The Journal of Musicology最新文献

{"title":"Black Sheep: The Phrygian Mode and a Misplaced Madrigal in Marenzio’s Seventh Book (1595)","authors":"Seth J. Coluzzi","doi":"10.1525/JM.2013.30.2.129","DOIUrl":"https://doi.org/10.1525/JM.2013.30.2.129","url":null,"abstract":"Modal theory has been fraught with shortcomings and inconsistencies from the Renaissance to the present, but the Phrygian mode has proven especially problematic, earning a reputation as the unruly black sheep of the modal family. Much of the difficulty stems from the inadequacy of the clausula in mi to serve as an effective terminal cadence, the threat of mi contra fa between scale degrees 5 and 2 (B and F), and the tendency of Phrygian works to prefer the fourth and sixth degrees (A and C) as cadential goals. Although recent studies have attempted to provide nonmodal explanations for the melodic and cadential peculiarities of the Phrygian mode, these efforts have for the most part fallen short of serving as effective, normative theories, leaving instead a gap between music, mode, and model. The present study examines how the Phrygian mode functions both on the musical surface and on the larger scale in music of the late sixteenth century, showing how a new form of terminal cadence came into widespread practice after 1550 that proved utterly devoid of theoretical grounding. This overview leads to the exposition of a structural model for the Phrygian mode that is both normative within this repertory and accountable to contemporary modal theory. Although analyses of works by Rore, Palestrina, and Wert are used in support of this theoretical model, the main analytical focus is devoted to the madrigals “Tirsi morir volea” (1580) and “Cruda Amarilli, che col nome ancora” (1595) of Luca Marenzio. Based on these examples of Marenzio’s handling of the Phrygian mode, I question the modal designation of one work from Marenzio’s Seventh Book (1595), offering a new explanation for the book’s enigmatic departure from an ordering based on its principal textual source, Guarini’s Il pastor fido .","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"55 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123656692","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Historical Mirroring, Mirroring History: An Aesthetics of Collaboration in Pulcinella","authors":"Katharina Clausius","doi":"10.1525/JM.2013.30.2.215","DOIUrl":"https://doi.org/10.1525/JM.2013.30.2.215","url":null,"abstract":"Visualizing his interaction with music’s history in Expositions and Developments , Stravinsky enigmatically describes his early neoclassical work Pulcinella as a “look in the mirror.” This spatial account of Pulcinella ’s stylistic imitation reflects the crucial visual contribution of Stravinsky’s collaborators Pablo Picasso and Leonide Massine. The ballet’s humorous and playful collaboration among the arts insists on a thoroughly performative neoclassicism; Pulcinella takes neoclassicism’s conceptual negotiation with time and grounds it in the immediate physical spaces of its music, choreography, and set design. Whereas neoclassicism is often theorized as an overt antagonism between present and past, Pulcinella ’s visual aesthetic recasts its historicism as a lighthearted dialogue among the various arts. Written in the same decade as Stravinsky’s ballet, Mikhail Bakhtin’s Author and Hero in Aesthetic Activity draws a compelling image of the visual symbiosis between author and work. This appealingly cooperative model, I argue, offers a new philosophical aesthetic for Pulcinella ’s interdisciplinary historicism. I take Bakhtin’s concept of authorship as the basis for an appreciation of Pulcinella ’s project to reinstate history as an equal, positive collaborator in its neoclassical interaction.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133713701","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Antico or Moderno? Reception of Gesualdo’s Madrigals in the Early Seventeenth Century","authors":"C. Deutsch","doi":"10.1525/JM.2013.30.1.28","DOIUrl":"https://doi.org/10.1525/JM.2013.30.1.28","url":null,"abstract":"In recent decades scholars have tended to gauge Gesualdo’s “modernity” or “conservatism” according to the relation in which his music stands to contrapuntal rules and their transgression. It is striking, however, that no consensus has ever existed on this issue. Interestingly, the same types of judgments proposed by modern critics (notably Lowinsky and Dahlhaus) can also be found also in the writings of such contemporaries of Gesualdo as Vincenzo Giustiniani, Pietro Della Valle, Giovanni Battista Doni, and Severo Bonini. In the first half of the seventeenth century Gesualdo’s music, though almost always presented as “modern” or “new,” was depicted as both a model of good counterpoint and an example of compositional rule breaking. Severo Bonini’s  Discorsi e regole  (ca. 1650)—a text that Gesualdo scholars have not taken into account until now—is particularly enlightening for the study of this apparent contradiction. This article analyzes the various phases of the reception of Gesualdo’s madrigals during the first half of the seventeenth century, as well as the way that the modernity of his music—often regarded as an alternative to early baroque accompanied monody—has been continually redefined.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121110856","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Autobiography and authoriality in a madrigal book: Leonardo meldert's primo libro a cinque (1578)","authors":"F. Piperno","doi":"10.1525/JM.2013.30.1.1","DOIUrl":"https://doi.org/10.1525/JM.2013.30.1.1","url":null,"abstract":"At first glance Leonard Meldert’s Primo libro a cinque (1578) seems to represent a synthesis of the composer’s activity at the court of Guidubaldo II Della Rovere, Duke of Urbino—where the composer arrived in 1573—and his private service, beginning late in 1574, to the duke’s brother, Cardinal Giulio Della Rovere, to whom his madrigal collection is dedicated. But a deeper investigation of the book’s structure and content reveals that it tells another story. Almost all of the pieces were composed either in Pesaro for Guidubaldo—or, rather, for Guidubaldo’s beloved daughter-in-law Lucrezia d’Este from Ferrara—or in Fossombrone or Urbino for Cardinal Giulio, and the selection of texts appears consistent with the literary tastes of the Urbino court (where the young Tasso, too, lived for a while and staged, for the first and only time, his pastoral comedy Aminta ). But the inner structure of the book appears, surprisingly, to be modeled according to a sort of autobiographical plan. The twenty madrigals are clearly divided, by modal as well as literary strategies, into three sections: the outer ones, in cantus durus , set conventional happy love scenes to music; the central one, in cantus mollis , presents an incredible series of texts expressing deep suffering due to a bad situation (the composer forced to silence, an angry “signore” ignoring the composer’s words, etc.). The importance given to the affect of suffering is partly explained by Meldert’s dedication letter, in which he says that Guidubaldo’s death in September 1574 left him without “speranza di protezione” (without any hope of protection) and that some time elapsed before he was able to recover thanks to the patronage of Cardinal Giulio. Thus the three parts of the book may respectively refer to a) an initial happy period with Guidubaldo, b) a second period of uncertainty under the new duke Francesco Maria II (who dismissed his father’s musical chapel along with many of his former servants), and c) a third newly felicitous period in the cardinal’s service. Moreover, a philological study of the texts chosen by Meldert reveals that during the troubled and painful period he was probably trying to establish connections with other musical circles (in particular that of Antonio Londonio in Milan) in an attempt to redirect his life and career. Taking this data as my starting point, in this paper I will reconsider the common view of the relations between a madrigal book and its patron/dedicatee as well as the new idea of “authoriality” (i.e., authorial presence) that is reflected in a musical publication of the second half of the sixteenth century.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127459621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Alfonso Fontanelli’s Cadences and the Seconda Pratica","authors":"Stefano La Via","doi":"10.1525/JM.2013.30.1.49","DOIUrl":"https://doi.org/10.1525/JM.2013.30.1.49","url":null,"abstract":"In his brilliant studies and accurate editions Anthony Newcomb has shown Alfonso Fontanelli’s contributions to the definition of “the new Ferrarese style of the 1590s” and, therefore, to the birth of the seconda pratica. My article focuses on a specific aspect of Fontanelli’s polyphonic writing: the handling of cadences for not only syntactical and tonally structural but also expressive purposes. The literary-musical analyses of some of the most representative settings published in Fontanelli’s two books of madrigals (1595 and 1604)—including masterpieces such as “Tu miri, o vago ed amoroso fiore” (Anonymous), “Io piango, ed ella il volto” (Petrarca), “Lasso, non odo piu Filli mia cara” (Anonymous), and “Dovro dunque morire” (Rinuccini)—shows, above all, the unusually wide range of Fontanelli’s cadential palette. He used not only traditional models (such as the perfect, authentic, Phrygian, and half cadences) but also a great variety of alternative solutions (including what Newcomb has named “evaporated” and “oblique” cadences) that are often so experimental and bold as to escape rigid classification. In the context of a basically chromatic, dissonant, harmonically restless, and tonally unfocused polyphonic flow such cadential variety seems to reflect Fontanelli’s intention not only to underscore the conceptual and emotional meanings represented in the verbal text but also to sharpen their large-scale affective contrasts. In these and other experimental traits of his “cadential style” Fontanelli further developed (possibly through the mediation of Jacques de Wert, and also under the influence of composers such as Luzzaschi and Gesualdo) those basic compositional techniques and exegetic principles that Cipriano de Rore, the real father of the seconda pratica, had already established in his later madrigals, and that Vincenzo Galilei, in turn, had neatly codified in his treatise on counterpoint (ca. 1588–1591).","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114333389","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Giovanni Maria Nanino’s Early Patrons in Rome","authors":"Anthony Newcomb","doi":"10.1525/JM.2013.30.1.103","DOIUrl":"https://doi.org/10.1525/JM.2013.30.1.103","url":null,"abstract":"The first edition of the First Book for five voices of Giovanni Maria Nanino has been lost, and with it its dedication. A close reading of several of the texts in the book offers clues to the date of that first edition and the circle or circles of patronage that may have nourished the book’s origin. This study is concerned principally with the final group of four “occasional” texts in the book—texts apparently referring to particular persons or occasions—and the much-set amorous lyric in the center of the book. I propose that these five madrigals are connected to a circle of patronage in the late 1560s in Florence and Rome, and that the patrons are Isabella de’ Medici, her husband, Paolo Giordano Orsini, and his distant relative Cardinal Flavio Orsini. In addition to Nanino I discuss the composers Stefano Rossetti, Filippo di Monte, and Maddalena Casulana.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132785423","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cerberus Barks in Vain: Poetic Asides in the Artusi–Monteverdi Controversy","authors":"T. Carter","doi":"10.1525/JM.2012.29.4.461","DOIUrl":"https://doi.org/10.1525/JM.2012.29.4.461","url":null,"abstract":"The numerous documents associated with the controversy launched in 1600 by the Bolognese music theorist Giovanni Maria Artusi (1546–1613) against the madrigals of Claudio Monteverdi (1567–1643) have been well studied by scholars. But no one has yet engaged with the encomia included in the front and back matter of the printed books lying at the heart of the dispute: three sonnets (two by Vicenzo Maria Sandri and one by Mutio Manfredi) and a Latin carmen (by Erycius Puteanus) in the treatise L’Artusi, overo Delle imperfettioni della moderna musica (1600), and two madrigals by the poet and theologian Cherubino Ferrari in Monteverdi’s Il quinto libro de madrigali a cinque voci (1605). Although one might dismiss them as mere “occasional” poetry flattering Artusi, on the one hand, and Monteverdi, on the other, as well as their respective patrons, close reading suggests that these encomia represent attempts to claim the high ground not just on musical but also on philosophical and even religious terms. Ferrari’s praise of the composer finds a clear echo in Alessandro Striggio the Younger’s libretto for Monteverdi’s opera Orfeo (1607). All this provides an intriguing footnote, and perhaps something more, both to the controversy over the seconda pratica madrigal and to Orfeo in their broader Ferrarese and Mantuan contexts.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133661494","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Competition, Cultural Geography, and Tonal Space in the Book of Madrigals L’amorosa Ero (1588)","authors":"M. Bizzarini, Massimo Privitera","doi":"10.1525/jm.2012.29.4.422","DOIUrl":"https://doi.org/10.1525/jm.2012.29.4.422","url":null,"abstract":"Around 1587 the Brescian nobleman Count Marc’Antonio Martinengo di Villachiara, who was renowned for his political and military experience as well as competence in both music and poetry, wrote a madrigal text, set it to music, and sent it to seventeen composers in different parts of Italy. Published under the title of L’amorosa Ero (Brescia, 1588), the collection gives the opportunity to compare some of the most influential composers such as Marenzio, Luzzaschi, Ingegneri, Striggio, and many others. The first part of the article focuses on the historical background to this collection, with special attention given to the musical activities in Brescia and in other cities (Cremona, Verona, Parma, Turin, and Rome). Martinengo’s political and military career and the music patronage of his family are discussed in detail, followed by an in-depth survey of most of the composers of L’amorosa Ero (particularly Alfonso Ferabosco, Claudio Merulo, Marc’Antonio Ingegneri, and Antonio Morsolino) to unveil their personal relationships with Martinengo. The hierarchy of composers represented in the madrigal collection turns out to be quite elaborate and reflects their political relevance in their time. The second part of the article is dedicated to the musical content of the collection.  Given that L’amorosa Ero consists of the compositional responses of multiple composers to the same text—which, moreover, they all set in the same mode—the collection offers a unique opportunity to compare composers’ styles. Starting with a close examination of Martinengo’s poem, including its formal and emotional aspects, we follow with a comparative analysis, restricted to the first section of eight emblematic madrigals by Martinengo, Fiorino, Bertani, Ingegneri, Marenzio, Zoilo, Giovannelli, and Luzzaschi. The main analytical tool is the definition of tonal space, that is to say a dynamic articulation of mode that emerges through the interaction of such elements as melodic contour and cadences. Our analysis shows that, despite the limitations of mode and text, the music of the collection is strikingly diverse, ranging from traditional to more innovative styles.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"238 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125760026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Poetry in the Service of Music: The Case of Giovambattista Strozzi the Younger (1551–1634)","authors":"James Chater","doi":"10.1525/JM.2012.29.4.328","DOIUrl":"https://doi.org/10.1525/JM.2012.29.4.328","url":null,"abstract":"Giovambattista (G. B.) Strozzi the Younger (1551–1634) occupied an important place in the literary life of Florence during the period when the Medici were consolidating their absolute rule over Tuscany. As a founder member and host of the Accademia degli Alterati he stands at the center of a web of poets and academicians who strove to bring about a closer cooperation between music, literature, and theater. Strozzi is of interest to music historians for his work in three overlapping areas. First, he provided the texts for intermedi , maschere , and other music performed in Florence from 1579 until 1608, including music celebrating dynastic events of the Medici family. Second, a number of his poems were disseminated as the texts of published madrigals. Third, G. B. Strozzi is the author of poesia per musica , poems written specifically for musical setting or as contrafacta for existing musical pieces. In this area Strozzi was influenced by the reforming and moralizing tendencies of the Congregazione dell’Oratorio. This article surveys Strozzi’s contribution in these three overlapping areas and also focuses on the poems Strozzi wrote in homage to Bianca Cappello, Francesco de’ Medici’s mistress and later his wife.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"324 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122732937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Tanti Auguri, Tony!","authors":"Kate van Orden","doi":"10.1525/JM.2012.29.4.325","DOIUrl":"https://doi.org/10.1525/JM.2012.29.4.325","url":null,"abstract":"The present issue of Journal of Musicology is the first of two containing articles from the ‘‘International Conference on the Italian Madrigal, 1550–1610, and 70th Birthday Celebration for Anthony Newcomb,’’ which was held at the Doreen B. Townsend Center for the Humanities at the University of California, Berkeley, 9–10 November 2011. Generous funding for the conference was provided by the Dean of Humanities, the Department of Music, the Department of Italian Studies, the History of Art Department, and the Townsend Center for the Humanities at the University of California, Berkeley, and these sponsors should be thanked at the outset, for without their support, this remarkable gathering of scholars from across Europe and the United States would not have been possible. The foregoing list of backers will include surprises for those who do not know some details of Tony Newcomb’s long and distinguished career. A virtual California native, in 1949 Tony moved with his family from New York City to the Bay Area, where as a youngster he studied with Darius Milhaud, by then at Mills College. Not wanting to play favorites when it came time for university, he attended both Stanford University (1958–1959) and the University of California, Berkeley (BA 1962). He took his PhD at Princeton University in 1969, having already landed a premier position at Harvard University the year before, but by 1973 he was back at Berkeley, an institution to which he has remained staunchly loyal. Alongside his invaluable teaching and mentoring, his contributions to the university include helping to found the Italian Studies Department in 1984; serving as Dean of Arts and Humanities from 1990 to 1998, when he saw the College of Letters and Sciences through a period of great transformation; and chairing both the Department of Music and the History of Art Department. In addition to his national honors—including election to the American Academy of Arts and Sciences in 1992 and an honorary lifetime membership in the American 325","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116642186","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}