Masterarbeit / Master's Thesis
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Romance and Writing: Interpreting the Lyric Domnas of Occitania
Trends in Historiography Romance and Writing: Interpreting the Lyric Domnas of Occitania by Aubri E. Thurmond “I’ll ask you this: when a lady freely loves a man, should she do as much for him as he for her, according to the rules of courtly love?”1 These words are attributed to Maria de Ventadorn, a woman composing in the lyric tradition of the troubadours. From 1100-1300 A.D., Occitania (Southern France) produced over 400 troubadours whose poetry shaped the concepts of romantic love in the West. Their poems, written in langue d’oc, were expressions of fin’ amor, or courtly love.2 According to Paul Zumthor, “Fin’ amor strives toward a desired but unnamed good, bestowable only by a lady, herself identified only by an emblematic pseudonym: a dialogue without reply, pure song, turning into poetry the movements of a heart contemplating an object whose importance as such is minimal.”3 The troubadour was symbolically dependent on the favor of his lady, therefore seemingly giving her power and humbling himself.4 Fin ‘amor was the source of all courtly values.5 However, there were also women troubadours, called trobairitz, in Southern France. The name trobairitz comes from the root trobar, meaning to compose and the feminine suffix –airitz, literally meaning “a woman who composes.”6 The female troubadours did not refer to themselves as trobairitz. In fact, the term trobairitz is only found once in 13th century literature: in the romance Flamenca, when the heroine calls her maid 1 As quoted in Meg Bogin, The Women Troubadours (Scarborough, England: Paddington Press Ltd., 1976), 99. -
A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature
A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor RESEARCH IN MEDIEVAL CULTURE Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor MEDIEVAL INSTITUTE PUBLICATIONS Western Michigan University Kalamazoo Copyright © 2015 by the Board of Trustees of Western Michigan University All rights reserved Manufactured in the United States of America This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Taylor, Robert A. (Robert Allen), 1937- Bibliographical guide to the study of the troubadours and old Occitan literature / Robert A. Taylor. pages cm Includes index. Summary: "This volume provides offers an annotated listing of over two thousand recent books and articles that treat all categories of Occitan literature from the earli- est enigmatic texts to the works of Jordi de Sant Jordi, an Occitano-Catalan poet who died young in 1424. The works chosen for inclusion are intended to provide a rational introduction to the many thousands of studies that have appeared over the last thirty-five years. The listings provide descriptive comments about each contri- bution, with occasional remarks on striking or controversial content and numerous cross-references to identify complementary studies or differing opinions" -- Pro- vided by publisher. ISBN 978-1-58044-207-7 (Paperback : alk. paper) 1. Provençal literature--Bibliography. 2. Occitan literature--Bibliography. 3. Troubadours--Bibliography. 4. Civilization, Medieval, in literature--Bibliography. -
A History of Women's Writing in France
A HISTORY OF WOMEN’S WRITING IN FRANCE SONYA STEPHENS The Pitt Building, Trumpington Street, Cambridge, United Kingdom The Edinburgh Building, Cambridge , UK www.cup.cam.ac.uk West th Street, New York, -, USA www.cup.org Stamford Road, Oakleigh, Melbourne , Australia Ruiz de Alarcón , Madrid, Spain © Cambridge University Press This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published Printed in the United Kingdom at the University Press, Cambridge Typeface Monotype Baskerville /½ pt. System QuarkXPress™ [] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data A history of women’s writing in France / edited by Sonya Stephens. p. cm. Includes bibliographical references. (hardback) (paperback) . French literature – Women authors – History and criticism. Women in literature. Women and literature – France – History. Stephens, Sonya. .′–dc - hardback paperback Contents Notes on contributors page vii Introduction Sonya Stephens Female voices in convents, courts and households: the French Middle Ages Roberta L. Krueger To choose ink and pen: French Renaissance women’s writing Cathleen M. Bauschatz Altering the fabric of history: women’s participation in the classical age Faith E. Beasley The eighteenth century: women writing, women learning Jean -
Study of the Burgundian Chanson As a Source of Material for the High School Vocal Ensemble
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1968 Study of the Burgundian chanson as a source of material for the high school vocal ensemble Franklin Paul Halpin The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Halpin, Franklin Paul, "Study of the Burgundian chanson as a source of material for the high school vocal ensemble" (1968). Graduate Student Theses, Dissertations, & Professional Papers. 3737. https://scholarworks.umt.edu/etd/3737 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. /Y/ A STUDY OP THE BUHGUHDIAN CHANSON AS A SOURCE OP MATERIAU POR THE HIGH SCEOCU VOCAU ENSEMBLE by P. EAUU HAEPIN B. A, Idaho State University, 1953 ■resented in partial fulfillment of the requirements for the degree of Master of Music Education 1968 Approved by: September 13, 1 9 ^ 8 Date UMI Number: EP35336 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. -
Chapter 2: Secular and Cathedral Music in the High Middle Ages I
Chapter 2: Secular and Cathedral Music in the High Middle Ages I. Introduction – Chapter 1 dealt primarily with sacred music, influenced by the fact that initially only sacred music was available for observation. Chapter 2 turns to secular music. II. Troubadours and Trouvères A.Troubadours 1. The first European vernacular poet whose work survives was William IX (7th count of Poitiers and 9th duke of Aquitaine). b. The tradition of these poets is known as the troubadour. c. The troubadour tradition was a “top down” as those of the highest social ranks were the main participants. Their poetry celebrated feudal ideals. d. Different types of troubadour verse dealt with various aspects of the feudal system, including songs of alliance, knightly decorum, exploits, challenges, and death. 2. Courtly love lay at the heart of the troubadour tradition. a. The canso was a song about love. b. Courtly love songs celebrated the same high ideals as other types of songs. c. The lady about whom a poet wrote usually outranked him, making her theoretically unattainable. d. Courtly love was generally more about veneration than physical love. e. The poetic style matches the lofty ideals of courtly love, as demonstrated in Can vei la lauzeta mover. B. Performance and Oral Culture 1. We do not know the rhythm of troubadour songs, but most likely the loftier style of the troubadour songs approximated that of contemporary chant. 2. Some troubadour songs matched a lower-class style; these were not based on chant style. a. Pastorela is one such genre. b. L’autrier jost’ una sebissa by Marcabru is an example. -
Tell Me a Story; Hell Hath No Fury: a Set of Voice Recitals on the Overlap of Music, Literature, and Classics, and Their Treatme
Tell Me A Story; Hell Hath No Fury A set of voice recitals on the overlap of Music, Literature, and Classics, and their treatment and depiction of women Senior Project Submitted to The Division of the Arts of Bard College by Alexandra Gilman Annandale-on-Hudson, New York May 2020 1 Artist Statement Over the past four years, I have had the privilege of answering the question, “what is your major?” My reply exists in various degrees of specificity. I am a Music major. I am a Classical Voice major. I am a voice major who is concentrating in Medieval Studies. Layer upon layer is added. The more specific I am, the more niche it all seems to become. Yet, that which I love exists in these niches, the in-between spaces where different areas of academia come together to create something new. Something that I have always appreciated about art, in general, is its fluidity. Art does not try to exist in a vacuum. Music takes its influence from all aspects of the world: nature, literature, mythology, history, even math. I have loved being able to explore these spaces, bringing together the different aspects of my study as opposed to keeping them isolated from one another. There is, in particular, a strong overlap between music, literature, and Classics; three of my most frequent studies at Bard. This became the prompt for my first concert, as well as an overall guiding theme of my repertoire. Tell Me A Story is a program constructed around the tales of my childhood, the ones that inspired me and guided me to the path I am on. -
Levitsky Dissertation
The Song from the Singer: Personification, Embodiment, and Anthropomorphization in Troubadour Lyric Anne Levitsky Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Anne Levitsky All rights reserved ABSTRACT The Song from the Singer: Personification, Embodiment, and Anthropomorphization in Troubadour Lyric Anne Levitsky This dissertation explores the relationship of the act of singing to being a human in the lyric poetry of the troubadours, traveling poet-musicians who frequented the courts of contemporary southern France in the twelfth and early thirteenth centuries. In my dissertation, I demonstrate that the troubadours surpass traditionally-held perceptions of their corpus as one entirely engaged with themes of courtly romance and society, and argue that their lyric poetry instead both displays the influence of philosophical conceptions of sound, and critiques notions of personhood and sexuality privileged by grammarians, philosophers, and theologians. I examine a poetic device within troubadour songs that I term ‘personified song’—an occurrence in the lyric tradition where a performer turns toward the song he/she is about to finish singing and directly addresses it. This act lends the song the human capabilities of speech, motion, and agency. It is through the lens of the ‘personified song’ that I analyze this understudied facet of troubadour song. Chapter One argues that the location of personification in the poetic text interacts with the song’s melodic structure to affect the type of personification the song undergoes, while exploring the ways in which singing facilitates the creation of a body for the song. -
BORJA CAUQUI QUIRÓS Tutores
TRABAJO DE FIN DE GRADO «LA COMTESSA DE DIA EN EL CONTEXTO TROVADORESCO» Autor: BORJA CAUQUI QUIRÓS Tutores: ANTONIA VÍÑEZ SÁNCHEZ Y JUAN SÁEZ DURÁN GRADO EN FILOLOGÍA HISPÁNICA Curso Académico 2018-2019 Fecha de presentación 27/05/2019 FACULTAD DE FILOSOFÍA Y LETRAS ÍNDICE RESUMEN .......................................................................................................................... 4 1. INTRODUCCIÓN .............................................................................................................. 6 1.1. OBJETIVO ................................................................................................................ 6 1.2. METODOLOGÍA Y ESTRUCTURA ............................................................................... 7 2. LA MUJER EN EL CONTEXTO HISTÓRICO DE LA EDAD MEDIA ......................................... 8 3. AMOR CORTÉS ............................................................................................................. 23 4. TÓPICOS ....................................................................................................................... 31 4.1. ANÁLISIS DE LOS PRINCIPALES TÓPICOS CORTESES ............................................... 31 4.1.1. El dios Amor .................................................................................................. 32 4.1.2. Amor como enfermedad ................................................................................ 33 4.1.3. La queja amorosa ......................................................................................... -
Masters of the Choirboys and the Strategies of Their Appoint Ment at the Cathedral of Cambrai, 1459-1539
Masters of the Choirboys and the Strategies of their Appoint ment at the Cathedral of Cambrai, 1459-1539. 力ンブレー大聖堂における少年聖歌隊教師とその雇用戦略1459年 - 1539年 山本成生 Yamamoto N aruo 「少年聖歌隊教師magister pueromm altaris」は，現 代 に 「作曲家」 として名を残す著名な音楽家 が多数在職していた一方で，その基本的な職務内容や社会的身分，価値基準については不明な点が多 く. 「ルネサンス期」における音楽家身分のありかたを考えるうえで興味深い研究対象である。そこ で本稿では，優れた音楽保護が行われていたとされるカンブレー大聖堂を個別事例として取り上げ， その雇用状態やポーラ• ヒギンズが主張する15世紀中葉における職務上要求される資質の変化（「熟 練した教師」か ら 「創造的なメンター」へ）などに関して検討を行った。 1459年-1539年にかけて同教会に在籍していた11名の少年聖歌隊教師ならびにその候補者の就任 過程や在職中の活動を調査した結果，以下の3 点が明らかにされた。① 1460年代における度重なる リクル一トの失敗やわずか1 年で辞職したオブレフトの事例が示しているように，カンブレー大聖堂 の少年聖歌隊教師は，従来の研究者が想定しているほど当時の音楽家のキャリアとして有利なもので はなく， また参事会が何らかの積極的な支援を始めたのは15世紀末になってからである。.②ヒギン ズが唱える価値基準の変化に関しては，この教会ではむしろ反対に長期間の在職が見込まれる「生え 抜き」の者が重用されるようになった。③そして16世紀になると，少年聖歌隊員からその教師を経 て参事会員まで登りつめる一種の「内部昇進」のルートが成立した。 最後に筆者は， ヒギンズの主張と上記の事例は本質的に相反するものではなく，それぞれが中世末 期における音楽家身分の変容過程の一端を示しているのであり， よって今後は他の音楽拠点における 同種の変化を注意深く比較• 検討し， より包括的な見通しないしはモデルを提示することこそ，「ル ネサンス」 と呼ばれる時代の音楽生活をよりよく理解するために必須であると主張し，結論とした。 Master of the choirboys (Lat. magister puerorum altaris-, Fr. maître des enfants d'autel) is an interesting object for one who works on a certain musical center in the fifteenth and sixteenth century Europe. Because its primary functions, social status, and criteria are still unfamiliar to us, even if there are many composers who took the position. The article will try to reveal its social status and the policy of appointment, taking as example the cathedral of Cambrai, which has been considered to provide lavish support for music and employ many talented -
Table of Contents More Information
Cambridge University Press 978-0-521-19347-4 - Ritual Meanings in the Fifteenth-Century Motet Robert Nosow Table of Contents More information Contents List of illustrations [page ix] List of figures [x] List of music examples [xii] List of tables [xv] Acknowledgments [xvi] Introduction [1] 1 Motets in the chronicles of Henry V [7] The daily procession in the Chapel Royal [8] The daily memorials of Henry V [18] The Agincourt celebrations [37] 2Themotetasritual [44] Ritual performance [44] Processional anthems [51] 3 Processions in the Veneto [56] The reception of the Venetian bishops of Padua [57] The Easter procession at Vicenza Cathedral [70] Pietro Rosso and the procession of the Annunciation [79] 4 The motet as ritual embassy [84] 5 Motets for the citizens of Bruges [105] The Missa “Spiritus almus”anditsmotet [106] Memorial motets at the Church of St. Donatian [118] The Vespers motet [122] The Three Saints [124] The feast day of Sts. Cosmas and Damian [127] The lof of Our Lady of the Snow [128] 6 Contemplation [135] Formal considerations [137] Sight and sound [143] Contemplation and community [162] vii © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19347-4 - Ritual Meanings in the Fifteenth-Century Motet Robert Nosow Table of Contents More information viii Contents 7 The canons of Cambrai [167] VespersmotetsforCambraiCathedral [168] Two Christmas motets by Nicolas Grenon [175] The procession of the Purification [180] The testament of Guillaume Du Fay [187] 8 Choir and community [201] Heterogeneity in the motet [201] Style transference [209] Choir and community [216] Ritual types [232] Appendix A Accounts of Santa Maria dei Battuti [237] Appendix B Foundations and charters at Bruges [239] Appendix C Foundations at Cambrai Cathedral [244] Bibliography [251] Index [270] © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19347-4 - Ritual Meanings in the Fifteenth-Century Motet Robert Nosow Table of Contents More information Illustrations 1.1. -
Course Title Credit MUHL M306 History of Western Art Music I 3 Credits
Course Title Credit MUHL M306 History of Western Art Music I 3 credits Fall semester 2019 What’s going on here? The guy on the left who’s gesturing—who is he? (You probably don’t know his name, but what can you tell about him?) What’s the guy on the right doing? And what’s up with that bird?? Stay tuned! (image from the Hartker Antiphoner, Abbey of St-Gall, Cod. Sang. 390, copied c. 990-1000; http://www.e- codices.unifr.ch/en/csg/0390/13/medium ) Classes MWF 9:30-10:20 (section 001) or 11:30-12:20 (section 002), CM 204g Bulletin description This course is the first part of a two-semester survey of western art music, this semester covering music and ideas about music from antiquity to the mid-eighteenth century. Where relevant, we will consider influences on western art music from other cultures and styles. Prerequisites MUTH M103 (Theory II) and MUHL M106 (Introduction to Music Literature), or permission of instructor. Note that both Theory III and History I are prerequisites for History II, so students in this class should have completed or be concurrently enrolled in Theory III, and students who have not passed Theory III may not take History II in the spring. If you have any questions, please ask. Course objectives and learning outcomes This class will cover western art music composed before c. 1750. We will consider not only the history of musical style, but also as appropriate how music was composed, performed, transmitted, and used as part of broader culture. -
Program Notes FY20C1
Piffaro’s Beginning Ah, Beginnings…they can be exciting, stimulating and even a little scary at times. They may mark a break with the preexistent in an attempt to chart some new course, or revive an older, lost tradition. So it was with a fledgling group of reed players from the Collegium Musicum at the University of Pennsylvania in 1980, when they decided to launch their own ensemble, calling it simply and graphically, the Renaissance Wind Band. Their intent was to pursue renaissance wind playing, especially the double-reed instruments, the shawms, dulcians, krumhorns and bagpipes, in a way that was lacking in the nascent early music revival in this country at the time, at least on a professional level. It was a courageous and daring leap into the unknown in many ways. And it was Piffaro’s beginning! On a somewhat ragtag collection of instruments, the best available at the time, the group formed a 5-part band and began collecting repertoire, teaching themselves the challenging techniques demanded by the horns, learned how to make successful reeds and figured out who played what, when and how. It was exciting and groundbreaking, something new and uncharted. As with many a nascent experiment in group formation, personnel changed over the first 4 years of ensemble building, but eventually settled into a coterie of like- minded individuals committed to creating an entity with roots that might support the growth of a vibrant and lasting ensemble. What’s a musical ensemble to do but perform, so by the winter of 1984 the group decided it was time to go public, to make the leap into that great unknown of audience response.