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Music Perception in Historical Audiences: Towards Predictive Models of Music Perception in Historical Audiences
journal of interdisciplinary music studies 2014-2016, volume 8, issue 1&2, art. #16081204, pp. 91-120 open peer commentary article Music perception in historical audiences: Towards predictive models of music perception in historical audiences Marcus T. Pearce1 and Tuomas Eerola2 1Queen Mary University of London, London E1 4NS 2Durham University, Durham DH1 3RL Background in Historical Musicology. In addition to making inferences about historical performance practice, it is interesting to ask questions about the experience of historical listeners. In particular, how might their perception vary from that of present-day listeners (and listeners at other time points, more generally) as a function of the music to which they were exposed throughout their lives. Background in Music Cognition. To illustrate the approach, we focus on the cognitive process of expectation, which has long been of interest to musicians and music psychologists, partly because it is thought to be one of the processes supporting the induction of emotion by music. Recent work has established models of expectation based on probabilistic learning of statistical regularities in the music to which an individual is exposed. This raises the possibility of developing simulations of historical listeners by training models on the music to which they might have been exposed. Aims. First, we aim to develop a framework for creating and testing simulated perceptual models of historical listeners. Second, we aim to provide simple but concrete illustrations of how the simulations can be applied in a preliminary approach. These are intended as illustrative feasibility studies to provide a springboard for further discussion and development rather than fully fledged experiments in their own right. -
Song As Literature in Late Medieval Italy Lauren Lambert Jennings A
TRACING VOICES: SONG AS LITERATURE IN LATE MEDIEVAL ITALY Lauren Lambert Jennings A DISSERTATION in Music Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy 2012 Supervisor of Dissertation Emma Dillon, Professor of Music and Chair of the Department Graduate Group Chairperson Timothy Rommen, Associate Professor of Music and Director of Graduate Studies Dissertation Committee Emily Dolan, Assistant Professor of Music Kevin Brownlee, Professor of Romance Languages Fabio Finotti, Mariano DiVito Professor of Italian Studies Tr acing Voices: Song as Literature in Late Medieval Italy © 2012 Lauren Lambert Jennings iii A cknowledgement I owe a deep debt of gratitude to all who have offered me guidance and assistance throughout my graduate studies at the University of Pennsylvania. First and foremost, this project could never have come to fruition without the support and encouragement of my advisor, Emma Dillon, who took me under her wing the moment I arrived in Philadelphia. Her seminars sparked my interest in the study of manuscripts as material objects and were the starting point for this project. I am especially grateful for the guidance she has offered throughout the dissertation process, reading drafts of the proposal, grant applications, and chapters. Her suggestions and comments have pushed me to clarify my thoughts and to investigate questions I might otherwise have left aside. The rest of my committee deserves recognition and many thanks as well. Emily Dolan has been an invaluable mentor as both a scholar and a teacher throughout my time at Penn. Outside of the music department, I am indebted to Kevin Brownlee for his constant support of my work and for his seminars, which helped to shape the literary side of my dissertation, as well as for his assistance with the translations in Chapter 1. -
La Caccia Nell'ars Nova Italiana
8. Iohannes Tinctoris, Diffinitorium musice. Un dizionario Il corpus delle cacce trecentesche rappresenta con «La Tradizione Musicale» è una collana promossa di musica per Beatrice d’Aragona. A c. di C. Panti, 2004, ogni probabilità uno dei momenti di più intenso dal Dipartimento di Musicologia e Beni Culturali pp. LXXIX-80 e immediato contatto tra poesia e musica. La viva- dell’Università di Pavia, dalla Fondazione Walter 9. Tracce di una tradizione sommersa. I primi testi lirici italiani cità rappresentativa dei testi poetici, che mirano Stauffer e dalla Sezione Musica Clemente Terni e 19 tra poesia e musica. Atti del Seminario di studi (Cre mona, alla descrizione realistica di scene e situazioni im- Matilde Fiorini Aragone, che opera in seno alla e 20 febbraio 2004). A c. di M. S. Lannut ti e M. Locanto, LA CACCIA Fonda zione Ezio Franceschini, con l’intento di pro- 2005, pp. VIII-280 con 55 ill. e cd-rom mancabilmente caratterizzate dal movimento e dalla concitazione, trova nelle intonazioni polifo- muovere la ricerca sulla musica vista anche come 13. Giovanni Alpigiano - Pierluigi Licciardello, Offi - niche una cassa di risonanza che ne amplifica la speciale osservatorio delle altre manifestazioni della cium sancti Donati I. L’ufficio liturgico di san Do nato di cultura. «La Tradizione Musicale» si propone di of- portata. L’uso normativo della tecnica canonica, de- Arezzo nei manoscritti toscani medievali, 2008, pp. VIII-424 NELL’ARS NOVA ITALIANA frire edizioni di opere e di trattati musicali, studi 8 finita anch’essa ‘caccia’ o ‘fuga’, per l’evidente me- con ill. a colori monografici e volumi miscellanei di alto valore tafora delle voci che si inseguono, si dimostra 16. -
Chapter 3: the Ars Nova: Musical Developments in the Fourteenth Century I. Early Fourteenth Century A. Introduction 1. Changes I
Chapter 3: The Ars Nova: Musical Developments in the Fourteenth Century I. Early Fourteenth Century A. Introduction 1. Changes in notation in the thirteenth century allowed for musical experimentation in the early fourteenth century. 2. The evidence that tells us that fourteenth-century composers understood that they were doing something different can be found in two treatises: The Ars novae musicae by Jehan de Murs and the Ars nova by Philippe de Vitry. B. Music from Mathematics 1. During the fourteenth century, mathematics expanded beyond the boundaries previously seen in European thought. Music, the discipline so closely coupled with mathematics, followed suit. a. A fourfold system existed for musical time. Each of those listed is a subdivision of the previous: Maximodus, Modus, Tempus, and Prolatio. b. Each of these could be divided into two or three parts. 1) The first two are essentially theoretical concepts, and practical use resided in the latter two. 2) These possibilities yield, in modern terms: 9/8, 3/4; 6/8, 2/4. 2. Not everyone liked the innovations of the Ars nova. a. One example of disapproval is Jacobus de Liege’s Speculum musicae. 1) He dismissed the complexity and innovation as superfluous. C. Music about Music 1. Another new idea in the Ars nova concerns a growing realization of self- awareness as composers of art. 2. Music composition is seen as an art, not a craft. D. Establishing the Prototype: The Roman de Fauvel 1. The earliest surviving pieces in the Ars nova style are found in the Roman de Fauvel. a. Compiled around 1317, poem by Gervais du Bus, this manuscript includes 126 musical compositions (different genres). -
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. -
An Analysis of Guillaume De Machaut's "Le Lay De La Fonteinne" in Cultural Context Patricia A
The University of Maine DigitalCommons@UMaine Electronic Theses and Dissertations Fogler Library 12-2001 Words and music in communion: an analysis of Guillaume de Machaut's "Le Lay de la Fonteinne" in cultural context Patricia A. Turcic Follow this and additional works at: http://digitalcommons.library.umaine.edu/etd Part of the French and Francophone Language and Literature Commons Recommended Citation Turcic, Patricia A., "Words and music in communion: an analysis of Guillaume de Machaut's "Le Lay de la Fonteinne" in cultural context" (2001). Electronic Theses and Dissertations. 486. http://digitalcommons.library.umaine.edu/etd/486 This Open-Access Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of DigitalCommons@UMaine. WORDS AND MUSIC IN COMMUNION: AN ANALYSIS OF GUILLAUME DE MACHAUT’S “LE LAY DE LA FONTEINNE” IN CULTURAL CONTEXT By Patricia A. Turcic B.A. Colby College, 1977 M.A. Bowling Green State University, 1988 B.M. University of Maine, 1996 A THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts (in Liberal Studies) The Graduate School The University of Maine December, 200 1 Advisory Committee: Cathleen Bauschatz, Professor of French, Advisor Kristina Passman, Associate Professor of Classical Language and Literature Beth Wiemann, Assistant Professor of Music Copyright 200 1 Patricia A. Turcic All Rights Reserved .. 11 WORDS AND MUSIC IN COMMUNION: AN ANALYSIS OF GUILLAUME DE MACHAUT’S “LE LAY DE LA FONTEINNE” IN CULTURAL CONTEXT By Patricia Turcic Thesis Advisor: Dr. -
AN ARGUMENT for the REASSESSMENT of STRAVINSKY's EARLY SERIAL COMPOSITIONS THESIS Presented to the Graduate Council of the Unive
37? ^8/ AN ARGUMENT FOR THE REASSESSMENT OF STRAVINSKY'S EARLY SERIAL COMPOSITIONS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Timothy Stephen Hughes, B.S. b Denton, Texas December, 1995 37? ^8/ AN ARGUMENT FOR THE REASSESSMENT OF STRAVINSKY'S EARLY SERIAL COMPOSITIONS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Timothy Stephen Hughes, B.S. b Denton, Texas December, 1995 Hughes, Timothy Stephen, An Argument for the Reassessment of Stravinsky's Early Serial Compositions. Master of Music (Theory), December 1995, 70 pp., 28 illustrations, references, 29 titles. Between 1952 and 1957, Igor Stravinsky surprised the world of music by gradually incorporating serialism into his style of composition. Although Stravinsky still used the neo-classical trait of making strong references to the music of earlier periods, musical analyses of this transitional period have focused on serial aspects to the exclusion of anachronistic elements. Evidence of Stravinsky's possible use of musical structures adapted from earlier times is found in his consistent use of musical figures that are closely related to the cadences of the late Medieval and Renaissance eras. By fully addressing these neo-classical traits in future analyses, music theorists will gain an additional perspective, which is helpful in understanding the music of Stravinsky's transitional period. ACKNOWLEDGMENTS I wish gratefully to acknowledge the assistance of Dr. Robert Gauldin of the Eastman School of Music for the use of his unpublished analysis of the Septet. -
The Late Medieval Age of Crisis and Renewal, 1300-1500
The Late Medieval Age of Crisis and Renewal, 1300–1500: A Biographical Dictionary Clayton J. Drees Editor GREENWOOD PRESS The Late Medieval Age of Crisis and Renewal, 1300–1500 Recent Titles in The Great Cultural Eras of the Western World Renaissance and Reformation, 1500–1620: A Biographical Dictionary Jo Eldridge Carney, editor The Late Medieval Age of Crisis and Renewal, 1300–1500 A Biographical Dictionary Edited by CLAYTON J. DREES The Great Cultural Eras of the Western World Ronald H. Fritze, Series Adviser GREENWOOD PRESS Westport, Connecticut • London Library of Congress Cataloging-in-Publication Data The late medieval age of crisis and renewal, 1300–1500 : a biographical dictionary / edited by Clayton J. Drees. p. cm.—(The great cultural eras of the Western world) Includes bibliographical references and index. ISBN 0–313–30588–9 (alk. paper) 1. Civilization, Medieval—Dictionaries. 2. Europe—History—476–1492—Biography— Dictionaries. 3. Europe—History—1492–1517—Biography—Dictionaries. 4. Europe— Social conditions—To 1492—Dictionaries. I. Drees, Clayton J. II. Series. CB353.L38 2001 940.1—dc21 00–022335 British Library Cataloguing in Publication Data is available. Copyright ᭧ 2001 by Clayton J. Drees All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 00–022335 ISBN: 0–313–30588–9 First published in 2001 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America TM The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). -
April 18, 2012
April 18, 2012 Concert # 468 ~ Since Nov. 13, 2002 “Where friendship & music intersect” …a lways free! Wednesdays, 12-1 p.m. th 1856 2012 13 & N Streets, Sacramento, CA 95814 156 years of service Fine musical talent - serving the local community - supported by the local community “Rest here, weary mind, feel the soft harmonies for my hidden anguish. Heal me, I implore Thee.” (Bach Cantata 210) Simply Renaissance recorder players: Kathryn Canan Mark Schiffer Elizabeth Young Glenn McGregor Hear selected past concert music; see upcoming concert info/photos: www.musicatnoon.org Please share information about these admission-free concerts with your community. Apr 25 Jazz Guitarist Doug Pauly, Vocalist Meleva Steiert, bassist Matt Robinson, with Steve Roach Trumpet/Flugelhorn May 02 Pianist Melanie Bietz; Rachmaninoff, Liszt, and more May 09 Travis Brass; USAF Band of the Golden West plays Pops, Classics, Jazz, and more May 16 Soprano Robin Fisher; Pianist Hatem Nadim "The Art of American Song" May 23 Singer-Pianist Chris Goslow; classics, pops, rags, vocals May 30 Susan Lamb Cook, cello; Natsuki Fukasawa, piano; music of Brahms, Villa-Lobos, and Cassado Jun 06 A jazz tribute to Doris Day; vocalist Laura Didier and the Jim Martinez Trio Jun 13Bay Area Pianist John David Thomsen; Bach, Beethoven, and more Jun 20 Mezzo Soprano Donna Olson and Friends Jun 27 Organist Katya Kolesnikova July 04 CHURCH CLOSED July 11 Sacramento Youth Symphony Chamber Music Workshop; Susan Lamb Cook, Director July 18 Sacramento Youth Symphony Chamber Music Workshop; Susan Lamb Cook, Director July 25 Matthew Grasso, 7-string guitar Westminster Presbyterian Church funds the administrative costs of M.A.N. -
The Middle Ages, Part 2
A-R Online Music Anthology www.armusicanthology.com Content Guide The Medieval Period, Part 2: Polyphonic Traditions Karen M. Cook is associate professor of music history at By Karen M. Cook The Hartt School at the University of Hartford. She specializes in late medieval music history, with current The University of Hartford research projects treating various aspects of mensural theory and notation in late-fourteenth-century France. Assigned Readings She also focuses heavily on the intersections between Core Survey music and medievalism, particularly in video games, the subject of several recent publications in the journal Historical and Analytical Perspectives postmedieval and the Oxford Handbook of Music and Composer Biographies Medievalism. Supplementary Readings - Anonymous IV, excerpt from De mensuris et discantu - Johannes de Grocheio, excerpts from De musica Suggestions for Further Reading Summary List Genres to Understand Musical Terms to Understand Contextual Terms, Figures, and Events Main Concepts Scores and Recordings Exercises This workbook is for authorized use only. Unauthorized copying or posting is an infringement of copyright. If you have questions about using this article, please contact us: http://www.armusicanthology.com/anthology/Contact.aspx Content Guide: The Medieval Period, Part 2 (Polyphonic Traditions) 1 ______________________________________________________________________________ Content Guide The Medieval Period, Part 2: Polyphonic Traditions Karen M. Cook Assigned Readings Core Survey o James Maiello, “Medieval -
Narration and Meaning in the Music and Visual Arts of Florence 1300-1700 Fall 2012
Narration and Meaning in the Music and Visual Arts of Florence 1300-1700 Fall 2012 What does a work of art—painting, sculpture, fresco,—tell the viewer? Overt messages, allegorical representations, thinly veiled political and social commentary, and sensuous enjoyment abound in art and have their aural counterpart in music—songs, motets, Masses, music for the stage and ballets. The Baptistry doors and Giotto’s frescoes in Santa Croce tell a story; so does a motet by Francesco Landini and an opera by Jacopo Peri. The goal of this course is to hear and learn about music of the Middle Ages, Renaissance, and early Baroque that complements art of the same periods. Students will come away from the course with an appreciation of the multi-dimensionality of the arts, artists, and culture of Florence from ca 1350 to 1650. In-class lectures on musical styles and listening examples will alternate with on-site explorations of art and architecture in Florence. Examples of some possible correlations include the Duomo with Guillaume Dufay’s motet, Nuper rosarum flores, written using the same proportions as the cupola for the dedication of the finished building in 14 36 ; Fra Angelico’s Annunciation in the Museo di San Marco with Josquin Des Prez’ Ave Maria, both embodying the Renaissance ideal of balance and clarity; the stairway of the Laurentian Library with Palestrina’s Missa Papae Marcelli, and the interior of the Teatro della Pergola with La Liberazione di Ruggiero, an opera composed in 1626 by Francesca Caccini. Beyond comparing stylistic commonalities in music and art of the same periods, the course will examine how musicians are depicted in paintings and drawings in Florentine churches and museums. -
Fourteenth-Century Italian Cacce. Edited by WT MARROCCO. Second
THE MEDIAEVAL ACADEMY OF AMERICA PUBLICATION No. 39 FOURTEENTH-CENTURY ITALIAN CACCE to: fu fu Tu fu ct^bcl tcm p>.1\ Ucttai can tctr tree uieUtc pnmem tc. .^r ncllj pi.-y^ia Atvunnct olbi tni^iieibniccbiTtsinut fa a. !buflatct»^m b » cufiwle macdjuAcqus^i av*c attclaaabu uic nc.CaitblapTcinbdaa late JiilftJllIfil. Plate I. Tosto che l'alba, codex Palatino Wl_ (Squarcialupi) folio 25v-26r, Biblioteca Medicea-Laurenziana, Florence. FOURTEENTH - CENTURY ITALIAN CACCE EDITED BY W.THOMAS MARROCCO Second Edition, Revised THE MEDIAEVAL ACADEMY OF AMERICA CAMBRIDGE, MASSACHUSETTS 1961 The publication of this book was made possible by grants of funds to the Academy from the Carnegie Corporation of New York, the American Council of Learned Societies, and the Eastman School of Music of the University of Rochester. Copyright by THE MEDIAEVAL ACADEMY OF AMERICA First Edition, 1942 Second Edition, Reviled, 1961 Library of Congress Catalog Card Number- 60-13484 lithoprinted in U.S.A. EDWARDS BROTHERS, INC. Ann Arbor, Michigan To Nino Pirrotta PREFACE TO THE SECOND EDITION The present revision of this book is the result of further study in Italy as a Fulbright research Fellow in 1950. The munificent grant made it possible for me to examine Italian music codices first-hand and to discover six additional compositions in canon form. These are numbers 8, 11, 12, 14, 17, and 22. Because interest In the music of the Italian trecento has grown considerably during the past two decades, complete collections of the music of one composer or of one form are indispensable. I am particularly indebted to the Mediaeval Academy of America which understood the need for and made possible the pub- lication of the second edition.