Plainsong & Medieval Music最新文献

{"title":"Quotation, perfection and the eloquence of form: introducing Beatius/Cum humanum","authors":"Anna Zayaruznaya","doi":"10.1017/S096113711500011X","DOIUrl":"https://doi.org/10.1017/S096113711500011X","url":null,"abstract":"ABSTRACT The newly reconstructed motet Beatius/Cum humanum is remarkable in several respects. It ranks among the longest of Ars Nova motets, and divides neatly into three parts of which the middle is an eighty-breve untexted hocket section. It also contains an extended quotation – textual as well as musical – from the Fauvel motet Firmissime/Adesto. The quoted material speaks of ‘Trinity and unity’, turning a spotlight onto the tripartite form of Beatius/Cum humanum. Firmissime/Adesto has occasioned comment because it is built up of duple (‘imperfect’) notes even though it praises the perfect Trinity. Beatius/Cum humanum can be read as participating in the same conversation. By shifting the salience of the number three from local rhythmical organisation to the global level of form, it serves as an example of how music can depict perfection ex imperfectis.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"24 1","pages":"129 - 166"},"PeriodicalIF":0.2,"publicationDate":"2015-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S096113711500011X","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57436675","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}

{"title":"Yossi Maurey, Medieval Music, Legend, and the Cult of St Martin: The Local Foundations of a Universal Saint. Cambridge: Cambridge University Press, 2014. xvi + 298 pp. £70. ISBN 978 1 107 06095 1.","authors":"M. A. Anderson","doi":"10.1017/S0961137115000145","DOIUrl":"https://doi.org/10.1017/S0961137115000145","url":null,"abstract":"musical variants of the type 1 Visitatio sepulchri dramas follow a regional distribution, but those of the type 2 do not. Third, the melodies of Visitatio sepulchri ceremonies transmitted over many centuries at the same religious institution typically do not change. Fourth, and most important of all, the individual musical variants of the Quem queritis in sepulchro dialogue suggest certain regional groupings but entire melodies do not. As such, the detailed study of musical variants does not help to clarify questions about the origin of the Quem queritis dialogue. Die Melodien der lateinischen Osterfeiern is an invaluable contribution to the study of the Visitatio sepulchri and to the field of chant studies. Through Evers and Janota’s painstaking analyses of musical and textual variants and editing of all extant heightened melodies, they have performed a tremendous service to scholars of liturgical drama and the wider musicological community alike. It now remains for chant scholars to draw conclusions about whether the data confirms or challenges long accepted views about the Visitatio sepulchri. Whatever the outcome, we owe a tremendous debt of gratitude to Evers and Janota for finally bringing to fruition a project that Lipphardt envisioned many years ago.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"24 1","pages":"234 - 240"},"PeriodicalIF":0.2,"publicationDate":"2015-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137115000145","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57436432","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}

{"title":"Liturgical chant bibliography 24","authors":"Günther Michael Paucker","doi":"10.1017/S0961137115000133","DOIUrl":"https://doi.org/10.1017/S0961137115000133","url":null,"abstract":"The Liturgical chant bibliography 24 retains the traditional format: (1) Editions and facsimile editions, (2) Books and reprints, (3) Congress reports, (4) Chant journals, (5) Colections of essays and dictionaries, (6) Articles in periodicals and Festschriften. Additions to the bibliographies of previous years (mostly reviews) are listed directly after this introduction. This year's bibliography opens with five Cantus planus databases and indexes, which were introduced in a detailed review published in the Journal of the American Musicological Society, 67 (2014), 267–85 (24001).","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"24 1","pages":"189 - 224"},"PeriodicalIF":0.2,"publicationDate":"2015-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137115000133","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57436395","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}

{"title":"Marie-Noël Colette and Gunilla Iversen, La parole chantée: Invention poétique et musicale dans le haut moyen âge occidental. Turnhout: Brepols, 2014. 497 pp. + 6 colour plates + CD. €75. ISBN 978 2 503 55161 6.","authors":"J. Dyer","doi":"10.1017/S0961137115000169","DOIUrl":"https://doi.org/10.1017/S0961137115000169","url":null,"abstract":"The title of the book under review encapsulates exceptionally well just what the reader will find in its pages: a balanced engagement with words and music, at times treated in isolation, but more commonly as conjoined wholes. The survey favours a broad range of literary, theological and aesthetic considerations over a narrowly historical treatment. The subtitle indicates the ambitious aims of the book: to lay bare the creative processes that produced the monophonic repertoires of the Middle Ages. The emphasis is on sacred music, in particular additions made to the canonical repertoire of Gregorian (or ‘Romano-Frankish’) chants in the form of prosae, prosulae and tropes. Secular music receives less attention, its presence in La parole chantée justified by verbal links with the sacred repertoire. Both authors are well known for their books and essays that have explored the balance between words and music, and previously published material is here placed in a coherent context. A very positive advantage of the book is the wealth of illustrative material placed at the reader’s disposal. Not only is there a generous anthology (‘Florilège’) of more than a hundred pages (forty-two pieces), but most of the pieces are replicated in the main text where they are discussed, thus sparing the reader the distraction of having to flip back and forth. Complete French translations are given in both places. A dozen pieces from the Florilège, recorded by the Ensemble Gilles Binchois under the direction of Dominique Vellard, are included on a CD that accompanies the book. The musical transcriptions use the Volpiano font, but the singers generally impose a rhythmic treatment on the melodies. Descending threeor four-note groups are sung rapidly, as is the torculus, at times resembling a Pralltriller; syllabic texts are sung with more or less equal note values. The gradual Exaltabo te in the Florilège reproduces pages from the Graduale Triplex, but the version of the chant sung on the CD (with repeat of the full respond) is different. The ‘paroles’ most frequently sung during the Middle Ages were, of course, the psalms. Chapter 1 aims to provide a résumé of selected topics relating to the complex history of psalmody – not an easy task in the space of forty-five pages. In apostolic times the psalms were not ‘paroles chantées’ but prophecies fulfilled with the coming of Christ and in the life of the nascent Church. For example, the Christian community","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"24 1","pages":"225 - 228"},"PeriodicalIF":0.2,"publicationDate":"2015-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137115000169","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57437046","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}

{"title":"A new reading of Binchois's Mon seul et souverain desir","authors":"Karen Cook","doi":"10.1017/S0961137115000121","DOIUrl":"https://doi.org/10.1017/S0961137115000121","url":null,"abstract":"ABSTRACT The copyist of the manuscript Oxford, Bodleian Library, Canon. Misc. 213 was detailed and well versed in numerous notational styles, and as a result, examples of unusual notation in this manuscript have drawn a critical eye. Yet the unique transcription of Binchois's rondeau Mon seul et souverain desir, in which the copyist alternates between the two common note shapes for the semiminim in the cantus voice, has thus far gone unexplained. This notation has no rhythmic significance; as such, it appears to be a superficial anomaly. In this article, I lay out a rationale for a reading of the notation of the semiminims in this piece as potentially deliberate and meaningful. Over the course of compiling the manuscript, the copyist increasingly aligned semiminim shape with prolation: the full-black shape is used exclusively in minor prolation, whereas the void flagged shape becomes more frequently restricted to major prolation. Since the rondeau is in minor prolation, I suggest that the copyist might have used the void flagged figure in order to suggest a momentary shift into major prolation. In so doing, the copyist might have left to us a witness of a performance practice in which the mensural and rhythmic possibilities inherent in the built-in tension between and were explored.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"24 1","pages":"167 - 188"},"PeriodicalIF":0.2,"publicationDate":"2015-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137115000121","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57436314","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}

{"title":"PMM volume 24 issue 2 Cover and Back matter","authors":"","doi":"10.1017/s0961137115000182","DOIUrl":"https://doi.org/10.1017/s0961137115000182","url":null,"abstract":"","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"24 1","pages":"b1 - b6"},"PeriodicalIF":0.2,"publicationDate":"2015-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0961137115000182","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57436849","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}

{"title":"Rhythmic paradigms in the Cantigas de Santa Maria: French versus Arabic precedent","authors":"M. Ferreira","doi":"10.1017/S0961137115000017","DOIUrl":"https://doi.org/10.1017/S0961137115000017","url":null,"abstract":"ABSTRACT This article argues that the rhythmic meaning of the notation in the Cantigas de Santa Maria can be only understood by confronting it with different theoretical paradigms. Julián Ribera in 1922 defended an Arabic paradigm, to the exclusion of any other, but his access to Arabic historical writings was severely limited. Higinio Anglés in 1943 and most modern musicologists have since adopted French mensural theory, but recognised that it does not fit many songs. The author has demonstrated elsewhere that songs that do not fit the French paradigm often fit the Arabic one. The applicability of both paradigms, including their superimposition, is systematically compared here. After comparison of general concepts (ordo and period), of even-time composition (modes V–VI or conjunctive rhythm), of long–short opposition in ternary time (modes I–II or Ramal) and more complex patterns, the author provisionally concludes that very few patterns point unequivocally to French models, while in most cases (first and second mode and potential forms of the third mode) both French and Arabic paradigms could apply. In many other cases, encompassing both binary and ternary metre, the Arabic rhythmic paradigm is clearly either more fitting than the Parisian one, or the only one to apply.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"24 1","pages":"1 - 24"},"PeriodicalIF":0.2,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137115000017","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57435803","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}

{"title":"Recent recordings of plainchant","authors":"J. Weber","doi":"10.1017/s0961137115000042","DOIUrl":"https://doi.org/10.1017/s0961137115000042","url":null,"abstract":"Three continuing series of recordings are represented by new releases this year. The systematic coverage of Mass Propers in Graduale Novum begun by Johannes Berchmans Göschl continues with the participation of three other directors, including his pupil Stephan Zippe, mentioned last year. Alexander M. Schweitzer, who was Göschl's associate choir director earlier and has made several recordings with his Oslo ensemble, has grouped Masses for the Easter vigil, Easter day, Easter Monday, and the second and third Sundays of Easter (no. 1 in the following list). Göschl grouped the first five Sundays in Ordinary Time with the thirty-third Sunday (no. 2). Franz Karl Prassl directed his female ensemble in five Mass Propers of the Christmas season: Holy Family, Mary Mother of God, Second Sunday after Christmas, Baptism of the Lord and Presentation of the Lord (no. 3). All carry on the fine chant interpretations that represent these melodic restitutions to full advantage.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"24 1","pages":"91 - 98"},"PeriodicalIF":0.2,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0961137115000042","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57435969","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}

{"title":"José López-Calo, La música en las catedrales españoles, Música Hispana, Textos: Estudios 17. Madrid: ICCMU, 2012. xii + 214 pp. €45. ISBN 978 84 89457 48 5.","authors":"R. Spina","doi":"10.1017/S096113711500008X","DOIUrl":"https://doi.org/10.1017/S096113711500008X","url":null,"abstract":"","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"2 1","pages":"109-111"},"PeriodicalIF":0.2,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75291021","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}

{"title":"Mensural and polyphonic music of the fourteenth century and a new source for the Credo of Tournai in a gradual of the Basilica di Santa Maria Maggiore in Rome","authors":"N. Tangari","doi":"10.1017/S0961137115000029","DOIUrl":"https://doi.org/10.1017/S0961137115000029","url":null,"abstract":"ABSTRACT An early fourteenth-century gradual produced for use in Avignon and today preserved in Rome at the Basilica di Santa Maria Maggiore is a new source for understanding the musical and liturgical exchange between France and Italy in the fourteenth century. The present article will consider compositions written after the main body of the gradual, and found now in the initial fascicle and on the last three folios of the manuscript. These folios contain a hitherto unknown source for the Credo of Tournai as well as other works not recorded elsewhere; for example, a polyphonic Gloria, a polyphonic Credo, a troped Sanctus and a Credo in cantus fractus.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"24 1","pages":"25 - 69"},"PeriodicalIF":0.2,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137115000029","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57435836","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}