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SSCM - AHS Joint Meeting April 23-26, 2015 Iowa City
SSCM - AHS Joint Meeting April 23-26, 2015 Iowa City Abstracts Thursday Afternoon I. Plenary Session: Baroque Lives Roger Freitas (Eastman School of Music), Chair Supereminet omnes: New Light on the Life and Career of Vittoria Tarquini Beth Glixon (University of Kentucky) Vittoria Tarquini is known especially among Handel enthusiasts as the composer’s would-be paramour during his time in Florence in 1708; indeed, her relationship with Handel has taken on even greater significance over the last few decades as questions regarding the composer’s sexuality have been raised. The singer also occupies a niche in a particular corner of Florentine history as the supposed mistress of Grand Prince Ferdinando de’ Medici. Using newly discovered archival and visual material as well as a wide range of secondary sources, my paper traces Tarquini’s life and operatic career in Italy and Germany before looking at her years of retirement in Venice, where she died in 1746. Tarquini’s performance at Venice’s famed Teatro S. Giovanni Grisostomo in 1688 put her under the influence of the powerful Grimani family, and through Vincenzo Grimani she made the acquaintance of Prince Ferdinando, who would become her patron and employer ten years later. Rather than continuing her career in Venice, she moved to Hanover later in 1688, and soon married the French concertmaster Jean-Baptiste Farinel. She subsequently spent a number of years singing in Naples, where she was a favorite of the Viceroy, the Duke of Medinaceli. While there she sang in various works of Alessandro Scarlatti, and premiered the title role in Il trionfo di Camilla, which became one of the most popular operas of the eighteenth century. -
Contrapuntally Crafted, Harmonically Eloquent : Corelli's Sonatas and the Compositional Process in the Late 17Th Century
Contrapuntally crafted, harmonically eloquent : Corelli's sonatas and the compositional process in the late 17th century Autor(en): Sanna, Alberto Objekttyp: Article Zeitschrift: Basler Jahrbuch für historische Musikpraxis : eine Veröffentlichung der Schola Cantorum Basiliensis, Lehr- und Forschungsinstitut für Alte Musik an der Musik-Akademie der Stadt Basel Band (Jahr): 37 (2013) PDF erstellt am: 10.10.2021 Persistenter Link: http://doi.org/10.5169/seals-868876 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte -
Graduate-Dissertations-21
Ph.D. Dissertations in Musicology University of North Carolina at Chapel Hill Department of Music 1939 – 2021 Table of Contents Dissertations before 1950 1939 1949 Dissertations from 1950 - 1959 1950 1952 1953 1955 1956 1958 1959 Dissertations from 1960 - 1969 1960 1961 1962 1964 1965 1966 1967 1968 1969 Dissertations from 1970 - 1979 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 Dissertations from 1980 - 1989 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 Dissertations from 1990 - 1999 1990 1991 1992 1994 1995 1996 1998 1999 Dissertations from 2000 - 2009 2000 2001 2002 2003 2005 2006 2007 2008 2009 Dissertations since 2010 2010 2013 2014 2015 2016 2018 2019 Dissertations since 2020 2020 2021 1939 Peter Sijer Hansen The Life and Works of Dominico Phinot (ca. 1510-ca. 1555) (under the direction of Glen Haydon) 1949 Willis Cowan Gates The Literature for Unaccompanied Solo Violin (under the direction of Glen Haydon) Gwynn Spencer McPeek The Windsor Manuscript, British Museum, Egerton 3307 (under the direction of Glen Haydon) Wilton Elman Mason The Lute Music of Sylvius Leopold Weiss (under the direction of Glen Haydon) 1950 Delbert Meacham Beswick The Problem of Tonality in Seventeenth-Century Music (under the direction of Glen Haydon) 1952 Allen McCain Garrett The Works of William Billings (under the direction of Glen Haydon) Herbert Stanton Livingston The Italian Overture from A. Scarlatti to Mozart (under the direction of Glen Haydon) 1953 Almonte Charles Howell, Jr. The French Organ Mass in the Sixteenth and Seventeenth Centuries (under the direction of Jan Philip Schinhan) 1955 George E. -
Italian Musical Culture and Terminology in the Third Volume of Michael Praetorius’S Syntagma Musicum (1619)
Prejeto / received: 3. 6. 2019. Odobreno / accepted: 12. 9. 2019. doi: 10.3986/dmd15.1-2.04 ITALIAN MUSICAL CULTURE AND TERMINOLOGY IN THE THIRD VOLUME OF MICHAEL PRAETORIUs’S SYNTAGMA MUSICUM (1619) Marina Toffetti Università degli Studi di Padova Izvleček: Bralec tretjega zvezka Syntagme mu- Abstract: From the third volume of Michael sicum Michaela Praetoriusa dobi vtis, da so bili Praetorius’s Syntagma musicum one receives po mnenju avtorja na tekočem le tisti glasbeniki, the impression that, according to its author, ki so znali skladati, igrati ali peti »all'italiana«, only those who were able to compose, play or torej na italijanski način. Zato to delo predstavlja sing ‘all’italiana’ (in the Italian manner) were nekakšno ogledalo miselnosti in razumevanja considered culturally up-to-date. This treatise načina recepcije italijanske glasbe severno od can therefore be seen as a mirror reflecting Alp v drugem desetletju 17. stoletja. Razprava, ki the way in which Italian music was perceived temelji na ponovnem branju tretje knjige Prae- north of the Alps in the second decade of the toriusovega traktata Syntagma musicum, govori seventeenth century. The present article, based o tem, kako so v prvih desetletjih 17. stoletja on a re-reading of the third volume of Syntagma krožile glasbene knjige ter kako je asimilacija musicum, shows how in the early decades of italijanske glasbene kulture in terminologije the seventeenth century the circulation and prežela nemško govoreče dežele in doprinesla the assimilation of Italian musical culture and h genezi panevropskega glasbenega sloga in terminology was far-reaching in the German- terminologije. speaking countries, contributing to the genesis of a pan-European musical style and terminology. -
Giovanni Maria Nanino-Richard Schuler
Giovanni Maria Nanino-Richard Schuler VOLUME 90, NO,. 2 SUMMER, 1963 CAECILIA Published four times a year, Spring, Summer, Autumn and Winter. Second·Class Postage Paid at Omaha, Nebraska Subscription Price-$3.00 per year All articles for publication must be in the hands of the editor, 3558 Cass St., Omaha 31, Nebraska, 30 days before month of publication. Business Manager: Norbert Letter Change of address should be sent to the circulation manager: Paul Sing, 3558 Cass St., Omaha 31, Nebraska Postmaster: Form 3579 to Caecilia, 3558 Cass St., Omaha 31, Nebr. caeci la TABLE OF CONTENTS Editorial " " .c -_ - - .. - ___ __ __ _ 43 Life of Giovanni Maria Nanino . .____________________________________________ 46 11th Annual Boys Town Liturgical Music Workship________________________________ 69 William Ripley Dorr c .. ~______________________________ 74 Sounds of Te Deum ~ ._________________________________________ 77 Reviews-Masses . .. 84 Other Music . ~ 86 Organ Music .______________________________________________________________________________________ 94 Music Received. .... .---- 96 VOLUME 90, NO. 2 SUMMER, 1963 RONCKA BROS.~OMAHA.NEBR. CAECILIA A Quarterly Reyiewdeyoted to the lit.urgical music apostolate. Published with ecclesiastical approval by the Society of Saint Caecilia in Spring, Swnmer, Autumn and Winter. Established in 1874 by John B. Singenberger,K.C.S.G., K.C.S.S. (1849-1924). Editor -------------------------- Very Rev. Msgr. Francis P. Schmitt CONTRIBUTING EDITORS Francis A. Brunner, C.Ss.R. Elmer Pfeil Louise Cuyler Richard Schuler David Greenwood Lavern Wagner Paul Koch Roger Wagner Paul Manz Rembert Weakland, O.S.B. Alex Peloquin James Welch CAECILIA ASSOCIATES Dr. Caspar Koch, Pittsburgh, Pa. The Hon. Arthur Reilly, Boston, Mass. Sr. Alphonse· Marie, C.P.P.S., Joseph Leahy, Notre Dame, Ind. -
CONFERENCE SCHEDULE, Basel, 3.-6
CONFERENCE SCHEDULE, Basel, 3.-6. July 2019 Wednesday, July 3, 2019 GROSSER SAAL NEUER SAAL KLEINER SAAL STUDIO ECKENSTEIN KLAUS-LINDNER-SAAL STUDIO I 09.00 REGISTRATION 10.00 OPENING 10.30 Themed Session: Free Papers Free Papers Free Papers Free Papers Studio 31 (4) Elizabethan and Jacobean Notational Issues and Medieval Music Theory and Musical Life in Basel Music Printing Installation, Live Praises of Music beyond Practice Chair: Inga Groote Chair: Performance Chair: Chair: Thomas Schmidt Chair: Andreas Haug Katherine Butler Paul Kolb Daniela v. Aretin Melinda Latour O'Brien Fabian Kolb Pipers, Paupers, and Ligatures and musical Griechische Begriffe in der The Sound of Friendship: Promoting Musical Princes: Social Class in the Meaning lateinischen Paschal de L’Estocart and Knowledge. Pictorial and Praise and Dispraise of Musikterminologie des his circle at the University Verbal Paratexts in the Music Mittelalters. Adaptation, of Basel from 1581–1583 Design of German Music Transformation und Theory Prints and Musical Übersetzung (paper in German, Textbooks around 1500 printed Version in English) Samantha Arten Nicolò Ferrari Giovanni Varelli John Kmetz Ginte Medzvieckaite (11.00) Johannes Keller “God is pleasde, with such Text Underlay in Firminus The Roman schola cantorum Musicians in Motion: Positioning Devotional (Arciorgano) & Ensemble lyke armony”: Protestant Caron’s Masses according to the Carolingians: Workplace Mobility, Music Prints within Italian Domus Artis Praise of Music in a Reading of the lost Berlin Charitable Giving, and the Printed Book Market 1520- Elizabethan and Early Diptych Erasmus Foundation at the 1640 Jacobean England University of Basel (1533- 1633) Janet Pollack David I Lewis Charles M. -
295 – METODA KOKOLE Slovenian Academy Of
Metoda KOKOLE Slovenian Academy of Sciences and Arts, Ljubljana Early SACRED MONODY AND ITS JOURNEY FROM THE EASTERN SHORES OF THE Adriatic to THE AUSTRIAN LANDS North OF THE ALPS The publication of the collection of Cento concerti ecclesiastici by Lodovico Grossi da Viadana in 1602, and its reprints of 1603, 1604, 1605, 1607, and 1612, was followed by a great vogue of this allegedly ‘new’ style. In Italy alone, between the years 1602-1630, more than 150 collections of small-scale motets were issued from various and notably Venetian printing houses. However, the idea of sacred music for a few voices with com- pulsory instrumental accompaniment as well as Viadana’s twelve rules on how to realise the basso continuo, reverberated not only in Italy, but even well beyond as far as the Northern German states. This new style very soon found its way to non-Italian lands firstly through imported music literature, local reprints of Italian music and the activities of Italian composers in these lands, to then be finally adopted by local composers and writers on music. Already in 1619, the foremost German writer on music, Michael Praetorius, published in the third volume of his Syntagma musicum, his own detailed explanation of this new genre. He summarized the novelties of Viadana’s 1602 collection with its rules and also listed some different expressions used in his own time for motets with continuo, which in Germany were called geistliche Konzerte: apart from Motetti, there were also compositions entitled Concerti, Concentus, Symphoniae, Falso bordone, Harmoniae, Gesänglein etc., and even combinations of two complementary expressions such as Motetti Concertati or Concentus, Sacra Cantica, and Sacras Cantiones.1 The described ‘first method’ (Die erste Manier) of concertato writing was, according to Praetorius, codified by «Lodovico Viadana, Giovanni Damasceno, Antonio Cifra, Giacomo Finetti, Seraphino Patta, and other innumerable Italian musicians devoted to the new style». -
Madrigal (Music) 1 Madrigal (Music)
Madrigal (music) 1 Madrigal (music) A madrigal is a secular vocal music composition, usually a partsong, of the Renaissance and early Baroque eras. Traditionally, polyphonic madrigals are unaccompanied; the number of voices varies from two to eight, and most frequently from three to six. Madrigals originated in Italy during the 1520s. Unlike many strophic forms of the time, most madrigals were through-composed. In the madrigal, the composer attempted to express the emotion contained in each line, and sometimes individual words, of a celebrated poem. The madrigal originated in part from the frottola, in part from the resurgence in interest in vernacular Italian poetry, and also from the influence of the French chanson and polyphonic style of the motet as written by the Franco-Flemish composers who had naturalized in Italy during the period. A frottola generally would consist of music set to stanzas of text, while madrigals were through-composed. However, some of the same poems were used for both frottola and madrigals.[1] The poetry of Petrarch in particular shows up in a wide variety of genres.[1] The madrigal is related mostly by name alone to the Italian trecento madrigal of the late 13th and 14th centuries.[2] In Italy, the madrigal was the most important secular form of music of its time. The madrigal reached its formal and historical zenith by the second half of the 16th century. English and German composers, too, took up the madrigal in its heyday. After the 1630s, the madrigal began to merge with the cantata and the dialogue. With the rise of opera in the early 17th century, the aria gradually displaced the madrigal.[3] History Origins and early madrigals In the early 16th century, several humanistic trends converged which allowed the madrigal to form. -
A Monastic Manuscript Parallel to the Parnassus Musicus Ferdinandaeus
Prejeto / received: 5. 12. 2016. Odobreno / accepted: 15. 6. 2017 DOI: 10.3986/dmd13.1-2.14 A MONASTIC MANUSCRIPT PARALLEL TO THE PARNASSUS MUSICUS FERDINANDAEUS RUDOLF FLOTZINGER Graz Izvleček: Med vsebino in okoliščinami tiskane Abstract: There are many parallels in the context antologije Parnassus musicus Ferdinandaeus, and content of the printed anthology Parnassus ki je bila leta 1615 posvečena notranjeavstrij- Musicus Ferdinandaeus, dedicated in 1615 to the skemu vladarju v Gradcu, in rokopisno zbirko, Inner-Austrian ruler in Graz, and the manuscript ki je bila okoli leta 1625 pripravljena za rabo collection assembled around 1625 for the use of menihov v samostanu Kremsmünster (Ms. L76), the monks at the Kremsmünster monastery (Ms je veliko paralel. Obe odsevata zgodnje širjenje L76). They reflect alike the early diffusion of the repertoarja in sloga italijanske duhovne mono- Italian sacred monodic repertoire and style in dije v avstrijskih deželah, ki ga deloma lahko regions of Austria, thanks partly to personal pripisujemo tudi osebnim stikom med domačimi contact between native-born musicians and glasbeniki in njihovimi italijanskimi vrstniki. their Italian contemporaries. Ključne besede: italijanska glasba, mali duhovni Keywords: Italian music, the small-scale motet, motet, Avstrija, glasbeni rokopis A-KR, L76, Austria, music manuscript A-KR, L76, Parnas- Parnassus musicus Ferdinandaeus, glasbeni sus Musicus Ferdinandaeus, musical context. kontekst. The core subject of the conference Parnassus Musicus Ferdinandaeus (1615) of 2015 was a music print from a courtly environment taken as a characteristic exemplar for the dissemination of Italian music in Europe. Closely related to this publication is the legend- ary marriage strategy of the Habsburg family, which involved various European musical centres: from Naples up to Venice and from there outlining a wide arc of courts already (or soon to be) refashioned on Italian lines stretching from Graz via Cracow to Alba Julia north of the Alps. -
THE LIFE of GIOVANNI MARIA NANINO in 1545', the Council of Trent Began Its Work
THE LIFE OF GIOVANNI MARIA NANINO In 1545', the Council of Trent began its work. Paul III was pope in Rome, and the Society of Jesus was just beginning its efforts to stem the tide of the Protestant Reformation. It was the beginning of the activity known as the Catholic Reformation or the Counter Reformation, a phenomenon that would continue for nearly a hun dred years until the Treaty of Westphalia ( 1648) would bring an end to much of the religious struggle that dominated the sixteenth century. In Rome, the Basilica of Saint Peter was rising under Michel angelo's direction, and the rebuilding of the city after the sack of 15'27 was underway. The Middle Ages had come to an end in Rome, and the period of the Italian Renaissance was over. In Tivoli, at the edge of the Sabine hills overlooking the Roman Cam pagna, Cardinal Ippolito d'Este was about to begin the construction of his great villa ( 1 5' 49) . Pope Paul III was reconstructing Tivoli's fortifications and castle in case another invasion should occur. A short distance from Tivoli in the hill city of Palestrina, young Gio vanni Pierluigi was shortly to leave his position in the cathedral of his native town to move to Rome under the patronage of his friend, Pope Julius III ( 15 51). It was into this world of the Catholic Reformation that Gio vanni Maria N anino was born in 154 5. 1 Giuseppe Radiciotti says he was born in 15 44, because the record of his death states that he was sixty-three years old when he died in 1607.2 However, the words vel circa (or thereabouts) do not indicate any precision even in the mind of the chronicler. -
Ester Lebedinski Phd Thesis
ROMAN VOCAL MUSIC IN ENGLAND , 1660–1710 Court, Connoisseurs, and the Culture of Collecting Ester Lavinia Lebedinski Submitted to Royal Holloway, University of London, for the degree of Doctor of Philosophy, December 2014 Abstract This thesis examines the dissemination and appropriation of Roman vocal music in England, 1660–1710. Associated with powerful courts and rarefied learning, Roman vocal music was a prestigious object of curiosity for rulers and dilettantes. The lack of musical sources and absence of musicians familiar with the repertoire suggests that Roman vocal music was not introduced into England until the 1660s when the court engaged Vincenzo Albrici (1631–90) as the leader of Charles II’s Italian ensemble. Although the ensemble was previously thought to have been an opera troupe, this thesis uses newly discovered letters to argue that Albrici was hired by Sir Henry Bennet and Sir Bernard Gascoigne on his merits as a church and chamber music composer. I argue that Charles II’s patronage of the Italian ensemble was a means of social distinction and legitimation of power, similar to the use of Roman vocal music by continental rulers including Cardinal Mazarin who introduced Charles to the concept of Roman vocal music during Charles’s exile in Paris. That Roman vocal music was a connoisseurs’ repertoire carrying significant social cachet is furthermore illustrated by Samuel Pepys’s engagement with it in the little-researched musical environment of the Royal Society of London. In the dilettante culture of collecting and observation, Roman vocal music was treated as a foreign curiosity and examined in concert as a way of better understanding the compositional secrets published in Athanasius Kircher’s Musurgia universalis (1650). -
7214103.PDF (10.02Mb)
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