A Psychoanalytic Interpretation*
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Universum Alte Musik
Fiori Musicali: Universum Alte Musik Montag, 12. Juni 2017, 22.05 - 24.00 Uhr Ein nächtlicher Flug durch 500 Jahre Musikgeschichte vom Mittelalter bis zum Barock. Vom wandernden Ritter Oswald von Wolkenstein über die Tänze der italienischen Piffari bis zu den opulenten Klanggemälden in den Kathedralen. Und auf anderen Wegen wieder zurück. Redaktion: Norbert Graf Salamanca. Guy Bovet Label: Auvidis Valois Track 04: Antonio de Cabezón- Pour un plaisir. Bearbeitung für Orgel Guy Bovet, Orgel Music for the Spanish Kings: Renaissance Music from the Neapolitan Court Label: Virgin Track 17: Antonio de Cabezón / Adrian Willaert- Je fille quand Dieu me donne de quoy. Diminution Track 12: Antonio de Cabezón- Tiento Nr. 9. Quinto tono Track 11: Antonio de Cabezón- Diferencias sobre "Las vacas" Track 09: Antonio de Cabezón- Tres sobre la Alta. La Spagna Track 03: Antonio de Cabezón- Diferencias sobre "La dama le demanda" Hespèrion XX, Leitung: Jordi Savall The marriage of England and Spain. Orchestra of the Renaissance Label: Glossa Track 01: Hochzeitsmesse für die Heirat von Maria Tudor und Philipp von Spanien in der Winchester: Fanfare, Levet (Cesare Bendinelli) Track 02: Processional: Jubilate Deo omnis terra (Cristóbal de Morales) Track 10: Sanctus (John Taverner : Missa Gloria tibi Trinitas) William Missin, Kontratenor, Simon Berridge, Tenor, Charles Gibbs, Bass Tom Phillips, Tenor, Orchestra of the Renaissance, Leitung: Richard Cheetham Ye sacred muses. Music from the House of Tudor Label: Carus Track 09: William Byrd- Wilson's wild. Variationen Track 08: William Byrd- La volta Track 11: William Byrd- The hunt's up, or Pescodd time Track 10: William Byrd- Pavana Track 25: Augustine Bassano- Pavan zu 5 Stimmen Track 28: Jeronimo Bassano- Fantasie zu 5 Stimmen Nr. -
Early Fifteenth Century
CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ... -
Durham E-Theses
Durham E-Theses The life and the autobiographical poetry of Oswald von Wolkenstein Robertshaw, Alan Thomas How to cite: Robertshaw, Alan Thomas (1973) The life and the autobiographical poetry of Oswald von Wolkenstein, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/7935/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk THE LIFE AND THE AUTOBIOGRAPHICAL POETRY OF OSWALD VON WOLKENSTEIN Thesis submitted to the University of Durham for the degree of Doctor of Philosophy by Alan Thomas Robertshaw, B»A. Exeter, March, 1973 The copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. CONTENTS Chapter Page Acknowledgements i Abstract ii Abbreviations iv I, INTRODUCTION 1 1o Summary of Research 1 20 Beda -
The Cosmopolitan
The Cosmopolitan Songs by Oswald von Wolkenstein The Cosmopolitan Diese Einspielung, an deren Vorplanung er noch beteiligt war, ist dem Andenken Ulrich Müllers gewidmet – Oswalds wohl größtem Mäzen. This recording is dedicated to the fond memory of Ulrich Müller, Songs by arguably Oswald‘s greatest patron, without whom it would likely never have begun. Cet enregistrement est dédié à la mémoire d’Ulrich Müller, grand défenseur et promoteur d’Oswald von Wolkenstein, qui avait contribué à la genèse de ce projet. Oswald von Wolkenstein Ensemble Leones Els Janssens-Vanmunster Gesang/voice/chant Miriam Andersén Gesang/voice/chant · Harfe/harp/harpe Kuhhorn/cow horn/corne de vache · Snatterpinnar/rattle/crécelle Tobie Miller Gesang/voice/chant · Drehleier/hurdy-gurdy/vielle à roue Baptiste Romain Vielle/vièle à archet · Dudelsack/bagpipes/cornemuse Liane Ehlich (guest) [Tr. 10, 13, 16] Mittelaltertraversflöte/medieval transverse flute/flûte traversière médiévale Marc Lewon Gesang/voice/chant · Plektrumlaute/plectrum lute/luth à plectre Ulrich Müller (1940-2012) Cetra/cistre · Vielle/vièle à archet · Leitung/direction The Cosmopolitan Songs by Oswald von Wolkenstein 1 Do fraig amors (Kl 69) 3:08 2 Stampanie (instrumental) 2:05 3 Freu dich, du weltlich creatúr (Kl 120) (instrumental) 2:01 4 Durch aubenteuer tal und perg (Kl 26) 12:05 5 Gar wunniklich hat si mein herz besessen (Kl 64) 3:48 6 Es seusst dort her von orient (Kl 20) 11:28 7 Ach senliches leiden (Kl 51) 3:42 8 Wes mich mein búl ie hat erfreut (Kl 55) (instrumental) 3:29 9 Wol auff, wol an (Kl 75) 6:35 10 Ain gút geboren edel man (Kl 43) (instrumental) 3:37 11 Nu rue mit sorgen (Kl 121) 3:37 12 Wer ist, die da durchleuchtet (Kl 13) 6:09 13 Ich klag (Kl 108) (instrumental) 4:00 14 Mit gúnstlichem herzen (Kl 71) 2:55 15 Herz, prich (Kl 93) 3:41 16 Wol auff, wir wellen slauffen (Kl 84) (instrumental)/ 7:16 Bog de primi was dustu da (Kl 119) Alle Kompositionen und Texte stammen aus den Handschriften Oswalds von Wolkenstein (ca. -
La Música En Los Países Borgoñones En La Primera Mitad Del Siglo XV
La música en los países borgoñones en la primera mitad del siglo XV Leonardo Arenas López Resumen En este breve artículo divulgativo se aborda la música en los países borgoñones en la primera mitad del siglo XV y se proponen algunas estrategias pedagógicas para su enseñanza en la asignatura de “Historia de la música” que se imparte en los conservatorios de música. Introducción Hacia el año 1400, los dos estilos musicales, distintos hasta entonces, de Francia e Italia, comenzaron a interrelacionarse. Este estilo internacional incipiente habría de enriquecerse durante el siglo XV gracias al aporte de corrientes provenientes de otras fuentes, sobre todo de Inglaterra y de la zona de los Países Bajos. Después de 1400, más o menos, una nueva sencillez comienza a cultivarse particularmente en la corte borgoñona. La música eclesiástica, que había caído en la oscuridad, comienza una vez más a recuperar su puesto en el arte musical. No toda la música de principios del siglo XV pertenece al nuevo estilo; alguna es tan compleja como la de la época precedente. El Ars subtilior Si hacia 1350 había un estilo que pudiera reclamar para sí el representar una tradición polifónica “central” (este es el término utilizado por Atlas, 2002a), ése era el del Ars nova francés. En conjunto, mientras Inglaterra e Italia constituían tradiciones importantes secundarias, era Francia la que asumía el papel protagonista. Una de las características que impregnaron la música francesa durante buena parte del siglo XIV fue la tendencia a la complejidad. Esto es particularmente evidente en el motete isorrítmico, con sus taleas y colores a menudo no sincronizados y su uso de la disminución proporcional en taleas sucesivas. -
Leon Battista Alberti
THE HARVARD UNIVERSITY CENTER FOR ITALIAN RENAISSANCE STUDIES VILLA I TATTI Via di Vincigliata 26, 50135 Florence, Italy VOLUME 25 E-mail: [email protected] / Web: http://www.itatti.ita a a Tel: +39 055 603 251 / Fax: +39 055 603 383 AUTUMN 2005 From Joseph Connors: Letter from Florence From Katharine Park: he verve of every new Fellow who he last time I spent a full semester at walked into my office in September, I Tatti was in the spring of 2001. It T This year we have two T the abundant vendemmia, the large was as a Visiting Professor, and my Letters from Florence. number of families and children: all these husband Martin Brody and I spent a Director Joseph Connors was on were good omens. And indeed it has been splendid six months in the Villa Papiniana sabbatical for the second semester a year of extraordinary sparkle. The bonds composing a piano trio (in his case) and during which time Katharine Park, among Fellows were reinforced at the finishing up the research on a book on Zemurray Stone Radcliffe Professor outset by several trips, first to Orvieto, the medieval and Renaissance origins of of the History of Science and of the where we were guided by the great human dissection (in mine). Like so Studies of Women, Gender, and expert on the cathedral, Lucio Riccetti many who have worked at I Tatti, we Sexuality came to Florence from (VIT’91); and another to Milan, where were overwhelmed by the beauty of the Harvard as Acting Director. Matteo Ceriana guided us place, impressed by its through the exhibition on Fra scholarly resources, and Carnevale, which he had helped stimulated by the company to organize along with Keith and conversation. -
Front Matter
Cambridge University Press 978-1-107-01524-1 - The Cambridge History of Fifteenth-Century Music Edited by Anna Maria Busse Berger and Jesse Rodin Frontmatter More information THE CAMBRIDGE HISTORY OF FIFTEENTH-CENTURY MUSIC Through forty-five creative and concise essays by an international team of authors, this Cambridge History brings the fifteenth century to life for both specialists and general readers. Combining the best qualities of survey texts and scholarly literature, the book offers authoritative overviews of central composers, genres, and musical institutions as well as new and provocative reassessments of the work concept, the boundaries between improvisation and composition, the practice of listening, humanism, musical borrowing, and other topics. Multidisciplinary studies of music and architecture, feasting, poetry, politics, liturgy, and religious devotion rub shoulders with studies of compositional techniques, musical notation, music manuscripts, and reception history. Generously illustrated with figures and examples, this volume paints a vibrant picture of musical life in a period characterized by extraordinary innovation and artistic achievement. ANNA MARIA BUSSE BERGER is Professor of Medieval and Renaissance Music History and Theory at the University of California, Davis. She has published articles and books on notation, mensuration and proportion signs, mathematics and music, and music and memory. In 1997 she was awarded a Guggenheim Fellowship; in 2005–6 she was the Lehman Visiting Professor at Villa I Tatti, Florence. She won the Alfred Einstein Award for the best article by a young scholar in 1991, and, in 2006, the Wallace Berry Award for the best book from the Society for Music Theory and an ASCAP Deems Taylor Award for her book Medieval Music and the Art of Memory (2005; Italian translation, 2008). -
CIM/CWRU Joint Music Program Wednesday, Octoberdecember 5, 7,2016 2016
CIM/CWRU Joint Music Program Wednesday, OctoberDecember 5, 7,2016 2016 La Fonteinne amoureuse CarlosCWRU Salzedo Medieval (1885–1961) Ensemble Tango Ross W. Duffin, director Grace Cross & Grace Roepke, harp with CWRU Early Music Singers, ElenaPaul Hindemith Mullins, (1895–1963) director from Sonate für Harfe Sehr langsam Grace Cross ProgramCarlos Salzedo Chanson dans la nuit Grace Cross & Grace Roepke Kyrie from La Messe de Nostre Dame Guillaume de Machaut (ca.1300–77) Caroline Lizotte (b. 1969) from Suite Galactique, op. 39 Early Music Singers Exosphère Gracedirected Roepke by Elena Mullins Pierre Beauchant (1885–1961) Triptic Dance Douce dame Machaut Grace Cross & Grace Roepke Nathan Dougherty, voice withSylvius Medieval Leopold WeissEnsemble (1687–1750) from Lute Sonata no. 48 in F-sharp minor (arr. for guitar by A. Poxon) I. Allemande Lucas Saboya (b. 1980) from Suite Ernestina I. Costurera Quarte estampie royale II. DeAnonymous Algún Modo (Manuscrit du Roy) AllisonBuddy Johnson Monroe, (1915-1977) vielle • Karin Cuellar,Since rebec I Fell for You Laura(arr. for Osterlund, guitar by A. recorderPoxon) • Margaret Carpenter Haigh, harp Andy Poxon, guitar Agustín Barrios (1885–1944) Vals, op. 8, no. 4 Comment qu’a moy lonteinne Machaut J. S. Bach (1685–1750) from Sonata no. 3 in C major, BWV 1005 Margaret Carpenter Haigh, voice IV. Allegro assai Heitorwith ensemble Villa-Lobos (1887–1959) Etude no. 7 Year Yoon, guitar Portrait of Helen Sears, 1895. John Singer Sargent (American, 1856–1925). Oil on canvas; 167.3 x 91.4 cm. Museum of Fine(continued Arts, Boston Gift of Mrs. onJ. D. Cameron reverse) Bradley 55.1116. -
JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road Ridgefield, Connecticut 06877 (203) 994-7244 [email protected]
JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road Ridgefield, Connecticut 06877 (203) 994-7244 [email protected] List of Addendums First Addendum – Middle Ages Second Addendum – Modern and Modern Sub-Categories A. 20th Century B. 21st Century C. Modern and High Modern D. Postmodern and Contemporary E. Descrtiption of Categories (alphabetic) and Important Composers Third Addendum – Composers Fourth Addendum – Musical Terms and Concepts 1 First Addendum – Middle Ages A. The Early Medieval Music (500-1150). i. Early chant traditions Chant (or plainsong) is a monophonic sacred form which represents the earliest known music of the Christian Church. The simplest, syllabic chants, in which each syllable is set to one note, were probably intended to be sung by the choir or congregation, while the more florid, melismatic examples (which have many notes to each syllable) were probably performed by soloists. Plainchant melodies (which are sometimes referred to as a “drown,” are characterized by the following: A monophonic texture; For ease of singing, relatively conjunct melodic contour (meaning no large intervals between one note and the next) and a restricted range (no notes too high or too low); and Rhythms based strictly on the articulation of the word being sung (meaning no steady dancelike beats). Chant developed separately in several European centers, the most important being Rome, Hispania, Gaul, Milan and Ireland. Chant was developed to support the regional liturgies used when celebrating Mass. Each area developed its own chant and rules for celebration. In Spain and Portugal, Mozarabic chant was used, showing the influence of North Afgican music. The Mozarabic liturgy survived through Muslim rule, though this was an isolated strand and was later suppressed in an attempt to enforce conformity on the entire liturgy. -
Autobiography in the Songs of Hugo Von Montfort and Oswald Von Wolkenstein
Almut Suerbaum Paradoxes of performance: Autobiography in the songs of Hugo von Montfort and Oswald von Wolkenstein 1 Performance and its status in medieval lyric has been the subject of lively scholarly debate in the last few years.1 From a position in which literary interpretations were solely concerned with the transmitted words as texts, scholarly consensus of the last decade has shifted towards regarding words as mere dry bones, highlighting that music and gesture were an integral part of the poetic oeuvre. Yet the centrality of the non-linguistic elements of such works poses methodological problems, and any assessment of the status of courtly lyric within a semi-oral culture is difficult,2 because much about the external circumstances remains unknown and perhaps irrevocably unknowable. Some facts about the works with which we are concerned here can nevertheless be stated: courtly love lyric in Germany was, for the most part, ‘performed’ in the literal sense, at least initially, so that we are dealing with texts intended to be sung, and indeed performed, to an audience. They were therefore, it seems, conceived as an ensemble of words and music, realized by a singer in front of an aristocratic audience. At the same time, most courtly love lyric employs a lyric ‘I’ which is not normally named or identified, thus offering a generic ‘I’ which is in principle open to all listeners, while at the same time _____________ 1 For the debate in Germany, the volume ‘Aufführung’ und ‘Schrift’ in Mittelalter und früher Neuzeit, ed. by Jan-Dirk Müller, Stuttgart 1996, remains central; cf. -
John Haines Source: Early Music, Vol
The Arabic Style of Performing Medieval Music Author(s): John Haines Source: Early Music, Vol. 29, No. 3 (Aug., 2001), pp. 369-378 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/3519181 Accessed: 22-09-2015 15:13 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Early Music. http://www.jstor.org This content downloaded from 159.149.218.100 on Tue, 22 Sep 2015 15:13:07 UTC All use subject to JSTOR Terms and Conditions . RE-EXAMINING PERFORMANCE PRACTICES + John Haines The Arabicstyle of performingmedieval music uninitiated customer browsing for recent THErecordings of medievalmonophonic music may be surprised by an eruption of Arabic sounds: antiphons and responsoriesundulating in a manner more reminiscent of Koranic recitation than the sober tones of conventionalinterpretations,' trouba- dour and trouveretunes declaimedto the accompa- niment of an 'ud (Arabiclute)2 and pulsing with the beat of various North African drums,3or French courtly dances filtered through a Moroccan bendir (frame drum).4Our curious customer might rightly enquire where the interpretationof medieval music using an Arabicstyle originated. -
2 Facts About Contrafacta. Netherlandish-Italian Music in Saxo-Silesian Sources from the Late Fifteenth Century Ryszard J
2 Facts about Contrafacta. Netherlandish-Italian Music in Saxo-Silesian Sources from the Late Fifteenth Century Ryszard J. Wieczorek Department of Musicology, Adam Mickiewicz University of Poznań The scope and mechanisms of the reception of foreign repertory in fifteenth century Central Europe are still not well known. In contrast, during the sec- ond half of the sixteenth century and in the seventeenth century numerous Central European manuscripts (mostly tablatures) and collections of printed editions testify to the great popularity of Italian, French, and Netherlandish music. Furthermore, active reception of foreign repertory was revealed in many contrafacta, paraphrases, and parodies, sometimes unidentified for a long time and perceived as originals. Examples of this practice in Poland are Aleć nade mną Wenus, “the first Polish madrigal”, which is actually a con- trafactum of a vilotta by Franceso Patavino, or Date siceram moerentibus, “the best Polish motet”, which is a contrafactum of a chanson by Josquin Desprez, and finally, the alleged Bakwark song Albo już dalej trwać nie moge, which is an intabulated chanson by Pierre Sandrin1. In the German-speaking realm, strong predilection towards creating contrafacta is confirmed by Ger- man versions of Italian madrigals, prepared by Valentin Hausmann (Nurem- berg 1600, 1606, 1610), and later by Wrocław’s organist Ambrosius Profius (Leipzig 1627–1649). Throughout the entire seventeenth century, creating contrafacta, parodies and other transformations of foreign works, mostly Ital- ian, became almost a routine procedure of composers in Central Europe. However, this issue is almost unknown in the fifteenth century. There are some traces of reception of foreign patterns, predominantly in sources con- 16 Facts about Contrafacta..