and genres, even though the notion of artworks has been discussed for some time now. Objects, such as a set of embroidered part books made of linen, knives decorated with a score of a short polyphonic composition, or musical instruments made of ivory and other rare materials are mostly seen as strange byproducts of musical life. While compositions and composers have been seen as ›agents‹ of musical history, those objects have not yet been taken seriously. In my paper, I will illustrate contemporary thinking about music by looking at extraordinary 16th century musical objects from the perspective of ›object studies‹. What do objects, made of unusual materials, tell about the role of music in the early modern society?

19: Printed Sources of Music Chair: Thomas Schmidt

19.1: Manfred Barbarini Lupus: composer and con artist Martin Ham, University of Surrey

Manfred Barbarini Lupus is known for two printed collections of motets, and a large number of contrapunctus Propers and the like for the Abbey of St. Gallen, preserved in manuscripts there. The Symphoniae (Basle 1558) are largely in honour of the parts of the Swiss confederation, setting verses by Glarean; Barbarini claimed to have written them in accordance with Glarean's modal theory. The Cantiones sacrae (Augsburg 1560) were dedicated to Johannes and Jacob Fugger, from whom Barbarini seems to have received some support. The composer expressed the hope that his compositions would prove acceptable in the different confessional context. A surviving liber amicorum demonstrates his local renown. He is now regarded as a significant albeit relatively minor figure in the history of Swiss music of the period. However, the paper will demonstrate that Barbarini was the composer of none of the music of the two printed collections, and that the circumstances outlined in his dedications were fabricated. It will show that the prints were, in fact, deliberate frauds perpetrated by Barbarini to deceive his contemporaries, and which have likewise misled modern scholars.

19.2: Rediscovered songs: A manuscript addition to Peter Schöffer’s third song book (1536) Elisabeth Giselbrecht, King's College London

At the end of the Krakow copy of Peter Schöffer’s third song book (Mus. ant. prac.t S 665, formerly Staatsbibliothek Berlin) an unknown scribe has inserted eleven German songs. They are of interest not only because they mainly represent unicas in the repertory of German songs, but also because the shine a light on the use of printed song books in this period. The manuscript additions in the Krakow copy were noted by Joachim Moser, who used their date as the terminus ante quem for Schöffer’s undated edition. Beyond that, however, the manuscript additions have not been examined. This paper will offer a

39 detailed analysis of the eleven songs, which present a rather unique selection with few concordances. Furthermore, a thorough codocological examination of its paper, binding and scribal hands shall be used to suggest a possible provenance for the part books. The paper finally aims to place this example into the context of manuscript additions in German printed music books in general and song books of the first half of the sixteenth century in particular. How did early modern readers engage with this genre and in what ways were printed song books used?

19.3: Music, political panegyric and print at the court of Maximilian I Grantley McDonald, University of Vienna

Several examples of so-called drama have survived from the court of Maximilian I, such as the Ludus Dianae (1501) and the less well-known Boemicus triumphus (1505), which both contain music, and which were both preserved in printed editions. The present paper will argue that such pieces are more convincingly understood as political panegyric than as drama. It will also argue that the function of these pieces was not merely to glorify Maximilian. Their humanist authors also wished to promote and legitimate the project of “poetry,” especially in the university context. The present paper will explore the place of these productions in the mutually self-serving relationship between Maximilian and the humanist community, the nature of their music, and their materiality as printed objects.

19.4: The production of Plantin’s printed polyphonic music editions, 1578 to 1621 Louisa Hunter-Bradley, Royal Holloway, University of London

The Officina Plantiniana was regarded as one of the most important and influential printing and publishing houses in the second half of the sixteenth century, not only in Belgium, but more broadly within Europe. Book production in the sixteenth century was collaborative in nature, with a number of staff employed for any one publication. The staff payment records of the Officina Plantiniana provide us with our most important clues in reconstructing the printing history of the music books published by this business, thus informing general studies into Music Printing and Production in the early modern period.

Utilizing the unique account records at the Plantin-Moretus Museum, I shall provide analysis of the staffing, production rates and costs incurred by the Officina Plantinina in its production of polyphonic music in the latter half of the sixteenth century. Led by leading humanist printer, Christopher Plantin, the music publications are mostly known through his highly ornate grand-folio choir books. By analyzing specific archival entries such as those for Du Gaucquier’s Quatuor Missae and Lobo’s Missarum, rare facts come to light regarding order of page production; staffing numbers employed; time taken to produce music publications alongside other religious books; and costs associated with printing and publishing books of music.

40 # 20: Songs in the Thirteenth Century

20.1:!Mini Clausulae and the Magnus liber organi Catherine A. Bradley, State University of New York at Stony Brook

The mid thirteenth-century manuscript Florence, Biblioteca Medicea Laurenziana, Plut.29.1 uniquely records a collection of 154 so-called mini clausulae. These brief two- voice plainchant settings were cited by Waite (1961) as evidence of a process described in Anonymous IV’s treatise: Perotin’s ‘abbreviation’, in the discant style, of Leonin’s older Magnus liber organi. This theoretical explanation aside, however, the mini clausulae remain ‘a largely unexamined repertory’ (Planchart, 2003). This paper scrutinises the musical and liturgical characteristics of the mini clausulae, challenging received views. I demonstrate that many of these clausulae cannot constitute ‘abbreviations’ vis-à-vis an older Magnus liber. Significantly, the clausulae differ also in their liturgical ordering fromthis ‘central’ Notre-Dame polyphonic tradition of which they have been presumed to be part. Posing new questions about the function, performance contexts, and transmission of the mini clausulae, I recast understandings of this compositionally modest, seemingly marginal repertory, in relation to the widely-copied, virtuosic organa of the Magnus liber. Despite their limited survival, I argue that the mini clausulae offer evidence of otherwise lost musical practices. Paradoxically, this unassuming collection could represent a highly functional kind of early polyphony in wider oral circulation, distinct from, and perhaps more representative than the monumental organa of the ‘Great Book’.

20.2: Two Sides to the Story: Binary Rhythm in the Bamberg and Montpellier Manuscripts Tiess McKenzie, University of Saskatchewan

In the study of Medieval and early Renaissance repertories, there is a great propensity for the interpretation of ternary rhythm, stemming largely from the writings of Franco of Cologne (Fl. mid- to late thirteenth century). It is possible, however, that before the time of Franco, binary rhythm was just as common or even more so. Using Montpellier, Bibliothèque Inter-Universitaire Section Médecine, H196 and Bamberg, Staatsbibliothek, Lit. 115 (formerly Ed.IV.6) as the focus of discussion, the binary division of both the longa and the brevis is shown to be possible by many Pre-Franconian theorists. With reference to and input from Gordon Anderson, Peter Lefferts, Ernest Sanders, and Willi Apel, interpretation of these thirteenth century theorists shows that while there may have been multiple methods of reading rhythm at the time, a duple division is certainly possible. There is special note of Petrus Le Viser and his three mores which give clear theoretical evidence for duple division of both the longa and the brevis, and specific reference to the issue of currentes figuration. This analysis of motet notation has led to the discovery of a possible relation between the rhythmic division of the music and the accompanying texts.

20.3: Thirteenth-Century Latin song and the Idea of Musical Measure Warwick Edwards, University of Glasgow

Settings of Latin song (so-called conductus) in the long thirteenth century span a period that saw the emergence of the idea that certain kinds of musical sounds might be measurable. It must have seemed utterly novel at the time. At any rate, there seems to have been little or no impetus to express measurement unequivocally in musical notation until towards the end of the century. And even then, only to the extent that the sounds to be notated seem to lend themselves to such expression. Still, such late mensural notations offer invaluable insights into the rhythms of Latin verse as sung in earlier times. At first they seem to vindicate the idea, commonly advanced over the past century, that it is

41 ‘modal rhythms’ that characterise not just the melismatic (sine littera) sections of numerous polyphonic Latin songs, but the syllabic ones (cum littera) too. But this seems to have little basis in contemporary theoretical thinking and is being questioned with increasing persistency today. Instead, I will commend an approach that takes how syllables and notes are grouped in the minds of singers as starting point, rather than how they might be measured. In so doing I will attempt to set thirteenth-century Latin song performances into the much broader context of musical cultures whose notations are designed to record rather than prescribe, as well as those that operate to this day without notation at all.

20.4: The Lady of St Andrews: Singing Roses in the Mass Katherine Steiner, Pontifical Institute of Mediaeval Studies, Toronto

The eleventh fascicle of W1 has been recognized as a "monument" of polyphony in the British Isles, and the only complete collection of polyphony from the British Isles between the Winchester Troper and the Old Hall Manuscript. Despite these assertions, the eleventh fascicle has not been considered for what is it - a collection of two-part pieces for the daily Lady mass. This paper argues that the W1 is an important witness to the developing tradition of the daily Lady mass in the British Isles, one of the most important occassions for liturgical polyphony in the thiteenth and fourteenth centuries. W1, along with a handful of other sources, indicate that by the mid-thirteenth century, the Lady mass in the Lady chapel celebrated the Lady of Heaven with music that made every day a feast. The compiler and editor of eleventh fascicle of W1, who was also responsible for copying the main fascicles of W1, drew from Notre Dame polyphony and English Marian chants and contrafacta to provide daily rotation of polyphony for the Lady mass at St Andrews Cathedral.

21: Madrigal Chair: Antonio Cascelli

21.1: Tasso, Marenzio and lesbian desire Lucia Marchi, Northeastern Illinois University / De Paul University

Preparing the edition of Luca Marenzio’s Sixth Book of Madrigals for Six Voices (1587) for the new online digital edition occasioned a fresh look at one of the most prominent pieces of the collection, Di nettare amoroso ebro la mente. A sonnet by Tasso, the madrigal describes a lesbian encounter under the metaphor of Amor et arma, with bellicose images and warlike expressions. Such a piece deserves closer examination, both to decode the Renaissance attitude towards female homosexuality (most frequently described from a male perspective), as well as to place Marenzio’s musical setting, with its frequent passages of repeated notes on static harmonies, in a stylistic trajectory of pieces indexing war that range from 15th-century battaglie to Monteverdi’s stile concitato. Finally, I highlight the musical and rhetorical tools used by Marenzio to portray homosexuality and its perception in Renaissance court culture. Ultimately, I argue that this piece sheds light on the origin of Marenzio’s Sixth Book, a collection published at a turning point in the composer’s career just after the death of his long-term Roman patron Cardinal Luigi d’Este.

42 21.2: “Dolce veleno”: Lust, Gluttony, and Symbolic Cannibalism in Carlo Gesualdo’s Ardita zanzaretta (1611) Sigrid Harris, University of Queensland

In his classic study of the life and works of Carlo Gesualdo, Glenn Watkins suggested that Ardita zanzaretta (Sesto libro di madrigali, 1611) “is virtually the only madrigal in Gesualdo’s output to touch obliquely upon a note of humour. [...] The anonymous poet has robbed the tale of its charm and emphasized words such as ‘stringere’ (to squash) and ‘morte’ to the point of absurdity.” Yet underlying the jocose tone of the poem are some serious themes, a closer examination of which yields a new interpretation of the madrigal as a whole. The extreme emotionalism of Gesualdo’s late madrigals has drawn comment ever since the seventeenth century, but until now the implications of their appeal to the affetti (or affections) had not been considered. In this paper, I propose a new reading of Ardita zanzaretta that works on two levels: in accordance with the precepts of Counter- Reformation Catholic affective spirituality, the madrigal stresses death-related imagery in order to bring its audiences into contact with the idea of death; at the same time, the music sets a poem that is a textbook case of death denial. Through symbolically cannibalising his lover, the narrator ultimately triumphs over his own death.

21.3: Adriano Banchieri on the Delights of the Modern Madrigal Paul Schleuse, Binghamton University / State University of New York

Adriano Banchieri’s three books of unaccompanied five-voice madrigals, published between 1603 and 1608, represent a departure from his previous series of commedia- dell’arte-based three-voice canzonettas (four books published 1597-1601, with a fifth in 1607). Historians have traditionally grouped all eight of these books together under the specious label “madrigal comedy,” although the madrigal books do not refer to theatrical traditions. Instead, they depict recreational music-making in social settings: that is, they imitate situations similar to the ones in which book buyers would be likely to sing the songs they contain. Rejecting the tendency to insist on a quasi-dramatic function for these books enables us to read them in the context of early-modern sociability, and in this light they take on a distinctly didactic function. Whether the singers imagine themselves as idealized pastoral shepherds (Il zabaione musicale, 1603), an assortment of lower-class characters thrown together on a boat (La barca di Venezia per Padova, 1605), or guests at an urban dinner party (Il festino nell sera del giovedì grasso avanti cena, 1608), they engage models of both approved (courtly) and proscribed (rustic) behavior. Moreover, in his song texts and paratexts Banchieri engages contemporary debates over musica moderna in his own idiosyncratic way.

21.4: Monteverdi's Medleys Evan Campbell, McGill University

Monteverdi believed "that it is the contraries that greatly move our mind and that this is the purpose all good music should have" (Strunk et al. 1998). And nothing says "contrary" like a Vi Ricorda (Orfeo 1607), Lamento della Ninfa (1638), Zefiro Torna (1632) medley—a medley forming the basis of Monteverdi's sacred canzonetta, Chi vol che m'innamori (1641). I examine this medley to show how Monteverdi contrasted "iconic" musical ideas to structure his musical form. I argue that he applied this same technique to countless late works, like his monumental Magnificat Primo (1641). Jeffrey Kurtzman (1993) describes musical "icons" as symbols for generalized affects in a text, such as Monteverdi's ciaccona bass from Zefiro Torna, which symbolizes joy and laughter (Hogwood 2003). For Chi vol che m'innamori, Monteverdi used contrasting musical icons to create a canzonetta cycling through three affects: mixed emotion (Vi Ricorda), sadness (Lamento), joyfulness (Zefiro). Monteverdi applied this same technique to his large-scale Magnificat Primo. The Magnificat comprises stark contrasts of icons resulting in a sectional form, but also moves beyond simple contrasts

43 for its contrapuntal climax where several icons are combined. This musical-poetic climax epitomizes the hidden complexity of Monteverdi's late style and highlights the distinctive role of contrast.

22: Renaissance Theory 2 Chair: Ruth DeFord

22.1: Dots of division in theory and practice: Anomalies and their contexts Paul Kolb, University of Salzburg

In fifteenth-century mensural notation, the meaning of dots is usually unambiguous in context. Most commonly, it signifies that a note is increased in length by half (punctus augmentationis), a note is held at its perfect value (punctus perfectionis), or shows the location of the ternary divisions between notes (punctus divisionis). But in this last category questions remain as to the exact relationships between dots, imperfection, and alteration. Can a dot actually force alteration, or merely signify where alteration would have otherwise taken place? When is a dot necessary, and when could it be inappropriate? Can ligatures suggest ternary groupings in lieu of a dot of division? Tinctoris’s De punctis musicalibus is one of the few treatises with a detailed and nuanced treatment of dots. But what theorists dictated was often far removed from scribal practice. While the majority of cases involving dots of division fall into a few easily recognizable categories, elsewhere dots are used in more surprising ways, possibly motivated by factors external to the notation. This paper will focus on a few anomalous examples of dots in late fifteenth-century manuscripts and treatises and provide contextual explanations, in turn shedding some light on more general compositional priorities.

22.2: Exemplifying Imperfection and Alteration in Fifteenth-Century Theory: A comparison of the approaches of Johannes Tinctoris and Franchino Gaforus Adam Whittaker, Birmingham Conservatoire

Although many secondary texts transmit the basic principles of imperfection and alteration, few get close to capturing the full subtleties offered by these two notational processes. As I showed in my conference paper at the Brussels MedRen, Tinctoris’s monophonic approach towards imperfection and alteration in his two treatises on the topic pushes the mensural possibilities well beyond those encountered in practical music. Given that these texts were completed in the 1470s, it is noteworthy that one of Tinctoris’s closest followers, Franchino Gaforus, used polyphonic examples to address such issues in his Musices practicabilis libellum (c. 1480), a treatise made up of draft material for Book II of his Practica musicae. Gaforus’s use of polyphonic examples presents a stark contrast to Tinctoris’s monophonic mensural puzzles, something that is all the more intriguing when the likely contact between the two theorists is considered. In this paper, I will compare the exemplification approaches of these two theorists for imperfection and alteration, considering the possible reasons for their difference of approach in roughly contemporaneous treatises. Many of the examples found in Gaforus’s 1480 text are preserved identically in his Practica musicae, and thus this paper addresses important issues in understanding the development of one the most important theoretical texts of its age.

44 22.3: Detection of Intervallic Rhythm in Renaissance Music: A Systematic and Dynamic Tool for Fundamental Counterpoint Analysis Alexander Morgan, McGill University

My paper describes a way to ascertain and reevaluate the rate at which the fundamental counterpoint of a composition progresses (the intervallic rhythm). I describe my freely available computer implementation of this analytical process in the interest of encouraging consensus among approaches to contrapuntal reduction in Renaissance music. The two prevailing automated methods take observations at every new note (“salami slicing”, White, Quinn, 2014) or at regular rhythmic intervals (Antila, Cumming, 2014) and both of these approaches are systematic but not dynamic. The analytical difficulty of automated detection of intervallic rhythm in Renaissance music is compounded by the fact that modern editions in symbolic notation are found at various levels of transcription. I examine what the treatises of Tinctoris (1477) and Pontio (1588) tell us about how intervallic rhythm was perceived and conceived of in the period. The main analytical considerations of my fully reproducible approach for assessing intervallic rhythm are: meter; the metric level at which suspensions resolve; the rhythm of each part; the composite rhythm; and the idiomatic use of certain dissonance types. I demonstrate the usefulness of this analysis tool through sample analysis and comparisons of pieces by Josquin and Caron.

22.4: Scribal Process in the Presentation Manuscripts of Tinctoris’s Music Theory Christian Goursaud, Birmingham Conservatoire

In this paper, I interrogate the working processes of the scribe Venceslaus Crispus in his execution of the manuscripts Bologna 2573 and Valencia 835, the two presentation manuscripts of Johannes Tinctoris's music theory which were produced at the Neapolitan royal court in the late fifteenth century. I analyse closely his use of orientation marks, guide letters for decorated initials, and changes of pen and ink, in order to develop a narrative of composition of the several categories of textual and musical inscription. I consider some aspects of Crispus's wider work, arguing for his sole responsibility for the execution not only of the verbal text but also of both the monophonic and the polyphonic musical examples in these two manuscripts. I then explore the potential implications of my analyses and ascriptions in terms of Crispus's status at the Neapolitan court, particularly with direct relevance to his execution of the significant series of copies of the works of Aquinas for which he was responsible concurrently with Tinctoris's music- theoretical codices.

23: Tudor Partbooks:!the manuscript legacies of John Sadler, John Baldwin and their antecedents. English sources, Henry VIII to Charles I Chair: Magnus Williamson

23.1: Singing the French Crown: Two Henrician sources and an antiphon newly attributable to William Cornysh Daisy Gibbs, Newcastle University

British Library, Add. MS 34191 is an orphan bassus partbook dating from around 1530, which contains music for both the Use of Sarum and the English vernacular rite. Among its many unica is an anonymous Trinity antiphon, Potentia patris, which incorporates a prayer for Henry VIII. My paper takes as its starting point the possibility that this antiphon can be identified with a piece attributed to Cornysh, Altissimi potentia, of which

45 no music survives, but which is listed in the index fragment Merton College, 62.f.8. From the style of the antiphon’s single surviving voice and the contents of the text, I propose that the piece Altissimi potentia patris was written by William Cornysh ‘Junior’ in the autumn of 1513, in anticipation of Henry VIII’s capture of Tournai. This new attribution and dating offers new evidence of Henry’s political ambition early in his reign, and the means he used to promote his claim to the French throne. It also demands that we revise some long-held assumptions about the development of style in the first few decades of the sixteenth century, and the impact of Continental influences on English sacred music.

23.2: Framing the Music: Borders for Printed Music and Music Paper c.1560-1600 Katherine Butler, University of Oxford

Several English manuscripts from the second half of the sixteenth century are copied on printed music paper with decorative borders. The first known examples of printed music paper with decorative borders pre-date the patent granted to William Byrd and Thomas Tallis in 1575 at which time there appears to have been little precedent for such decorative borders in either music manuscripts or printed music books. Postdating the patent is another example of decoratively bordered music paper with a new design, while music staves enclosed in similar borders also appear in three English music publications in the mid-1590s. John Milsom and Iain Fenlon first drew attention to the printed music papers in 1984, but the ready availability of images of contemporary printed books as well as recent research into these fleurons or printers’ flowers means that it is now possible to add to their initial conclusions. This paper traces the history and functions of these music papers and similar uses of decorative borders in printed music books. Who was the pioneering printer initially responsible for this bordered music paper? When were they producing this paper and why might they have chosen to use this decorative border? Was the same printer responsible for the later examples and did these borders still serve the same functions? The answers to these questions shed new light on the early history of music printing in England as well as having implications for the dating of early Elizabethan manuscripts.

23.3: William Byrd’s incomplete unica works in GB-Lbl Add. MS 31992: An assessment and reconstruction Hector Sequera, Durham University

Manuscript GB-Lbl Add. MS 31992 survives as the single largest compilation of Byrd’s works (it contains over eighty of his pieces). The manuscript is a lute book with transcriptions of the composer’s works notated in Italian lute tablature with the topmost part missing. Due to the nature of tablature notation there are some important clues about the use of musica ficta and other practicalities. This paper discusses the accuracy of the transcriptions contained in the manuscript by comparing them to extant vocal models. The information gathered from these comparisons has been used to inform the reconstruction of the unica settings, i.e. reconstructing the bottom parts from the intabulations and composing a new top part.

23.4: Printed staves: what can we learn from them? John Milsom (Liverpool Hope University/Newcastle University)

From Pierre Attaingnant onwards, many European music printers issued sheets of paper printed with blank staves for making manuscript partbooks or tablature books. Few of these printed papers have been studied in detail, and few questions have been asked about what we might learn from them. In this talk I show how the study of dimensions and imperfections in the staves – typically kinks and gaps in their metal rules – can serve to distinguish between batches of a superficially stable design. Using this information, it may then become possible to (a) identify discrete layers within seemingly unified manuscripts,

46 and (b) forge connections between manuscripts made by different copyists who bought printed sheets from a common source. Illustrations for the talk are mainly drawn from 16th-century England, but brief mention will also be made of research opportunities for papers printed in other parts of northern Europe. (Bibliography: Fenlon & Milsom in JAMS 37 (1984), pp. 139-63.)

24: The Presentness of the Past and the Timelessness of the Present: Representations of Early Music on Stage and Screen Chairs: Adam Whittaker and James Cook

The REMOSS Study Group has been concerned with exploring the ways in which 'early music’ is treated in popular media, including film and TV, theatre and opera, and videogames. For many, it is through these media that their first – perhaps only – introduction to the world of early music takes place meaning that this type of exposure can have an enormous impact on popular conceptions of how the past sounded. More than this, it is often the site of intensive and creative engagement with both concepts and actual artefacts of the past which deserves analysis in and on its own terms.

24.1: Sacrificing the past, creating a timeless present: Music in The Wicker Man (1973) Lisa Colton, University of Huddersfield

The community of Summerisle is characterised by contradiction and ambiguity. The villagers are framed as medieval peasants who, under the control of their feudal Lord, are responsible for the sacrificial murder of policeman Sergeant Howie. Their paradoxical combination of knowing and naivety helps to craft the viewer’s disorientation. Music – both in terms of underscore and the prominence of diegetic, participatory music-making at key points in the narrative – strengthens the sense of helplessness the policeman feels, dislocated as he is from the Christian mainland and its values. It also disconnects the protagonist, and by extension the audience, from the concept of a logical, chronological development from historical past to present day. In this paper, I will examine the significance of medievalism found in The Wicker Man’s score, showing that it serves not only to underpin the narrative, but to lend meaning, drama, and even a sense of legitimacy to the brutal local rite that occurs at the final climax of events. Furthermore, I will demonstrate the impact that the doubly synthetic score (old presented as new, new presented as old) has in terms of its creation of an out-of- time Summerisle, through the manipulation of musical signifiers of ‘now’ and ‘then’.

24.2. Presentness and the Past in Contemporary British Opera Alex Kolassa, University of Nottingham

Much has been said on the subject of medievalism/neomedievalism – and the Renaissance equivalent—in the context of cinema and literature, but less so in the context of music, and more specifically opera. Opera has always dealt with historical themes (Wagner and Rossini spring to mind) but there is something to be said, surely, for the practice of self- reflective and contemporary opera after the advent of cinema. Much like trends in cinematic neomedievalism, what we find is a complex, idiomatic, and knowingly anachronistic practice, expressed in occasionally contradictory ways: from overt parody and derangement to sincere reproduction in a contemporary timbral context, and/or straight-faced modernistic sublimation of historical compositional techniques (i.e. isorhythm, hocket, etc.).

47 This paper will investigate two contrasting operas by living British composers whose careers have been characterised by a close (and idiomatic) engagement with musics of the ‘past’: Peter Maxwell Davies (Taverner) and Alexander Goehr (Arianna). It will demonstrate the ways in which these two contrasting works treat ‘early’ music subject matter on stage and in the orchestra pit, revealing the ways in which ‘the medieval’ and ‘the Renaissance’ can be evoked and manipulated (and in particular, inverted) for dramatic and technical effect, and to what aesthetics ends.

25: Secular Monody

25.1: “Tell her, if it pleases her, to learn you and sing”: Learning and Embodiment in the Troubadour Tornada Anne Levitsky, Columbia University

In several troubadour tornadas, the poet turns to his song and addresses it directly, often charging it with the specific duty of envoy to his beloved or patron. In doing so, the troubadour grants the song powers of speech, motion, and agency, thereby allowing it a subjectivity of its own. Within this corpus of “agent songs,” each tornada empowers its song in a slightly different way. My paper focuses on nine such songs (attributed to Peirol among others), whose tornadas encourage their recipients to learn them, initiating a highly physical process that involves repeated listenings and restatements until the song is memorized. The act of learning thus becomes one of both consumption and reproduction, as the recipient takes the song into his or her ear and mouth, and simultaneously reproduces it with her voice. In this paper, I argue that the process of learning augments the agent song’s capacity to act—as conferred on it by its tornada—encouraging a kind of interaction with the song that highlights its very embodiment. The song’s body is the key to its agency, as its power is dependent on its presence: it is gained during performance, lost during consumption, and regained through reproduction.

25.2: The Chansonnier du Roi, Naples, and the geography of thirteenth-century music Alexandros Hatzikiriakos, Sapienza University of Rome

The Chansonnier du Roi (Paris, BNF f. fr. 844) is one of the most important sources for trouvère and troubadour lyrics, but also for early motets. Compiled around 1250 in Artois, the manuscript was later enriched with a unique collection of Occitan, French and Latin monophonic songs and instrumental dances in mensural notation. In the last decades, this chansonnier has been studied both from musicologists (Peraino and Haines) and romance philologists (Battelli and Asperti). Insights from these two fields, however, have never been brought together. This is my aim in this paper, focusing in particular on the later additions to the manuscript, about which I will also present new palaeographical evidence. My central hypothesis is that fr. 844 was brought to the Angevin court of Naples, probably around 1282, by Robert II of Artois. Here poets and artists from Northern France, Occitania and Aragon contributed to a multicultural milieu, where the chansonnier could have been exposed to new styles. Moreover, in comparison with similar sources, the compilers’ predilection for literary genres specifically connected to dance and music, as well as the use of mensural notation but also metrical irregularities and mise en texte strategies, show a unique interest in sound and performance. Ultimately, I expand the geography of thirteenth-century music, claiming Naples as major cultural centers of vernacular monophony.

48 25.3: Espérance Or: The First Owner(s) of the Manuscrit de Bayeux (F-Pn, F. Fr. 9346) Carlo Bosi, Paris-Lodron-Universität Salzburg

The manuscrit de Bayeux (F-Pn, f. fr. 9346) is really remarkable compared to most other manuscript or printed chansonniers originating from around 1500. If it indeed does share with F-Pn, f. fr. 12744 the uniqueness of being the sole monophonic chansonnier of this age, its much more luxurious execution and the generous mise en page of the pieces make it truly distinctive. The initials of the first sixteen songs forming the acrostic CHARLES DE BOVRBON and the presence of the winged stag with the girdle ESPÉRANCE has led many scholars to surmise that Charles de Bourbon-Montpensier (1490-1527), the last Great Constable of France, may have been its sponsor: indeed he was the only one to have made spectacular display of this particular emblem, if we except his uncle and posthumous father-in-law Pierre II, who apparently introduced it. This paper shall endeavour to throw new light on the origin of this important source making use of codicological, art-historical and documentary evidence and placing it at the same time within the rich historical tapestry of the age.

26: Music in the Royal Court of France Chair: Vincenzo Borghetti

26.1: The Bourbonnais in the 15th century: Historiography and Patronage Jeannette D. Jones, Boston University

Moulins-sur-Allier is a small town situated on the banks of the river Allier in central France—a crossroad for those traveling from Paris or the Loire Valley to Lyons or to Avignon. In the fifteenth century, Moulins was home to the dukes of Bourbon, whose duchy had been established in the fourteenth century. Much as their land sat as a crossroad, so did their family connections with intermarriages crossing into the French royal family and the Valois Burgundians. Within this political climate, the Bourbon duchy situated itself to be a significant player, with political potential and cultural leverage. However, this notable court has remained largely untouched in musicology. Drawing on my archival work centered on the fifteenth-century Bourbonnais and the collegiate church in Moulins, I offer a picture of the Bourbonnais that is heavily invested in music and ceremony, despite the lack of the sorts of documents that musicologists traditionally turn to in writing the history of a court musical culture. In doing so, I consider questions of historiography that have shaped musicological interests and suggest possible paths that might fuel future research.

26.2: Allegorical Resonances: Music’s Role in Mary Tudor’s Entry to Paris (1514) Naomi Gregory, University of Rochester

On 6 November 1514, Louis XII’s third wife, Mary Tudor, made her inaugural entrance to Paris, following her coronation at St-Denis. The entry pageant was designed by Pierre Gringore, who subsequently produced a detailed illuminated manuscript account of the ceremony dedicated to the queen herself. As Cynthia Brown has argued, Gringore’s entry theatres were a multimedia spectacle ‘par excellence,’ coordinating visual, textual and oral modes of performance. This paper will address the contribution – both aural and allegorical – of music to the multimedia spectacle of Mary’s entry. Although music played various roles in royal entries of this period, its trace remains largely silent in contemporary reports. Gringore’s account offers more clues than most, with specific references to music at three entry theatres. I will trace echoes of Gringore’s entry themes in two motets associated with the

49 French royal court: Missus est Gabriel/A une dame (contested authorship), and O pulcherrima mulierum by Jean Mouton. Two methods considering music’s interaction with such ceremonies will be utilised: one relating to specific occasions of performance, and the other exploring associative frameworks of text and imagery connecting French court motets with other cultural forms of royal representation.

26.3: The musical training of Louis XIII during the time he was dauphin (1601-10): evidence from the Journal of Jean Héroard Alex Robinson, Independent

Recognized by both his contemporaries and posthumous writers for his love of music and dancing, Louis XIII (1601-43) had a decisive impact on the development of these arts at the French court, paving the way for the achievements of Louis XIV’s reign. Where did this passion originate from and what can be known about Louis’s musical training during his formative years? Thanks to the survival of a remarkable document, the Journal of Jean Héroard (written by Louis’s first doctor during 1601-28), it is possible to provide a wealth of information in response to these questions. Yet whilst the existence of this source has been known for some time, it seems that no attempt has previously been made by musicologists to analyse the information which it contains in a more comprehensive manner. This aim effectively forms the basis of this paper, and such an approach enables new light to be shed on several aspects of music making within the entourage of the dauphin Louis. Among other things, these include references to members of his musical personnel and other royal musicians, numerous mentions of the dances and instruments in vogue at his court, and indications concerning Louis’s own abilities as a musician.

27: ROUND TABLE Tudor Partbooks: Describing and Identifying Scribal Traits

This workshop extends a discussion initiated at Brussels Med-Ren in 2015 and showcases a Tudor Partbooks investigation into Tudor musical hands. The question is simple: by what criteria do we describe and identify the specific and characteristic traits of musical copyists? In the absence of a coherent, shared descriptive taxonomy, musicologists often perforce rely upon subjective judgements based on questionable assumptions: ‘it looks different, so it must therefore have been written by a different hand’. The Tudor Partooks team seek to develop more robust criteria for describing and hence identifying music hands. Audience members will be encouraged to participate actively in the workshop.

Inexperienced Scribes and ‘House Styles’: Some Case Studies from the Hamond Partbooks (GB-Lbl: Add. MSS 30480-4) Katherine Butler, University of Oxford Julia Craig-McFeely, DIAMM

British Library Add. MSS 30480-4 (the ‘Hamond’ partbooks) have some of the most complex scribal issues of any Tudor partbook. Not only are numerous different hands at work, but many of the scribes appear to have been inexperienced or novice copyists. In addition there are cases where very similar note shapes appear in a range of sizes and thicknesses (despite all being copied onto the same printed music staves), which may be indicative of several scribes who have learnt the same house style. I introduce a couple of examples from these partbooks to open discussion about the problems of dealing with inexperienced copyists, distinguishing scripts of a very similar style, and defining an acceptable degree of variation in a single hand before one assumes a new scribe.

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Session 28: Georgian Music Chair: Warwick Edwards

The session is dedicated to the issues of the history, theory and traditions of the Georgian medieval music, oldest traditional music-therapy, also its connection with contemporary bio-resonance medicine. According to Georgian manuscript sources Georgian ecclesistical chanting had highly-developed system in the Middle Centuries. Nothwithstanding scantily retained manuscripts, it is still proved the existence of the original musical writing system in the Middle Ages (X-XI), it is revealed original patterns of hymnographic poetry. Georgian chanting represents common Christian musical cultural part. Thus, its studying represents the subject of interest not only for Georgian, but also for any other reaseacher of the art of Middle Ages. Examination of the process of interaction within European cultures seems to be of great importance.

28.1: The role and function of a cantus firmus in the church polyphony Tamar Chkheidze, Tbilisi State Conservatoire

Harmonical and textural features of the Georgian chant is a result of the Georgian traditional polyphonic thinking. At the same time, it is a multipart embodiment of a musical model, given in the top (first part) of the chant, so-called cantus firmus. In the report represented is the role and function of a cantus firmus in the medieval Georgian church polyphony and its relation with the genres of the Western European church music.

28.2: The Lent Chants in Georgian Notation Manuscripts of XIX Century Khatuna Managadze, Batumi Art Teaching University

The earliest notated sources of Georgian Chants (X-XI) used symbols - neumes. From XII to XVIII c.c. Georgia was invaded by different conquerors –including Mongolians, Persians, Ottomans. From XIX cen. Georgia was occupied by Russian Empire. During these difficulties Georgian Chants were orally passed from generation to generation. From the 60s of XIX c. Georgian Chants started to be integrated into modern musical systems. Manuscript notes for lent chants can be found in various funds in The Georgian national Centre of Manuscripts.

29: Iberia – Performance and Reception Chair: Tess Knighton

29.1: Lamentations of Jeremiah in Medieval and Renaissance Spain Manuel del Sol, Universidad Complutense de Madrid

The study of the Lamentations of Jeremiah in a European framework confirms the survival of a medieval plainchant tradition of Hispanic root in Renaissance Spain. Consequently, the textual and melodic features of Medieval Spanish Lamentations must be unravelled in relation to the transference of this tradition to the monodic sources and polyphonic versions of the Lamentations during the pre- and post-Tridentine liturgical periods. Other important lines of research related to this genre are: the political and geographical division of the Iberian World with regard to the independent practices of the

51 Lamentations in the kingdoms of Castile, Aragon and Portugal; the reciting tones in Spanish plainchant (simple, double and multiple); the early polyphonic forms of this repertoire in Spain and the creation of a native polyphonic tradition; the circulation and reception of Spanish and European polyphonic Lamentations; and the liturgical impact of the Council of Trent —an important issue that has been little studied and is often misunderstood. The overview of the music of the Lamentations in Renaissance Spain would necessarily be incomplete without considering its performance in the Tenebrae Office at the great Spanish ecclesiastical, royal and noble chapels as well as other devotional manifestations that directly fall into an extra-liturgical context.

29.2: The reception of the hymn Te matrem dei laudamus in Castile. Santiago Ruiz Torres, Universidad de Salamanca & Nuria Torres, Universidad Complutense de Madrid

The hymn Te matrem dei laudamus is, without any doubt, the most famous adaptation of the hymn Te deum laudamus. With references documented since the twelfth century, the piece was widely spread throughout Europe until the late sixteenth century due to the growing devotion of the Virgin Mary. However, its dissemination through liturgical and paraliturgical sources is still poorly understood. The main objective of this paper is to provide a preliminary picture showing the penetration of the hymn in Castile. The starting point will be a notated fragment of the piece (ca. late fifteenth century) recently discovered in the Archive of the Segovia Cathedral. The proposed analysis will be divided into three stages. In the first one, we will make a documentary review of the sources in the mentioned archive in order to locate the chant within the celebration framework of the Segovia Cathedral. In the second phase, we will present a first census of the piece in Castilian sources, both monophonic and polyphonic, within the bounded period. In the last block we will focus on the peculiarity that has attracted so far the attention among scholars: its text. The doctrinal problems it presents, where Mary is even assigned divine attributes, combined with the contemporary rise experienced by Marian literature, led to the composition of a large number of versions. We will verify, in this sense, which are the textual models widespread in Castile, and even, if it's possible to talk about a Spanish archetype.

29.3: Recorder Use in Spanish Churches and Cathedrals in the Sixteenth and Early Seventeenth Centuries Julia Miller, Antwerp University

Surviving sixteenth- and early seventeenth-century documentation is highly fragmentary with regard to the participatory role of recorders in performing sacred music. While numerous sets of recorders were purchased by ecclesiastic institutions during that period, and while recorders were often portrayed then in religious iconography, most sacred vocal compositions of the sixteenth century did not indicate the use of specific instruments. Given the scarcity of detailed documentation concerning recorders’ participation therein, many questions in this regard persisted into the early twenty-first century among musicians seeking an informed basis for their performance choices. This paper presents research findings concerning the sixteenth- and early seventeenth-century role of recorders in performing sacred works in cathedrals and churches across Spain. It synthesizes and analyzes archival evidence demonstrating purchase, repair and ownership of recorders, characteristics of some of these instruments, the hiring and activity of musicians playing them, and performance practice details specifically calling for recorders. The paper discusses some of the repertoire available in Spanish churches and cathedrals which had recorder activity, and, more specifically, music included in collections prepared for wind instrumentalists' use. The paper ties information gleaned from archival sources with some of the issues arising in twenty-first-century performance.

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30: Music in the German-Speaking Areas Chair: Moritz Kelber

30.1: Itinerant Musicians in Hamelin's Piper's Legend Sanna Iitti, Independent

My paper examines representations of itinerant pipers in 16th to 17th-century versions of Hamelin's piper's legend. The piper was often judged as the Satan's incarnation such as a demon, but at times also as a ghost, magician or vampire. Such notions testify of prejudices, which itinerant pipers had invoked especially among the clergy. I shall also regard arguments that concern the legend's genesis and shall show that several versions alluded to mythology related to the Midsummer. Besides, I shall reveal that this tale had perpetuated traces of necromantic practise. “The Pied Piper of Hamelin” is not a variant of the Dance of Death topic. Itinerant minstrels' performances which comprised jests and playing on streets must have provided the model for the procession described by the tale. What is more, it passed on classic philosophers' views in aulos music's detrimental impact.

30.2: Lost Canonic Instructions in the Salminger Prints? Aaron James, Eastman School of Music, University of Rochester

Puzzle canons are a familiar feature of late fifteenth- and early sixteenth-century polyphony, in which the instructions for resolving the canon are often given in the form of a Latin riddle. Both Katelijne Schiltz and Thomas Röder have recently discussed an intriguing set of puzzle canons printed in the late 1540s by the Augsburg editor Sigmund Salminger. These canonic broadsheets attract attention both for their musical complexity and for their eye-catching layout, featuring music printed both forwards and backwards, in a circle, or on the squares of a chessboard. This paper examines another repertory of canons printed by Salminger: the canonic pieces in his printed anthologies of 1540 and 1545. In these collections, Salminger chooses to simplify and streamline his canonic notation for easier performance, providing straightforward instructions or a complete resolution for pieces that were originally written as riddles. Through a study of these notational practices, I am able to reconstruct the probable original form for some of the most intriguing canonic unica published by Salminger, leading to new insights on the provenance of compositions falsely attributed to Johannes Lupi and Josquin.

30.3: A Reconstruction of Venediers Masses - an attempt Kirstin Pönnighaus, Department of Musicology Weimar-Jena

Even if it is fairly known since the 1960s, the manuscript PL-Kj Berlin MS Mus. 40634/BerlPS 40634 suffers somewhat from non-observance due to its fragmentariness, since it is written down in partbooks and only two of them (Altus and Bassus) survived. As Rainer Birkendorf has found out the manuscript was written by Lukas Wagenrieder at the court of Maximilian, so before 1520. Martin Staehelin noticed in 1995 that all contained 21 masses are composed on a pre-existent model - may it be monophonic or polyphonic, sacred or not. But not one of these masses is based on the matching choral in each setting, which astonishes regarding the very commonness of this practice in the work of Ludwig Senfl whose friend Wagenrieder most likely was. The analysis of all masses is complicated by not knowing the tenor.

53 The composer most prominent in this manuscript is Vitalis Venedier who is only known through this source. His four masses (Missa Benedictionem omnium gentium, Missa Freuntlich und mildt, Missa Surge virgo, Missa L’homme armé) open the manuscript. In may paper I’m going to try a reconstruction of the tenors of Venedier’s masses with a special focus on his Missa L’homme armé.

30.4: A cause for thanksgiving: Cipirano de Rore's "Agimus tibi gratias" and Imperial politics Barbara Eichner, Oxford Brookes University

The illuminated choirbook Mus.Ms. B, held at the Bavarian State Library, is one of the most lavishly decorated music manuscripts of the sixteenth century, a tribute to the creative imagination of the composer Cipriano de Rore as well as to the taste and generosity of his patron, Duke Albrecht V of Bavaria. Since Jessie Ann Owens’ PhD dissertation of 1978, however, musical scholarship has not engaged consistently with this multi-faceted artwork. The recently completed digitisation of the choirbook has invited a closer look at the finely detailed illuminations that accompany and comment on each of Rore’s motets. This paper will take the short prayer “Agimus tibi gratias” as its starting point to discuss the creation of the manuscript (including the question of what Rore composed specifically for Albrecht V) in the context of Bavarian, Imperial and European politics of the late 1550s. During these years the abdication of Emperor Charles V destabilised the power balance in Europe, regional players like Ercole d’Este and Albrecht of Bavaria carefully rearranged their political alliances and formulated new aspirations, and the longstanding conflict between France and Habsburg – mainly fought on Italian soil – came to a conclusion. There was certainly cause for both anxiety and for thanksgiving, and the motets in the Rore codex mirror both concerns in their texts, music and illuminations.

31: WORKSHOP Tudor Partbooks: Polyphonic reconstruction: stylistic freedom, uncertainty and invention

Some recent endeavours in polyphonic reconstruction have achieved great success through close taxonomical studies of substantial and stylistically homogeneous repertories. More heterogeneous and intermittently documented repertories are arguably less amenable to this kind of interrogation. Idiomatic latitudinarianism among English composers, for instance, combined with a lingering predilection for free melisma, mean that their missing voice-parts are often difficult to second-guess: compositional imagination is needed, along with scholarly ratiocination. New technical affordances, meanwhile, extend the range of resources available in the reconstruction of lacunary polyphony. Participants are invited to bring pencil and eraser.

31.1: Lost Tenor of the Baldwin partbooks Magnus Williamson, Newcastle University

The problem of reconstruction is acute in the case of John Sheppard, whose music survives largely in the Baldwin partbooks (GB-Och Mus. 979-983), whose Tenor is lost. One of the core work packages of the Tudor Partbooks project is to provide a new Tenor book, reconstructed collaboratively. This session present preliminary findings from the first reconstruction workshop (Oxford, 6-8 March 2015), and introduces a specific case study by

54 Sheppard, as well as the recently-reconstructed (and newly-recorded) masterpiece, the six- voice Stabat virgo mater Christi by John Browne.

31.2: Reconstructing lost voices: towards a methodology Marina Toffetti, University of Padua

Although the practice of reconstructing the missing parts in incomplete polyphony is not yet as widespread as we might hope, the hypothetical bases for reconstructing missing parts published so far are more numerous than one might imagine. Among those we can find critical and/or practical editions, electronic scores or paper editions, ‘static’ editions (issued under the responsibility of a single editor) or ‘collaborative’ editions (which can be modified and adapted by each user), editions of individual compositions or of a complete collection, music appendices at the end of scholarly articles, or even more or less complete and extended musical examples within musicological articles. Contrary to what happens in the context of the visual arts, where the restoration has been practised for centuries and has generated a theoretical reflection, in the context of the reconstruction of lacunary polyphony, methodologies for the reconstruction of incomplete polyphony are often independent of each other and have not yet given rise to theoretical considerations.

31.3: Automatic Comparison of Reconstructed Parts Nicola Orio, University of Padua

The use of automatic tools is widespread in digital humanities, where they are usually, and successfully, applied to linguistics, document analysis, and digital libraries. A number of efforts have been carried out also in the music domain, although the focus is usually on popular music due to the importance of music industry. With this contribution we propose to exploit music information retrieval techniques and to apply them to the comparison of different approaches to reconstruction. These techniques allow us to: highlight pairwise differences between alternative reconstructions; extract significant statistical information that characterize and differentiate the different approaches; measure the overlap between the melodic material both between two reconstructions and between a reconstructed part and other, original, parts. As usual, such a contribution requires a final disclaimer: our goal is not to replace the musicologists' work, but to offer a tool for musicologists that provide objective measurements on the studied material, which can be feasible also in case of large scale collections.

32: LIGHTNING TALKS

32.1: The Savoy-Nemours Chansonnier: A New Late Fifteenth-Century Song Source David Burn, University of Leuven / Alamire Foundation

In December 2015 a musical source that had been purchased at auction by a private Belgian art-dealer was brought to the Alamire Foundation in Leuven for examination. The source, it turns out, is a previously unknown late fifteenth-century chansonnier, complete and in its original cloth binding. A coat-of-arms identifies it as at some time in the possession of a member of the House of Savoy-Nemours. While less luxurious than the most famous chansonniers of the time, the book is nonetheless clearly a prestigious and personal object for wealthy nobility. The chansonnier consists of ninety-six parchment folios, measuring 8.5 x 12 cm. It contains forty-nine French songs from the Ockeghem-

55 Busnois generation and one Latin-texted work. Along with concordances for widely disseminated chansons, the book also offers concordances for a number of songs otherwise only known in unique copies as well as a number of entirely unknown pieces. My presentation will introduce the source with a codicological description and discussion of its contents.

32.2: Traditions of Post-Pentecost antiphons in medieval music sources Štefánia Demská, Charles University, Prague

The series of Sunday Post-Pentecost antiphons of the New Testament canticle Benedictus and Magnificat represent an important group of chant repertory typical due to their variability within the medieval musical sources (in terms of content and sequence of individual items). A comparison of sources and detailed analysis of repertory preserved in musical manuscripts originating in different areas of medieval Europe is one point of departure for a discussion on the geographical, institutional and chronological contexts of the series of Sunday Post-Pentecost antiphons, raising questions such as “where do the chants come from?” “monastic or secular?” “what layer of chant repertory do they belong to?” The paper presents basic issues from a student’s research project and a preliminary hypothesis concerning significant features of individual European chant traditions and the relationships between them.

32.3: Mode/Row/Series: Medieval Thought (mis)Understood in Post-War Composition Max Erwin, University of Leeds

Of the familiar names in post-war music, Olivier Messiaen was perhaps the most explicit in his identification with Medieval music – using modal treatment of pitch, rhythm, and dynamics, drawing from Catholic themes and subject matter, and publicly musing that he envied the working conditions (namely, anonymity) of the composers of the early middle ages. This ideology extended beyond his students (of which the most notable and orthodox example is probably Karel Goeyvaerts, widely credited with the first piece of ‘total’ serialism) and found international resonance across war-torn Europe in such seminal figures as Nono, Stockhausen, and Maderna. In this presentation I will examine why post-war European composers saw in medieval music being aesthetically, professionally, and politically appealing model for their own contributions to the avant- garde: as an alternative to the “bourgeois” compositional practice that formed after the Renaissance and that now, after de-Nazification, seemed ideologically suspect. I will additionally argue that their (mis?)reading of this music played a much larger role in the narrative of 20th century music than is commonly acknowledged.

32.4: The singing cadels of the St Andrews Gradual Gillian Hurst, University of St Andrews

This paper will address the cadels of the St Andrews Gradual. I will begin with an investigation of the different initial decorators. The decoration campaigns are such that most initials alternate between being pen and pencil decorated. There appear to be two very distinct personalities and styles at work and some opposition between the decorators. The pen decorator’s work is very refined and formulaic and is usually followed by a more crude pencil decoration and occasionally, a cadel. Looking at physiognomical traits, this paper will try to elucidate the personalities behind the caricatures and begin to answer the questions of what it means to have the music performed internally by cadels and whether they cue performance.

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33: Women Patrons in the Sixteenth Century Chair: Jennifer Thomas

33.1: Saints, Sons, and Sovereignty: Mouton’s Gloriosa Virgo Margareta in the Court of Anne of Brittany (1477–1514) Aimee E. Gonzalez, University of Florida

On the Feast of St. Agnes in 1512, Anne of Brittany gave birth to a stillborn son with King Louis XII, tragically ending her fifteen-year attempt to secure her duchy’s independence from France through motherhood. The 1499 marriage contract she negotiated with Louis XII, her second husband, stipulated their firstborn son would inherit the French throne while the second would inherit Brittany. At age 35, Anne faced the reality that she was unlikely to provide a male heir. Jean Mouton’s motet, Gloriosa virgo Margareta in honor of St. Margaret, the patron saint of pregnancy and childbirth, memorializes Anne’s failure and sorrow. Interpreting the themes and origins of the motet’s text within the context of Anne’s biography and her Books of Hours and cultural artifacts allows this motet to be convincingly dated and traced to Anne’s patronage. Mouton’s motet creates a musical triptych reflecting the circumstances of Anne’s 1512 stillbirth, with text proper to St. Agnes at its center and St. Margaret text on the flanks. Understanding the motet within the context of affective piety, lay devotion, and Tinctoris’s musical effects in Complexus effectuum musices reveals powerful themes and metaphors, encompassing generic communal understanding as well as Anne’s spiritual perspective and political situation.

33.2: Reading Music, Performing Identity: Margaret of Austria and her Chansonnier BrusBR 228 Vincenzo Borghetti, Universita degli Studi di Verona

The chansonnier of Margaret of Austria BrusBR 228 has been the object of significant musicological attention at least since the publication of Martin Picker’s edition in 1965. For all the breadth and depth of this ongoing enquiry, however, this manuscript has been investigated essentially for the music it contains. Only recently, thanks to Bonnie Blackburn and Honey Meconi, has BrusBR 228 begun to be considered as a cultural object, especially useful in shedding light on Margaret’s patronage. Following the path opened by these studies, in this paper I wish to return to BrusBR 228, but from a perspective partially different from theirs. Taking as my point of departure recent work on the musical and artistic patronage of Margaret of Austria and her age (Dagmar Eichberger and Tim Shephard among others), I want to reflect on the role of this manuscript in the construction and performance of Margaret’s identity as a princely reader and as a ruler. To this end, I propose an analysis of the chansonnier as a music book, that is, as an object constructed through the interaction of different communicative codes, pondering some elements particularly interesting for my perspective, such as the initial pages and its collection of Fors seulement reworkings. On the basis of this analysis, I advance new hypotheses on the uses and meanings of BrusBR 228, as well as, more in general, on Margaret’s reading habits and their potential cultural meanings and ideological ends.

57 33.3: Women and networks of musical patronage in the sixteenth-century Iberian world: Ana de Mendoza, Princess of Eboli (1540-1592) Ascensión Mazuela-Anguita, Institución Milá y Fontanals, Barcelona

This paper explores the musical experience of Ana de Mendoza as part of a network of women in positions of power who were interested in music and devotion, by assessing her domestic musical education during childhood, and re-examining her musical patronage in three different contexts: 1) the royal court, where she participated in the musical entertainments of the regent Juana of Austria and Queen Isabel of Valois; 2) the ducal village of Pastrana (Guadalajara), which she and her husband Ruy Gómez intended to transform into a Renaissance cultural centre, fuelling the economy, founding religious institutions, and organising musical festivities; and 3) the cloister; firstly the Carmelite convent of Pastrana, where Ana entered as a widow, disrupting the quietness imposed by Teresa of Avila. Ana is said to have sung coplillas “in the Italian style” to the nuns¾, and later her own ducal palace where, secluded after being condemned for betraying state secrets, she continued promoting musical events and employing musicians. The princess drew on music not only as entertainment, but also as a form of religious patronage and means of both keeping her social status and creating social cohesion in Pastrana.

34: A Prosopography of English Church Musicians: pilot project Chairs: Helen Deeming & Lisa Colton

As part of the conference Facing the Music of Medieval England (March 2015, Centre for the Study of Music, Gender and Identity, University of Huddersfield), a discussion took place that highlighted some of the key tasks whose completion would significantly transform our knowledge and understanding of medieval English musical culture. Top of the agenda was to build a detailed prosopography of musicians working in England before the Reformation (and perhaps up to the Civil War), a project that would take as its starting point the extensive, largely unpublished archival records collected by Roger Bowers. Taking up this challenge, a team of researchers (supported by Royal Holloway, University of London and the University of Huddersfield) have begun a pilot project using records from a small number of ecclesiastical institutions to build a pilot database of people whose education and career was spent in the performance of music in the church. The session offers the opportunity for the team to present contributions based on the pilot project, and to explore the significance of what might be gained by expanding the database to create a detailed online prosopographical resource.

34.1: A Case Study: the College Royal of the Blessed Virgin Mary and St Nicholas, Cambridge Roger Bowers, University of Cambridge

King’s College Cambridge (founded in 1441) has contrived to preserve a respectably comprehensive selection of its pre-Reformation archives, in terms alike of administrative range, of chronological integrity, and of degree of formality. Gathering the names of the college staff whose work concerned them with the performance of music in the chapel is the easy bit; these are readily recovered from the college’s annual accounts, from the Commons books, and from the miscellaneous rough drafts subsidiary to them. In every case, however, not just the obvious sections but the entire document must be searched; names may be found in expenditure accounts for the likes of livery supply, room repairs and official journeyings, and also in receipt records of domestic rents. The crafty co-ordination of ostensibly unrelated details can

58 yield exact dates of engagement and departure (as also can the laborious compilation of succession charts), and also identify occupants of particular offices, such as Master of the Choristers. Tailor-made approaches have to be devised to extract the required information from documentation confused by the incidence of institutional crisis. There emerge details of specific phases in the careers of musicians of every level of significance; light is shed on peripheral figures, such as the connection to King’s College of the composers Edmund Turges and the mysterious ‘Hacumblen’; correlation with comparable archives (administrative and testamentary) delivers details of whole careers, and of patterns of promotion, remuneration, and social standing.

34.2: Towards a prosopography of Musicians in Pre-Reformation England and Wales 1 James Cook, Bangor University & Ralph Corrigan, Independent

This project is designed to answer a call made by Margaret Bent and Roger Bowers, fulfilling what they saw as the most pressing need in scholarship on early English music at the moment: a prosopographical resource for English and Welsh musicians utilising ecclesiastical and collegiate archival records. This paper, the first of a paired contribution, will begin to explore some of the key questions surrounding the creation of our prosopography and to offer a summary of our successes (and the challenges we have faced) in putting together a pilot study. Since prosopography is a relatively new historical tool – albeit with a rather ancient pedigree – the paper will explore the nature of this kind of research, elucidating its aims, advantages, and disadvantages in order to demonstrate some of the various ways in which this approach can be of use to scholars in our discipline. In addressing these questions, we will outline a basic overview of the intended project and of some of the findings of the pilot to date giving a first taste of our pilot database in action. The following paired paper will develop these themes and give delegates more of an opportunity to see the pilot database at work.

34.3: Towards a prosopography of Musicians in Pre-Reformation England and Wales 2 Ralph Corrigan, Independent & James Cook, Bangor University

In setting up a project like this, the data is of great importance. But without the means to store, interrogate and visualise the information, that data is effectively useless. In this paper, we will look at the challenges involved in setting up a database of this type, and the solutions the team has chosen to address them. This will include: defining the data sets (dead ends and all); relational tables and data optimising; IT needs of the project going forward to the next stage (scaling); and, different methods and formats for extracting data for scholars to use. We will also explain the process behind our pilot project and some of the interesting data that these investigations have uncovered so far. In particular, the paper will look at the ideas the team already have in place for presenting data – and ask delegates what they would like to see in future iterations of the database. Parts of the database will be available for delegates to see in action, and audience participation will be actively encouraged!

35: Composition and Analysis

35.1: The Supplementum: Structure and Evolution Reiner Krämer & Julie E. Cumming, McGill University

Johannes Nucius explains (Musices poeticae, 1613) that the manubrium occurs in

59 “virtually all motets,” and Joachim Thuringus proclaims (Opusculum bipartitium, 1624) that the paragoge is nowadays employed in all composition (Bartel). Both music theorists describe what Joachim Burmeister (Musica poetica, 1608) calls the supplementum (Burmeister/Rivera). The supplementum is a passage two or more measures long that expands on a “primary” or “secondary” pitch after the final cadence to emphasize its finality. Burmeister clarifies that the supplementum is an “elaboration of a final pitch in a stationary voice,” and that added pitches in other voices should create “consonances with it.” Students, Burmeister describes, should study examples by master composers. The ending of Palestrina’s four-voice motet “Dies sanctificatus” exemplifies a typical supplementum. The supplementa of Renaissance motets, however, are quite varied. I used the computer to study a corpus of more than 200 motets written between 1480 and 1600, and have developed a catalogue of supplementa defined by their intervallic (horizontal, vertical, contrapuntal), and modal relationships. Further, I show how the practice evolved over time, and speculate about whether improvisation could have contributed to its development.

35.2: A 16th-century canon and its preservation in an album leaf of Johann Sebastian Bach Christian Leitmeir, Magdalen College, University of Oxford

In 1982, the collection of album leaves preserved in the Lower Saxonian State Archiv of Oldebourg (Nest. 297 J) briefly caught the attention of Bach scholarship. Bach’s ‘Resolutio Canonis Ricciani’ presented the resolution of a canon by Teodoro Riccio (c.1540-1600), contained elsewhere in the collection. For Bach this was but a routine task, since the instruction leaves little doubt about the realisation as an augmentation canon at the lower fifth (‘Duo currebant simul, et unus citius cururrit, et alter accepit premium. Canon in diapente remissum’). While but of marginal interest to Bach scholars, Riccio’s canon provides some tantalising ramifications into 16th-century compositional practice. This short two-part snippet, copied by the chapelmaster of the Margrave of Brandenburg- Ansbach into the album amicorum of an unknown friend, shows a close affinity to the opening work of the first book of masses (1579), which itself was based on a motet by Cristóbal de Morales. My paper will go beyond the resolution of the musical canon, accomplished by Bach, and seek to explore its wider historical significance. Exploring its relation to both the potential host work and its model, I specifically define the status of the canon in relation to the mass: Was it preliminary material (sketch), a discarded by- product (parergon) or the fruit of retrospective reflection? This will also shed light on its function and significance within the album amicorum, which it entered some two decades after the composition of the mass.

35.3: 'Missas de Requiem’ in early 17th-century Lisbon: Traditions, Compositional Processes, Influences Bernadette Nelson, Universidade Nova, Lisbon

The Iberian Requiem mass had a long evolution, reaching its apogee perhaps in the settings of Victoria and 17th-century Portuguese composers Lobo, Cardoso and Magalhães. What survives is almost certainly the tip of the iceberg: evidence for many more settings exists in the catalogue of John IV's music library, and it becomes clear through analysis that composers knew settings circulating in earlier printed sources and manuscripts. Composer-chapelmasters were likely expected to write a Requiem as part of their remit and, like Victoria's Requiem, those by Portuguese composers were probably written for the exequies of royalty, nobility or dignitaries. This no doubt inspired a particular response or challenge: to write a work that was both appropriate for the occasion and a new personal expression, right from “dona eis”, the opening polyphonic phrase of the Introit. Cardoso's a6 setting (1625) opens with unexpected dramatic gestures partly resulting from recasting other settings, including those by Spanish composers and Manuel Mendes. Magalhães's Requiem (1636) shows close

60 relationships with Cardoso's, is extremely expressive, but also even recalls moments in early Franco-Flemish settings, including those of Okeghem, Brumel and others. This paper considers the evolution and development of Requiem masses in Portugal, focusing on those by Cardoso and Magalhães.

36: Songs in the Fourteenth Century

36.1: Jewish traces in Italian medieval poetry: a revival of an old intuition Elena Abramov-van Rijk, Independent

In a number of his writings, Aurelio Roncaglia proposed that the origins of the ballata- lauda were to be traced back to the Arabo-Andalusian poetry of the tenth-twelfth centuries, and more specifically to the form of the zajal. One of the main questions concerned the channels of transmission of the zajal form from Muslim Spain to the realm of the Romance poetry, and more specifically, how it came to be known in Italy. Among different possibilities, Roncaglia guessed that there must have been a Jewish factor to make this transmission possible: (1) the form of zajal was popular in Jewish liturgical poetry - piyyutim; (2) the contacts of the population in France, Provence and Italy were closer with Jews than with people speaking Arabic. Unfortunately, Roncaglia did not develop this idea, which deserves further investigation. I shall show when the form of the zajal entered into use in Italy. As is known, the adoption of the Spanish poetic style by Italian Jews happened in the second half of the twelfth century, but there are piyyutim in the zajal form written in Rome in the eleventh century. I then investigate the points of cultural and religious interface between Italian Jews and the local people that make it plausible that the zajal influenced the ballata-lauda.

36.2: “Ludowice” and “O Philippe”: Which came first? Zoltán Rihmer, Liszt Ferenc University of Music

The motet known as Servant regem misericordia by the beginning of its triplum survives in two versions with differing opening words in its motetus: Ludowice (Paris, BNF fr. 571) and O Philippe (Paris, BNF fr. 146). The traditional dating of these versions was based on the sequence of the reigns of Louis X (1314–1316) and Philip V (1316–1322), resulting in fr. 571 being considered roughly contemporary with fr. 146. In 1992, Andrew Wathey demonstrated that the former MS was copied shortly before 1326, while fr. 146 is generally regarded as compiled ca. 1316/18. The re-dating of the MSS lead some scholars to reverse the dating of the motets as well, considering the O Philippe version the original one. The present paper argues that such an equally mechanical interpretation, often characteristic of musicological research, does not take enough account of the meaning and the various contexts of the actual motet texts, which do offer enough information for determining the sequence of the two versions. An overview of the evidence and a critical evaluation of the advanced arguments can furthermore yield important methodological results refining the present-day scholarly approach to such complex phenomenon as the ars nova motet.

36.3: Tornando indietro: Dante, Petrarch, and the topos of return in the Trecento madrigal Mikhail Lopatin, St. Hugh's College, University of Oxford

I start from Dante's suggestive remark on 'tornata' (Convivio, II, 8, 1-3), which he related to a musical practice of returning a stanzaic melody (or its part) in the final part of the canzone. Dante's playing with the etymological derivation of the term (tornata — to turn/return) makes a formal conclusion of a poem an expressive structural gesture, which had both textual and musical ramifications; moreover, this was often reinforced (e.g., in

61 Dante's exilic canzone Amor, da che convien pur ch'io mi doglia) by an actual poetic motif of the poet's return. In what follows I aim to extrapolate Dante's reading of 'tornata' to the madrigals' ritornello (sometimes called 'tornello' or 'volta' in various sources), showing how Trecento poets and musicians emphasized the structural return textually, musically, and musico-textually (i.e., by a certain relationship between the two). I will start from Petrarch's RVF 54, and then proceed to three brief case studies: Jacopo's I' senti' già, Giovanni's O tu, cara scienza, and Donato's Come da lupo. On a larger scale, the aim of this paper is to readdress and question some methodological preconditions surrounding the complicated issue of musico-textual relationship in the Trecento.

37: Rome Chair: Noel O'Regan

37.1: Ritual, codicology, and Josquin’s music for the Sistine Chapel Jeffrey Dean, Birmingham Conservatoire

Josquin des Prez sang in the papal chapel in 1489–94. His earliest piece surviving from the chapel is his setting of the Ash Wednesday tract, Domine non secundum peccata nostra, added to MS Cappella Sistina 35 in the Vatican Library. Numerous settings of this tract were composed for the papal chapel until the 1550s, consistently showing compositional details that reflect ritual action during the Ash Wednesday Mass. Changes being made in the chapel ritual in the late 1480s explain why Domine non secundum should have become the focus of an emulative/competitive tradition among chapel composers, and fix the occasion of Josquin’s setting as 24 February 1490. I shall show that the main body of C.S. 35 was copied between January and October– December 1489. The activity of another scribe, who concentrated on Josquin’s music, has hitherto been dated to 1495–7, just after his departure from the papal chapel; I shall argue that this scribe was active while Josquin was still present, making his copies especially authoritative. One of these, Josquin’s setting of the hymn Nardi Maria pistici, sheds light on poorly documented changes in ritual practice in the papal chapel. Josquin’s music and papal-chapel ritual are mutually enlightening.

37.2: Tomás Luis de Victoria’s Lamentation Lessons and the Repertory of the Papal Chapel Mitchell Brauner, University of Wisconsin-Milwaukee

Tomás Luis de Victoria’s Lamentation lessons have long been viewed as problematic, especially because their primary sources, Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 186 (CS 186) and the Officium Hebdomadae Sanctae of 1585 (OHS) contain divergent versions of these works. Up to now, there has been no accepted date for CS 186, and its chronological relationship to the print has been questioned. What I propose to do here is settle the question of CS 186’s date and provenance, its position in the repertory of the papal chapel during the Counter-Reformation, and its relationship to the OHS. This paper will propose a slightly different view of the relationship between the sources and their readings based on chronological, aesthetic, and commercial considerations.

37.3: Triple-choir Mass settings in the archives of the Chiesa Nuova, Rome Rosemarie Darby, University of Manchester

The music archives of the Chiesa Nuova - the church of San Filippo Neri's Roman Oratory - contains three mass settings, from the late sixteenth century, each in a set of eighteen manuscript part books [I-Rf H.II 1-3]: a Missa Papae Marcelli, a Missa Sine Nomine and a

62 Missa Aspice Domine . Written by the same unidentified hand, they are triple-choir arrangements of Palestrina masses and appear to be the only surviving sources for these settings. The vast proportions of the Chiesa Nuova provided the opportunity for music on a grand scale - a space that was ideal to explore the sonorous potential of these settings . It was also the first church in Rome to have two built-in organs. The frequent references to the use of three or four choirs for masses and vespers there, especially those celebrating the anniversary of the founder of the Congregation of the Oratory, St. Philip Neri, have been well documented but , until comparatively recently, the actual music remained unknown or inaccessible. Scholars base their understanding of performance practice in Rome of polychoral music on relatively few surviving works and these three settings substantially expand our knowledge of this unique style and texture.

38: Music and Art in Renaissance Italy 2 Chair: Sanna Raninen

38.1: Botticelli's angels and the representation of tactus in Renaissance Italy Serenella Sessini, University of Sheffield

The Italian music theorist Giorgio Anselmi describes tactus practices in his treatise on music written in 1434 in which he states that “the singer, neither speeding up the song too much nor drawing the notes out too long . . . touches one hand to the hand or the back of the student”. In many cases, Renaissance paintings show musical angels performing with tactus; portrayals that were inspired by real contemporary practices. This is clearly exemplified in several artworks, both religious and secular, which show fingers beating time, either in the air, or on other singers’ shoulders and arms. In this paper I will analyse Renaissance Italian paintings that show depictions of tactus, showing that this device could be used by artists such as Sandro Botticelli and Filippino Lippi to portray musical angels, both in conjunction with other musical attributes, and as a sole device.

38.2: Giovanni Boccati, Music and the Sensory Experience in Paintings of the Virgin in the Garden Laura Cristina Stefanescu, University of Sheffield

Two paintings of the Madonna and Child by the Italian Renaissance artist Giovanni Boccati display luxurious scenes with angels picking flowers, tasting fruits and making music in heavenly choirs and orchestras. The present paper intends to analyse their iconography from the perspective of the sensorial bounty that they offer to the viewer in order to understand how such a visual display, appealing to all of the five senses was supposed to be experienced in the devotional context of the Italian Renaissance. This paper will argue that the scenes are set in a garden and therefore meant to evoke the heavenly realm, through the allusion to actual contemporary spaces. By analysing the sensory context and theology of the Song of Songs and its relation to the Virgin, as well as the musical associations that connect her to the idea of courtly love, it will be shown that Boccati’s paintings are meant to inspire divine love in the hearts of the devotees. Therefore, the sensorial richness in these paintings represents an instrument through which a spiritual experience was to be rendered understandable and accessible through metaphors of worldly sensations, among which music played a central role.

63 38.3: Orpheus and the Animals: Representing Persuasion Musically Tim Shephard, University of Sheffield

The last quarter of the fifteenth century and the first quarter of the sixteenth in Italy saw a substantial production across multiple media of the scene of Orpheus making music surrounded by animals and birds, either as an independent composition or as part of a cycle narrating the Orpheus myth as told in Ovid’s Metamorphoses. In its Ovidian context, whilst surrounded by animals and birds Orpheus is recounting in song almost the entirety of Book 10 of the Metamorphoses: his song is Ovid’s framing device, using the common conceit of presenting written poetry as extemporised song. The capacity of the music of Orpheus to move the souls of even brute beasts was regularly cited in the period as evidence of music’s power over human passions, and it was exactly this quality that gave music a role in both classical and Renaissance accounts of poetics. This paper will argue that representations of Orpheus and the animals form a visual counterpart to literary accounts of the power of music which (unlike those involving Pythagoras) locate his musicianship under the heading not of Musica but of poetics and thus Rhetorica, as part of the persuasive arsenal available to the public orator.

39: Heroes of Early Modern Music in Historical Thought and Historiography Chair: Henry Hope

In contrast to the scholarship since the Enlightenment, the fifteenth and sixteenth centuries entertained a more syncretic notion of musical past. There was neither a strict division of myth and historiography nor a division of critical historical accounts and historical thought in general. However, in this time, one of the most influential narratives of both historiography and historical thought was put forth – that of the past being shaped by exceptional individuals and their heroic deeds. Marketing strategies and growing consciousness of professional identities led to the notion of artists as creative individuals and to their monumentalization and historicization in different kinds of sources – a field of research that has not yet been explored thoroughly and tends to be neglected. The papers deal with several shapes this narrative took in fifteenth and sixteenth century Germany and with their revival amongst nineteenth century music historians. Rather than examining the historical correctness of these accounts, the papers will ask for the specific social and cultural circumstances of their emergence.

39.1: Heroes and authorities in music historiographical concepts of the late fifteenth and sixteenth Century Germany Kai Marius Schabram, Liszt School of Music Weimar

The paper discusses discursive concepts of music historical knowledge transitioning from Medieval to Early Modern Times. Various genres of texts will be taken into consideration as well as music historiographical positions by selected (Middle) German key writers of the late fifteenth and sixteenth centuries. In this context, fundamental patterns of historical construction (catalogue of inventors, chronology etc.) and narrative strategies will be discussed regarding their specific functions for the constructing of music history. The focus lies on Adam of Fulda’s »music history« taken from his treatise De musica (c. 1490). Moreover, the paper broaches the issue of current lines of research and the problems of differentiation regarding »old« and »new« music historiography.

64 39.2: Foundations of Music History: Concepts of Heroizing Composers in Sixteenth Century Germany Michael Meyer, University of Zurich

The history of early modern music historiography in sixteenth century Germany has yet to be written. Too often, it has been neglected as both a topical and featureless product of humanistic sophistry. But many sources display a differentiated view on the past, especially on sixteenth century composers of older generations. Albeit the factors leading to this kind of historiography haven’t been discussed profoundly, the upvaluation of the composer’s figure in different kinds of sources since the time around 1500 appears to be an important cornerstone. It can be shown that the heroizations of for example Josquin Desprez found in writings of Hans Ott, Philipp Melanchthon and Auctor Lampadius are directly connected to some later historiographical sketches as for example in Hermann Finck’s Practica musica (1556) or in Valentin Neander’s Elegia de praecipuis artificibus (1583). The link becomes especially clear by the fact that the later writers adopted specific aesthetic judgements form the earlier. Additionally, it is to be shown that the heroizations were not blank and topic formulas but implicitly and explicitly stand for the attempt of depriving a composer of temporality and save him for future generations.

39.3: Arch Cantors and Mighty Fortresses – Lutheran Historiography and Culture Protestantism Stefan Menzel, Liszt School of Music Weimar

Sixteenth century Lutheran church music was one of the most popular research subjects in nineteenth and early twentieth century Germany, an inclination that German nationalism and general historism can only in part be made responsible for. However, it remained relatively unnoticed to this day that during the nineteenth century, the German Lutheran church faced one of its most severe crises. Unable to adapt its theology to the intellectual tide of the time, it abandoned doctrine and instead turned to a new apostle of truth – the historical sciences. On a historiographical crusade, not only professional church historians but also parishioners, school teachers, and church musicians edited sources, published articles, and drew a picture of Lutheran reformation as the most significant foundation of German society and culture. This paper will reveal the strong ties of modern German musicology with the later so called Kulturprotestantismus (culture protestantism), focussing on the research and activities of Rochus von Liliencron, Johannes Rautenstrauch, Arno Werner and others. It will further be shown that these scholars were not only searching for an anchor point of Lutheran identity but also for models and repertoire to revitalise Lutheran liturgy and church music.

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