Plainsong & Medieval Music最新文献

{"title":"The growth of polyphony, 900–1160","authors":"J. Caldwell","doi":"10.4324/9780429200854-4","DOIUrl":"https://doi.org/10.4324/9780429200854-4","url":null,"abstract":"","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"10 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80214299","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":"Later Latin chant and derivative forms","authors":"J. Caldwell","doi":"10.4324/9780429200854-2","DOIUrl":"https://doi.org/10.4324/9780429200854-2","url":null,"abstract":"","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"16 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78718878","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":"Didactic images in a thirteenth-century French music theory treatise: the Scientia artis musice of Hélie Salomon","authors":"J. Dyer","doi":"10.1017/S0961137118000207","DOIUrl":"https://doi.org/10.1017/S0961137118000207","url":null,"abstract":"Abstract The Scientia artis musice, a music theory treatise completed in the year 1274 by Hélie Salomon, a cleric from the village of St-Astier (Périgord/Dordogne), covers all the usual topics treated in such sources: letter names, hexachord syllables, the claves (letter + syllable(s)), the musical hand, mutation, staff notation, clef placement and chant genres. It includes an incomplete tonary with representative chant genres together with a commentary on the seculorum (differentiae) appropriate to various chant incipits. A lengthy instruction on the performance of parallel four-voice organum is also included. The Scientia is the only medieval theory treatise whose eight illustrations (called ‘figurae’) include human figures. These images relate directly to matters covered in the treatise and serve to make its main points more easily committed to memory. Of especial interest is the image of an enthroned bishop that serves as the focal point for a novel exposition of the tonal system of chant as (1) a set of logical relations modelled after the Tree of Porphyry and (2) a variant of the tree of consanguinity. Since the sole surviving copy of the treatise is the original, all these details must reflect the author's intention.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"28 1","pages":"1 - 27"},"PeriodicalIF":0.2,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137118000207","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41405308","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 28 issue 1 Cover and Front matter","authors":"","doi":"10.1017/s0961137119000019","DOIUrl":"https://doi.org/10.1017/s0961137119000019","url":null,"abstract":"","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":" ","pages":"f1 - f4"},"PeriodicalIF":0.2,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0961137119000019","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49564459","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":"Jane Hardie’s foreword provides a history of the Fisher Collection, draws attention to the plurality of Spanish liturgical traditions, and includes short descriptions of the four processionals and the contents of the book. DavidAndrés, in his preface and intro-","authors":"Barbara Haggh-Huglo","doi":"10.1017/S0961137118000141","DOIUrl":"https://doi.org/10.1017/S0961137118000141","url":null,"abstract":"line. When I discussed this, the one case that puzzled me was the post-communion of Du Fay’s Mass Sancti Iacobi, unique to Bologna Q15, which explicitly states that the missing voice is a fourth below the discantus but which again works musically far better if it is a third above the tenor, with a fifth at cadences. Planchart implicity accepts this: at least, he states (p. 573) that the post-communion, as he and Besseler reconstruct it, has far more jarring dissonances than anything else of Du Fay. But it was for me a relevation to read (pp. 571–2) that there is a plain textual problem with the Alleluia of that Mass, which demonstrably has the text all in the wrong places for that movement, also unique to Bologna Q15. That is to say that in some respects Bologna Q15 is rather less authoritative than we had once thought for the music of Du Fay; and I think we can perhaps trust our musical instincts rather more in suggesting that the written instructions for the post-communion may not be authentic. Briefly, there is plenty more to discuss about Du Fay and his music.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"28 1","pages":"92 - 97"},"PeriodicalIF":0.2,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137118000141","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47979935","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 28 issue 1 Cover and Back matter","authors":"","doi":"10.1017/s0961137119000020","DOIUrl":"https://doi.org/10.1017/s0961137119000020","url":null,"abstract":"","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"28 1","pages":"b1 - b3"},"PeriodicalIF":0.2,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0961137119000020","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43275297","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":"Cantus figuratus and monastic re-figuration in the late medieval Veneto","authors":"Jamie Reuland","doi":"10.1017/S0961137118000220","DOIUrl":"https://doi.org/10.1017/S0961137118000220","url":null,"abstract":"Abstract In 1409 Ludovico Barbo arrived at the monastery of Santa Giustina in Padua, intent on its reformation. Since the late fourteenth century, the scriptorium at Santa Giustina had produced some of the most significant collections of polyphonic music to survive from the period, specialising in copying the avant-garde repertories of the Ars nova. Yet the reforms Barbo sought to introduce – reforms based on ideals he and a cohort of Venetians had been living out on the island of S. Giorgio in Alga – eschewed outward ostentation, and centred on prayerful engagement with the scene of Christ's Passion. Barbo's initiatives would seem at odds with the tradition of secular polyphony cultivated at the monastery in the years before his arrival. Official documents from the reform prohibit the practice of cantus figuratus and paint a picture of a uniformly spare music aesthetic. Manuscript and material evidence from Santa Giustina and dependent houses tells a different story, and suggests that communities found use for the monastery's musical past within the reformed practice of prayer and meditation. Vestiges of this past appear in the most unlikely of places: the Good Friday rituals that Barbo himself worked to strip of polyphonic accoutrement. The efforts of individual monks, musicians and scribes – here Rolando da Casale, whose musical expertise Barbo enlisted in the copying of new liturgical manuscripts, and Johannes Preottonus – emerge as telling examples of the ways in which institutional histories come under the pressure of their individual actors.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"28 1","pages":"43 - 75"},"PeriodicalIF":0.2,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137118000220","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44221594","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":"More on a friend of Philippe de Vitry: Johannes Rufi de Cruce alias Jean de Savoie","authors":"Andrew Wathey","doi":"10.1017/S0961137118000219","DOIUrl":"https://doi.org/10.1017/S0961137118000219","url":null,"abstract":"Abstract Who was Jean de Savoie, the clerk with whom the composers Jean Campion and Philippe de Vitry penned the jeu-parti Ulixea fulgens in 1350? This article uses Jean's hitherto unnoticed will and foundations at the church of Saint-Benoît-le-Bestourné, Paris, with other documentation, to bring together Jean's two identities in a unified biography (including a new date for his death, in 1354); to illustrate the close parallels between his own career and that of Philippe de Vitry, and to map the scope of opportunities for contact between them in and around the French royal court from the early 1320s onwards. Jean was also an artist and illustrator, and his career as one of the more prominent cartoonists of Philippe VI, king of France, throws light on potential contact with Vitry via the adoption by Louis I de Bourbon of the hitherto largely royal practice of charter illustration. In addition the properties acquired to support two chaplaincies endowed by Jean at Saint-Benoît demonstrate the extent to which he was professionally embedded in a network of royal councillors working in and around the Parlement in the 1330–50s, in which Vitry was also active. Also identified is a house acquired at Saint-Benoît by Gervès du Bus, author of the Roman de Fauvel.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"28 1","pages":"29 - 42"},"PeriodicalIF":0.2,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137118000219","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46631099","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":"Alejandro Enrique Planchart, Guillaume Du Fay: The Life and Works. Cambridge and New York: Cambridge University Press, 2018. 2 vols. xxv + 926 pp. £160. ISBN 978 1 107 16615 8.","authors":"D. Fallows","doi":"10.1017/S0961137118000177","DOIUrl":"https://doi.org/10.1017/S0961137118000177","url":null,"abstract":"We sometimes think that Alejandro Planchart’s association with Du Fay goes back to 1972, when he published his Musical Quarterly article repositioning the Mass cycles. That, at any rate, could be seen as the official start of his preoccupationwithDu Fay, witnessed by significant publications almost every year since (though at the same time he was no less prolific in his publications about Beneventan chant). He actually signed the contract for this book in 1976: so forty-two years to delivery, and forty-six years of publications leading up to it. But Planchart and Du Fay go back a lot further, not just fifty-two years to 1967, when he issued his first LP of Du Fay with Capella Cordina on Lyrichord, but fifty-four years to his edition of the three Caput Masses, one of which everybody at the time thought was by Du Fay. Anyway, now aged 83, he has eventually published the long-awaited book in two elegant volumes. And it was absolutely worth waiting for. The broad outlines of the story will be familiar to anybody who has been following his publications over the years. But there is now so much more detail, so much more texture. This is the result of years going through and through the archival material. In the late 1970s and early 1980s he sat every day in the Vatican archives between when teaching ended at Santa Barbara and when the Vatican closed for the summer in the middle of July. Presumably he then went on to Lille, where the Cambrai Cathedral documents received similar treatment. In any case, the first appendix here (nearly a hundred pages of archival details, almost all published for the first time) lists all the known petits vicaires at Cambrai Cathedral in the long fifteenth century; the next (pp. 784–91) lists the magistri puerorum there for the same years, a totally absorbing document since most of the people concerned had a substantial role in the history of fifteenth-century music, and Planchart has large quantities of new information about nearly all of them; then (pp. 792–7) he gives all the known grammar teachers in the cathedral. The kind of new detail offered here contributes a lot to the texture of the body of the book: he has innumerable footnotes and comments fleshing out the bald details of the life. Oh, and","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"28 1","pages":"87 - 92"},"PeriodicalIF":0.2,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137118000177","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41577886","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":"Plato, Aristotle, Paris and Helen at the Last Judgement: the legacy of Audi tellus, audi magni maris limbus","authors":"Charles E. Brewer","doi":"10.1017/S0961137118000074","DOIUrl":"https://doi.org/10.1017/S0961137118000074","url":null,"abstract":"ABSTRACT The twenty-four stanza abecedarium, beginning Audi tellus, audi magni maris limbus (Montpellier, Bibliothèque de la ville, 6), stands at the beginning of a long tradition of similar songs of judgement. A closer study of the sources provides for a deeper understanding of the transformation of the original song into a versicle to the Libera me and by the thirteenth century the first two lines of the song were transformed into the beginning of an unusual litany asking ‘Ubi sunt’, which was again most often described in the rubrics as a trope to the Libera me, particularly on All Souls Day. Here, however, an unusual and varying cast of characters enter the text of the song and the liturgy, including classical philosophers, such as Plato and Aristotle, historic figures, such as Paris and Helen, and even the biblical heroes Samson and King David. By the later Middle Ages, the trope had been further transformed into a devotional song and was especially prominent in sources associated with the cloisters of the Devotio moderna and later in polyphonic settings by Caspar Othmayr, Jacobus Gallus and Orlandus Lassus.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"27 1","pages":"101 - 120"},"PeriodicalIF":0.2,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137118000074","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47597434","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}