Plainsong & Medieval Music最新文献_第10页

Henry Parkes, The Making of Liturgy in the Ottonian Church: Books, Music and Ritual in Mainz, 950–1050. Cambridge: Cambridge University Press, 2015. xvi + 259 pp. £67. ISBN 978 1 107 08302 8. 亨利·帕克斯（Henry Parkes），《奥托尼教会的礼仪制作：美因茨的书籍、音乐和仪式》（The Making of Liturgy in The Ottonian Church:Books，Music and Ritual in Mainz），950–1050。剑桥：剑桥大学出版社，2015年。xvi+259页，67英镑。是978 1 107 08302 8。

IF 0.2 1区艺术学

Plainsong & Medieval Music Pub Date : 2017-10-01 DOI: 10.1017/S0961137117000110

J. Borders

{"title":"Henry Parkes, The Making of Liturgy in the Ottonian Church: Books, Music and Ritual in Mainz, 950–1050. Cambridge: Cambridge University Press, 2015. xvi + 259 pp. £67. ISBN 978 1 107 08302 8.","authors":"J. Borders","doi":"10.1017/S0961137117000110","DOIUrl":"https://doi.org/10.1017/S0961137117000110","url":null,"abstract":"here; in other words, whether the textual expressivity here stimulates a rare musical gesture. Playing with, and overcoming, our cadential expectations may have had a deliberately expressive, and not only formal, effect. While I do not wish to argue that this was always the case, I believe semantic relations cannot be eliminated from the consideration of cadential articulation, let alone musico-textual relationships in this period in general. Overall, this book successfully accomplishes its aim to provide a solid methodological base for future critical editions of the repertory under consideration. The first editorial fruits of this consolidated effort can be seen in the critical editions appended to the book: the settings of La fiera testa by Bartolino and Nicolò and Bartolino’s La douce çere. These editions present text first (edited by Maria Sofia Lannutti), then the musical setting (edited by Maria Caraci Vela, Antonio Calvia and Michele Epifani), both accompanied with an extensive and meticulous critical apparatus. The quality of this collaborative effort is admirable, and is perhaps the best evidence of this book’s success. In the musical editions, I would further clarify the potential use of ficta for some cadential progressions. One significant error crept into these otherwise impeccable editions: in Bartolino’s La fiera testa (pp. 292–4), the tenor d in bar 92, taken from the manuscript Pit (BNF ital. 568), creates the unsupported fourth d/g in the two-voice counterpoint, which is easily removed with the c offered in Sq (Florence, Biblioteca Medicea Laurenziana, Palatino 87). As for the other aim set in the first part of the title (Musica e poesia), the book leaves some room for further studies and for different approaches. The focus here is mostly on formal coordination of music and text, with the semantic potential of this interrelation receiving only a few brilliant insights in Calvia’s and Epifani’s articles – the insights that seem to prove that a further research in this direction may bear more fruit. This need to incorporate the semantic aspect is particularly noticeable in the contrapunctus studies that at times seem to adhere to the view that contrapuntal rules and exceptions are themselves inherently musical, rather than trying to explore them (particularly the exceptions) in relation to poetic content. This focus is entirely appropriate for a book that aims to signal future critical editions (in the second part of its title), but one thirsts for more comprehensive covering of the conjunction of ‘musica e poesia’ offered in the main title.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"26 1","pages":"206 - 215"},"PeriodicalIF":0.2,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137117000110","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46682563","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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PMM volume 26 issue 2 Cover and Back matter PMM第26卷第2期封面和封底

IF 0.2 1区艺术学

Plainsong & Medieval Music Pub Date : 2017-10-01 DOI: 10.1017/s0961137117000134

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PMM volume 26 issue 2 Cover and Front matter PMM第26卷第2期封面和封面问题

IF 0.2 1区艺术学

Plainsong & Medieval Music Pub Date : 2017-10-01 DOI: 10.1017/s0961137117000122

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Jennifer Bain, Hildegard of Bingen and Musical Reception: The Modern Revival of a Medieval Composer. Cambridge: Cambridge University Press, 2015. xiii + 235pp. £64.99. ISBN 978 1 107 07666 2. 詹妮弗·贝恩，宾根音乐剧的希尔德加德招待会:中世纪作曲家的现代复兴。剑桥:剑桥大学出版社，2015年。十三+ 235页。£64。99。ISBN 978 1 107 07666 2。

IF 0.2 1区艺术学

Plainsong & Medieval Music Pub Date : 2017-03-20 DOI: 10.1017/S0961137116000139

H. Hope

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PMM volume 26 issue 1 Cover and Front matter PMM第26卷第1期封面和封面

IF 0.2 1区艺术学

Plainsong & Medieval Music Pub Date : 2017-03-20 DOI: 10.1017/s0961137117000018

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The form of the monostrophic ballata as a frame for a logical demonstration 作为逻辑论证框架的单营养民谣的形式

IF 0.2 1区艺术学

Plainsong & Medieval Music Pub Date : 2017-03-20 DOI: 10.1017/S0961137116000085

E. V. Rijk

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Signposting mutation in some fourteenth- and fifteenth-century music theory treatises 在一些14和15世纪的音乐理论论文的路标突变

IF 0.2 1区艺术学

Plainsong & Medieval Music Pub Date : 2017-03-20 DOI: 10.1017/S0961137116000097

Adam Whittaker

{"title":"Signposting mutation in some fourteenth- and fifteenth-century music theory treatises","authors":"Adam Whittaker","doi":"10.1017/S0961137116000097","DOIUrl":"https://doi.org/10.1017/S0961137116000097","url":null,"abstract":"ABSTRACT The foundation of the solmisation system, attributed to Guido d'Arezzo, is based upon the application of the syllables ut, re, mi, fa, sol, la, to the musical notes C D E F G A. Later, this system was expanded to incorporate a series of overlapping hexachords made up of these six syllables. These overlapping hexachords could allow a singer to move seamlessly across the regular musical space (the gamut) using only the six syllables (voces) via ‘mutations’. Even though the extent to which this system underpinned diatonic conceptions of musical space is being reconsidered, it seems clear that, at least for some musicians, it played an integral part in music education. Although many theorists discussed the process of hexachordal mutation in their treatises, the approaches towards its exemplification and demonstration were far from uniform, given its conceptual rather than notated function. Johannes Tinctoris's Expositio manus (c.1472) includes a number of musical examples showing hexachordal mutation. His examples, rather unusually, include syllabic annotations to label the points of mutation within the musical notation, a practice that is almost without precedent. This article takes Tinctoris's treatise as a point of departure and compares the approaches taken towards the exemplification of hexachordal mutation in some theoretical texts from the fourteenth and fifteenth centuries, tracking the influence of their approaches forward into the sixteenth century. It considers what some different approaches can tell us about the conceptual function of the hexachord in pedagogy, and what the motives might have been for adopting specific exemplification practices.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"26 1","pages":"37 - 61"},"PeriodicalIF":0.2,"publicationDate":"2017-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137116000097","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48323803","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

The absent first gathering of the Chantilly manuscript 尚蒂利手稿缺席的第一次收集

IF 0.2 1区艺术学

Plainsong & Medieval Music Pub Date : 2017-03-20 DOI: 10.1017/S0961137116000103

M. Bent

{"title":"The absent first gathering of the Chantilly manuscript","authors":"M. Bent","doi":"10.1017/S0961137116000103","DOIUrl":"https://doi.org/10.1017/S0961137116000103","url":null,"abstract":"ABSTRACT The Chantilly manuscript, probably compiled in the 1410s, is thought to have lost an original first sestern early in its history, as the folio numbers start at 13. Because the table of contents matches the order of pieces in the manuscript and starts with the present first item and at fol. 13, it has been assumed that it post-dates the sestern's loss. But the folio numbers were added to that table not by its original hand, but by a later (Italian) one, and that same hand wrote the foliation for the manuscript; table and foliation were therefore almost certainly provided in the same operation. If the table of contents was post factum, why is its foliation in a hand different from the incipits? This article argues that the table of contents was in fact prescriptive, drawn up by a different (French) person before the contents were copied, and that the foliation was added both to the index and the body of the manuscript after copying, allowing for a new planned gathering to be added at the beginning, perhaps including the two Cordier rondeaux. This was never completed; what we have is what there was, and nothing was lost. This hypothesis raises further questions about the codicological and chronological relation of the Cordier songs to the index, to that planned gathering, and to the early history of the manuscript, questions to which provisional answers are suggested.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"26 1","pages":"19 - 36"},"PeriodicalIF":0.2,"publicationDate":"2017-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137116000103","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45422583","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Recent recordings of plainchant 便衣圣歌的最新录音

IF 0.2 1区艺术学

Plainsong & Medieval Music Pub Date : 2017-03-20 DOI: 10.1017/s0961137116000115

J. Weber

引用次数: 0

William Smith, The Use of Hereford: The Sources of a Medieval English Diocesan Rite. Farnham: Ashgate, 2015. xxxi + 830pp. £150. ISBN 978 1 4724 1277 5. 威廉·史密斯，《赫里福德的使用：中世纪英国教区仪式的来源》。法纳姆：阿什盖特，2015年。xxxi+830页。150英镑为978 1 4724 1277 5英镑。

IF 0.2 1区艺术学

Plainsong & Medieval Music Pub Date : 2017-03-20 DOI: 10.1017/S0961137116000127

M. Salisbury

{"title":"William Smith, The Use of Hereford: The Sources of a Medieval English Diocesan Rite. Farnham: Ashgate, 2015. xxxi + 830pp. £150. ISBN 978 1 4724 1277 5.","authors":"M. Salisbury","doi":"10.1017/S0961137116000127","DOIUrl":"https://doi.org/10.1017/S0961137116000127","url":null,"abstract":"about Hildegard of Bingen. Arguably, this chapter encapsulates the volume’s most immediate implications for scholarship beyond the circumscribed study of Hildegard reception, since it crystallises succinctly the differences between the two revivals: while the French resurgence of interest in chant was instigated from a religious vantage point, German scholars were interested primarily in the musical aspects of chant. The monks at Solesmes took as their yardstick the medieval sources of Gregorian chant while Germans such as Franz Xaver Haberl were guided by humanist reworkings, most prominently the Medicean Graduale of 1614. Readers with a general interest in the politics of nineteenth-century chant revivals may be tempted to put down Bain’s book before they reach chapter 3; scholars with an interest in Hildegard, in turn, might be tempted to skip it. However, the chapter is worth close attention and is likely to encourage further, in-depth studies of the nineteenth-century reception of medieval music. Perhaps Bain would have been better served by placing this chapter earlier on in her study, for it undergirds much of her presentation of Hildegard-specific reception and it would be a pity for its insights to go unnoticed. This minor quibble aside, Bain’s study achieves its aim with admirable clarity: it demonstrates with flair that the revival of Hildegard and her music was not instigated in the twentieth century, but is rooted in the nineteenth century. Into the bargain, Bain offers readers rich insight into the cultural milieux in which such processes of reception and revival took place, encouraging further investigation.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"26 1","pages":"74 - 77"},"PeriodicalIF":0.2,"publicationDate":"2017-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137116000127","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42731436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0