MedRen 2019 Basel 3-6 July 2019 Table of contents 1 Program Committee 2 2 Program 4 3 Abstracts 19 4 Practical information 141 5 Concerts & events 144 6 Supporters 152 Mailing list 153 1 MedRen 2019 Basel 3-6 July 2019 1 Program Committee Dr. Christelle Cazaux-Kowalski (Schola Cantorum Basiliensis) Prof. Dr. Felix Diergarten (Hochschule für Musik Freiburg) Prof. Dr. Inga Mai Groote (Universität Zürich) JProf. Dr. Irene Holzer (Universität Hamburg) Prof. Dr. Martin Kirnbauer (Schola Cantorum Basiliensis) Dr. Agnese Pavanello (Schola Cantorum Basiliensis) Prof. Dr. Katelijne Schiltz (Universität Regensburg) Prof. Dr. Thomas Schmidt (University of Huddersfiled) PD Dr. Hana Vlhovà-Wörner (Universität Basel / Academy of Sciences of the Czech Republic) Organization, coordination and support Birgit Knab Helpers Darina Ablogina Christoph Ballmer Kimon Barakos Leonardo Bortolotto Simon Burri Cathrin Dux Andreas Eng Christine Eng Robin Furger Helen Gebhart Hausdienst der Musik-Akademie Basel Simone Hutmacher-Oesch Kathrin M. Menzel Meike Olbrich Jonas Prina Isabelle Rohner Claudia Schärli Charlotte Schneider Iris Simon Andreas Westermann Arthur Wilkens Aliénor Wolteche 2 MedRen 2019 Basel 3-6 July 2019 Grüezi! Welcome! Liebe Kolleginnen und Kollegen, chers collègues, dear colleagues, Grüezi! We are delighted to welcome you to the «47th Medieval and Renaissance Music Conference 2019» on the Campus of the Musik-Akademie in Basel. Basel is proud to host this important meeting of scholars devoted to Medie- val and Renaissance Music – for the first time in Switzerland. MedRen 2019 has been organised by an association formed from members of the Schola Cantorum Basiliensis / FHNW and the Musicology Seminar of the University of Basel. But this event would not have been possible without the considerable financial and logistical support of several institutions. We are therefore most grateful to thank: The Basel branch of the Swiss Musicolo- gical Society (SMG), the Sulger Stiftung, the Swiss Academy of Humanities and Social Sciences (SAGW) and the Musik-Akademie Basel. Last but not least, we thank the team of the Schola Cantorum Basiliensis (lead by Birgit Knab), which has contributed to the planning and organization of the con- ference. Along with the compelling programme comprised of about 300 papers in five, sometimes even six parallel sessions, we would like to point out some special elements on the roster: First, there are many musical contributions interwoven within and between the papers (marked in the program with the symbol . Second, in tandem with the MedRen 2019 in Basel, the Musikmu- seum is hosting an exhibition which presents some of the musical treasures of the University Library in Basel: «Sound Pictures – Music manuscripts and prints from 16th-century Basel». We wish you (and ourselves) a pleasant and inspiring time in Basel! The Organizing Committee Irene Holzer (University of Hamburg) Michèle Kinkelin (University of Basel) Martin Kirnbauer (Schola Cantorum Basiliensis / FHNW) Agnese Pavanello (Schola Cantorum Basiliensis / FHNW) 3 MedRen 2019 Basel 3-6 July 2019 2 Program 4 MedRen 2019 Basel 3-6 July 2019 5 MedRen 2019 Basel 3-6 July 2019 6 MedRen 2019 Basel 3-6 July 2019 7 MedRen 2019 Basel 3-6 July 2019 8 MedRen 2019 Basel 3-6 July 2019 9 MedRen 2019 Basel 3-6 July 2019 10 MedRen 2019 Basel 3-6 July 2019 11 MedRen 2019 Basel 3-6 July 2019 12 MedRen 2019 Basel 3-6 July 2019 13 MedRen 2019 Basel 3-6 July 2019 14 MedRen 2019 Basel 3-6 July 2019 15 MedRen 2019 Basel 3-6 July 2019 16 MedRen 2019 Basel 3-6 July 2019 17 MedRen 2019 Basel 3-6 July 2019 18 MedRen 2019 Basel 3-6 July 2019 3 Abstracts SE-01: Themed Session: Elizabethan and Jacobean Praises of Music Wednesday, July 3, 10.30–12.30, Grosser Saal Chair: Katie Bank (Newberry Library): [email protected] Session abstract This panel presents research on the “praise of music” literature prominent in la- te sixteenth- and early seventeenth-century England: writings defending music (and especially church music) from those who opposed it on moral and theologi- cal grounds. Some of these were standalone works, most notably the anonymous Praise of Musicke (1586), John Case’s Apologia Musices (1588), and the anony- mous early Jacobean “Praise of Music” manuscript (BL Royal MS. 18. B. XIX); other praises of music appeared as sections within larger works; and still other praises of music were short, independent works, including ballads, partsongs, and commendatory verses. The genre responded to contemporary and artistic con- cerns, rapid social change, and religious upheaval, and in doing so attempted to shape the cultural narrative, employing stock formulae alongside complex rheto- rical craft. While praises of music have often been drawn upon by musicologists, literary scholars, and Reformation historians, there has been little concerted or sustai- ned attention given to the genre itself. This panel begins this examination with papers exploring four themes addressed across a range of praise of music texts: social class, Protestant theology, issues of language and artistry, and medicine and disability. Although often drawing upon traditional tropes with classical and medieval precedents, the ways in which early modern English authors reworked these tropes for their present age gives insight into the state of musical thought and its primary debates. Individual abstracts Pipers, Paupers, and Princes: Social Class in the Praise and Dispraise of Music Katherine Anne Butler (Northumbria University): [email protected] This paper examines how attitudes to social class—particular lower classes—inflected arguments surrounding the virtues and vices of music in a range of English ‘praise of music’ texts. It compares how authors presented the status of musicians, their attitudes towards the music-making and musical receptivity of different classes, as well as how the tendency to personify music for rhetorical effect meant that the language of class inflected the presentation of the arguments themselves. Under- standing the class issues underlying these debates sheds light on why the contro- versies surrounding music’s value seem to have had little impact on the growing levels of educated amateur musicianship in Elizabethan and Jacobean England. “God is pleasde, with such lyke armony”: Protestant Praise of Music in Elizabethan and Early Jacobean England Samantha Arten (Saint Louis University): [email protected] Responding to arguments of music’s inherent immorality and critiques of church music, praises of music in Elizabethan and early Jacobean England usually em- ployed theological reasoning alongside classical and mythological explanations. This paper examines Protestant elements in the genre, discussing the use of Scrip- ture and the writings of the church fathers, examining how these ideas are used 19 MedRen 2019 Basel 3-6 July 2019 to defend music and musical practice, and accounting for the authors’ choices of particular biblical passages and patristic authors. Alongside reference to several shorter works in the praise of music genre, I closely analyze two under-examined longer texts: the extended praise of music in Thomas Whythorne’s autobiography (1576) and the “Praise of Musick” manuscript (BL Royal MS. 18. B. XIX). “Secrets of Future and Celestial Harmony”: Praise of Music Literature and Commendatory Verses in Early Modern English Music Books Janet Pollack (Independent Scholar): [email protected] Commendatory verses—those brief laudatory verses written by men of status and the occasional woman—in English music books published before 1678 were frequently dismissed as ephemeral exercises in flattery. This study, however, finds that these verses frequently reveal familiarity with the issues and language used by authors of “Praise of Music” literature, and in a subtle way part take in the ongoing debate of the day concerning the virtues and vices of music. They offer insight into what was praiseworthy in music and music-making at the time and should be evaluated not as poetry per se but within the context of the larger “Praise of Music” literature. “Hath brought Madde Men into Their Perfect Wits and Senses”: Praises of Music, Medicine, Philosophy, Theology, and Disability in Early Modern England Samantha Bassler (New York University and Rutgers University at Newark): [email protected] In this paper, I investigate music’s capacity to affect healing, and how the over- lapping views of the dual capacity of music, to harm and heal the body and mind, appear in three works on music: the anonymous Praise of Musicke (1586) and works by William Byrd and Thomas Brice. The conflicting ideas about music’s potential to cure or harm, while appearing incongruous to post-Cartesian ideals, exemplify growing awareness of the mind-body connection, music, in relation to science. Early-modern awareness of disability, as an evolving and non-binary state, augments 21st-century understanding of the social model of disability and examp- les for advocacy. SE-02: Free Papers: Notational Issues and beyond Wednesday, July 3, 10.30–12.30, Neuer Saal Chair: Thomas Schmidt (University of Huddersfiled): [email protected] Ligatures and Musical Meaning Paul Kolb (KU Leuven): [email protected] By the late fifteenth century, ligatures seem anachronistic, a relic of earlier nota- tional practices now devoid of any clear meaning. In the literal sense they present a group of notes with a single symbol as an alternative to writing the notes in- dividually. Theorists most frequently explain how they should be interpreted in terms of note values without clarifying for what purpose they may have been used. Musicologists have tended to assume that ligatures are used primarily if not exclusively to indicate text placement, even though theorists rarely stated this explicitly before the sixteenth century. On the other hand, the variety seen in transmission—in which different scribes present the same piece with comple- tely different ligatures—gives the impression that they are sometimes, according to a recent article in Early Music, “purely scribal whim.” Ligatures nevertheless possess meaning beyond indicating text placement.