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PERSPECTIVES FOR LOST POLYPHONY AND RED NOTATION AROUND 1300: MEDIEVAL MOTET AND ORGANUM FRAGMENTS IN STOCKHOLM 1300年前后丢失的复调和红色记谱:斯德哥尔摩的中世纪圣歌和风琴碎片
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2023-10-20 DOI: 10.1017/s0261127921000097
Catherine A. Bradley
{"title":"PERSPECTIVES FOR LOST POLYPHONY AND RED NOTATION AROUND 1300: MEDIEVAL MOTET AND ORGANUM FRAGMENTS IN STOCKHOLM","authors":"Catherine A. Bradley","doi":"10.1017/s0261127921000097","DOIUrl":"https://doi.org/10.1017/s0261127921000097","url":null,"abstract":"This article presents, contextualises and analyses four bifolios of medieval polyphony (Stockholm Riksarkivet, fragments 535, 813 and 5786) probably copied in Northern France around 1300. These fragments – recording three-voice organa and Latin motets – feature two different non-rhythmic uses of red notation described in fourteenth-century theoretical treatises following Philippe de Vitry but never seen before in practice: an organum uses red ink to highlight ‘alien’ notes added to its chant foundation and a motet tenor to prompt octave transposition.This article synthesises new and existing evidence for a transitional and still little-studied period in the history of Latin-texted polyphony. It makes the case for an apparent gap in evidence for polyphonic composition and circulation at the turn of the thirteenth century into the fourteenth, exploring the possible explanations for and ramifications of a lacuna in surviving sources around 1300 and proffering new insights into what has been lost.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"18 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138533420","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
FRIAR WILLIAM HEREBERT’S CAROLS RECONSIDERED 修士威廉赫伯特的颂歌重新考虑
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2023-10-20 DOI: 10.1017/s0261127923000025
Peter V. Loewen, Robin Waugh
{"title":"FRIAR WILLIAM HEREBERT’S CAROLS RECONSIDERED","authors":"Peter V. Loewen, Robin Waugh","doi":"10.1017/s0261127923000025","DOIUrl":"https://doi.org/10.1017/s0261127923000025","url":null,"abstract":"William Herebert’s Middle English poems, which appear in his Commonplace Book (<jats:italic>c.</jats:italic> 1314), have been undervalued by scholars. Yet, far from being a lonely purveyor of an ungainly series of translations, Herebert instead was a skillful adapter of Latin hymns into dance songs. Echoing his contemporaries and following the example of St Francis, Herebert revised the forms of two Latin poems, ‘Gloria, laus et honor’ and ‘Popule meus, quid feci tibi’, into two English lyrics: ‘Wele, heriȝyng and worshype’ and ‘My volk, what habbe y do þe?’ In doing so, he dealt imaginatively with poetic form, liturgical content, concepts of time and matching words to music – and he ended up producing early examples of English carols. Herebert’s achievements in dance song demonstrate that the seemingly outrageous idea of the dancing friar is not as alien to religious devotions as one might expect. We conclude with speculations concerning the performance of Herebert’s songs.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"9 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138533419","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
JOHANNES VETULUS DE ANAGNIA’S PLATONIST MODEL OF MUSICAL TIME 约翰内斯·维图鲁斯·德·阿纳格尼亚的柏拉图式音乐时间模型
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2023-10-20 DOI: 10.1017/s0261127923000013
Philippa Ovenden
{"title":"JOHANNES VETULUS DE ANAGNIA’S PLATONIST MODEL OF MUSICAL TIME","authors":"Philippa Ovenden","doi":"10.1017/s0261127923000013","DOIUrl":"https://doi.org/10.1017/s0261127923000013","url":null,"abstract":"In the second half of the fourteenth century, the Italian music theorist Johannes Vetulus de Anagnia wrote a treatise named <jats:italic>Liber de musica</jats:italic>. Extraordinarily complex and replete with theological digressions, this work has to date remained little understood. Examining <jats:italic>Liber de musica</jats:italic> through the lenses of practice and philosophy sheds new light on this enigmatic text. Vetulus’s theory is in certain respects innovative, but in others it is conservative. Vetulus theorised a unique but impractical system of mensural divisions that synthesises and exhausts some of the central conceptual principles of contemporaneous performance. He makes sense of these divisions within a Platonist intellectual framework that reimagines Trinitarian theological concepts in a musical context. Approaching this treatise as far as possible on its own terms reveals that Vetulus developed a symbolic epistemology of music in which a mutual reciprocity could emerge between the tripartite structures of music, nature and the divine.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"24 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138533432","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
A VISION OF THE NEW JERUSALEM: THE TEXT OF STRIGGIO’S ECCE BEATAM LUCEM 新耶路撒冷的远景:施特里希欧的《我比你光明》文本
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2023-10-20 DOI: 10.1017/s0261127923000037
David Butchart
{"title":"A VISION OF THE NEW JERUSALEM: THE TEXT OF STRIGGIO’S ECCE BEATAM LUCEM","authors":"David Butchart","doi":"10.1017/s0261127923000037","DOIUrl":"https://doi.org/10.1017/s0261127923000037","url":null,"abstract":"Striggio’s forty-part motet <jats:italic>Ecce beatam lucem</jats:italic> survives in a unique manuscript source, dated 1587, in the Ratsschulbibliothek in Zwickau. Its text, first published in 1595, formed part of a Pindaric ode written by the neo-Latin poet and Calvinist Paul Schede Melissus (1539–1602). A closer consideration of Melissus’ biography indicates that he probably wrote it after 1575, long after the wedding festivities with which the motet has habitually been associated (Florence, 1565; Munich, 1568). Its subject matter – a Calvinist vision of the New Jerusalem – also makes it an unlikely wedding text and inappropriate for Catholic festivities. Rather, it was probably used as the text of a contrafactum, for an as yet unidentified occasion, with which Striggio himself had little or no connection.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"24 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138533433","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
SCRIBAL IDENTITY AND SCRIBAL ROLES IN EARLY MEDIEVAL IBERIA: A CASE STUDY OF SANTO DOMINGO DE SILOS, BIBLIOTECA DEL MONASTERIO MS 6 中世纪早期伊比利亚的抄写员身份和抄写员角色:以圣多明各德西洛斯为例，《修道院图书馆》第6期
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2023-10-20 DOI: 10.1017/s0261127922000031
Emma Hornby, Marcus Jones, Emily Wride
{"title":"SCRIBAL IDENTITY AND SCRIBAL ROLES IN EARLY MEDIEVAL IBERIA: A CASE STUDY OF SANTO DOMINGO DE SILOS, BIBLIOTECA DEL MONASTERIO MS 6","authors":"Emma Hornby, Marcus Jones, Emily Wride","doi":"10.1017/s0261127922000031","DOIUrl":"https://doi.org/10.1017/s0261127922000031","url":null,"abstract":"This article builds on a close palaeographical, liturgical and musicological reading of a single Old Hispanic manuscript (Santo Domingo de Silos, Biblioteca del Monasterio MS 6) to draw conclusions about scriptorium size, working practices and scribal mobility in early medieval Iberia. We identify eight music scribes who worked in four distinct layers of scribal engagement with the manuscript. These scribes used three different notational styles, and draw on elements of both the León and Rioja melodic dialects. In this manuscript, León notation is used to notate Rioja dialect; Rioja notation can be used to notate León dialect. The notational styles and melodic dialects tell us that different groups of scribes had distinct cultural identities and were likely working across two or three institutions, and at different times. Some scribes specialised in particular solo genres, as we explore, suggesting strongly that some music scribes were also trained as solo singers.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"66 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138533467","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
SERMONS, HOMILIARIES AND PLAINSONG FOR THE NIGHT OFFICE: THE CASE OF STEPHEN THE PROTOMARTYR 布道，布道和夜间办公室的圣歌:殉道者斯蒂芬的案例
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2023-10-20 DOI: 10.1017/s026112792200002x
Benjamin Brand
{"title":"SERMONS, HOMILIARIES AND PLAINSONG FOR THE NIGHT OFFICE: THE CASE OF STEPHEN THE PROTOMARTYR","authors":"Benjamin Brand","doi":"10.1017/s026112792200002x","DOIUrl":"https://doi.org/10.1017/s026112792200002x","url":null,"abstract":"While the great majority of Franco-Roman plainsong features lyrics adapted from the Bible, a long recognised but little studied minority sets excerpts from patristic sermons and commentaries. The antiphons and responsories for the night office on the feast of St Stephen are a case study of such literary borrowing. The lyrics of these chants feature a wide range of verbal debts and reminiscences from sermons written or inspired by Augustine, the majority of which were transmitted in the seventh-century Roman homiliary and thus recited as lessons at matins. Together, the plainsong and lessons develop a distinctively Augustinian portrait of Stephen as a kind, compassionate advocate for his persecutors rather than as the hard-nosed rhetorician he is depicted to be in the Bible. They thus illuminate the working methods and theological priorities of Roman lyricists as they crafted verbal texts for sung delivery in the Divine Office.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"14 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138533421","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
SINGING HORACE IN ANTIQUITY AND THE EARLY MIDDLE AGES 古代和中世纪早期的咏叹调
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2021-10-01 DOI: 10.1017/S0261127921000085
Stuart Lyons
{"title":"SINGING HORACE IN ANTIQUITY AND THE EARLY MIDDLE AGES","authors":"Stuart Lyons","doi":"10.1017/S0261127921000085","DOIUrl":"https://doi.org/10.1017/S0261127921000085","url":null,"abstract":"Horace (65–8 BC), the great lyric poet of the Augustan Age in Rome, composed over a hundred Odes. Scholarly understanding of their early medieval reception has been hampered by the insistence of classical philologists that he was a purely literary poet. Ancient sources and Horace’s own writings demonstrate that he was a performing artist who sang to the accompaniment of his lyre. His use of Alcaic, Sapphic and Asclepiad metres has musical implications. In manuscripts from the ninth to the twelfth centuries, forty-eight passages from the Odes are accompanied by musical notation. The Montpellier codex has notation for the Ode to Phyllis (Odes 4.11) which relates to Guido d’Arezzo’s ‘ut-re-mi’ mnemonic. The St Petersburg codex has settings which suggest various uses, in the schoolroom, abbey entertainments and goliardic performance. The surviving manuscripts were widely spread across Europe and supported a monastic and secular tradition of Horatian song.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"40 1","pages":"167 - 205"},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49482773","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
Andrew Kirkman, Music and Musicians at the Collegiate Church of St Omer: Crucible of Song, 1350–1550. Cambridge: Cambridge University Press, 2020. xvii + 311 pp. ISBN 978-1-108-88104-3. 安德鲁·柯克曼，圣奥默学院教堂的音乐和音乐家:歌曲的坩埚，1350 - 1550。剑桥：剑桥大学出版社，2020。xvii + 311页ISBN 978-1-108-88104-3。
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2021-10-01 DOI: 10.1017/s0261127921000048
M. Champion
{"title":"Andrew Kirkman, Music and Musicians at the Collegiate Church of St Omer: Crucible of Song, 1350–1550. Cambridge: Cambridge University Press, 2020. xvii + 311 pp. ISBN 978-1-108-88104-3.","authors":"M. Champion","doi":"10.1017/s0261127921000048","DOIUrl":"https://doi.org/10.1017/s0261127921000048","url":null,"abstract":"Over the course of the last generation, Andrew Kirkman’s scholarship, particularly his important 2010 monograph The Cultural Life of the Early Polyphonic Mass, has deeply shaped our appreciation of fifteenth-century musical life. His latest offering, Music and Musicians at the Collegiate Church of St Omer, is the fruit of decades of painstaking labour in the archive of a single church in modern-day northern France, then part of disputed territory between the kingdom of France and territories of the Dukes of Burgundy. Kirkman’s care is manifest in the work’s attention to archival detail. It is richly documented – the transcriptions offered in the text, footnotes and appendices alone make it a significant contribution to our knowledge of this important site of music-making. And the work has implications for a wider appreciation of the networks of music and musicians in the Burgundian Netherlands and beyond. After an introductory chapter outlining the history of St Omer, the book loosely follows the life cycle of a chorister, moving from the maîtrise and the duties of choirboys in liturgy and ritual, through the careers of famous choristers and musicians associated with the production of the church’s music books (most famously by Jean Mouton), through discussions of the polyphonic and chant repertoire of the church, its organs and bells, politicking in the college of canons, and finally traces of the death and endowments of several particularly important canons of the late fifteenth and early sixteenth centuries. Several themes emerge as crucial to the musical life of the region and period. The first is the fiscal structure of the church’s benefices. Kirkman traces in detail how music was funded in the period, inter alia Early Music History (2022) Volume 40. © The Author(s), 2022. Published by Cambridge University Press.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"40 1","pages":"295 - 299"},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46434864","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
EMH volume 40 Cover and Front matter 有效市场假说第40卷封面和正面很重要
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2021-10-01 DOI: 10.1017/s0261127921000061
{"title":"EMH volume 40 Cover and Front matter","authors":"","doi":"10.1017/s0261127921000061","DOIUrl":"https://doi.org/10.1017/s0261127921000061","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"40 1","pages":"f1 - f6"},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43931783","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
THE ROMAN MOTET (1550–1600): A COLLECTIVE ISSUE? NEW ATTRIBUTIONS AND REFLECTIONS ON AUTHORSHIP IN THE LIGHT OF A NEW DOCUMENT 罗马圣歌(1550-1600):一个集体问题?新的归属和作者的反思，在一个新的文件的光
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2021-10-01 DOI: 10.1017/S0261127921000036
Anne Piéjus
{"title":"THE ROMAN MOTET (1550–1600): A COLLECTIVE ISSUE? NEW ATTRIBUTIONS AND REFLECTIONS ON AUTHORSHIP IN THE LIGHT OF A NEW DOCUMENT","authors":"Anne Piéjus","doi":"10.1017/S0261127921000036","DOIUrl":"https://doi.org/10.1017/S0261127921000036","url":null,"abstract":"In 1984 Noel O’Regan demonstrated that Roman manuscripts containing Lasso’s motets were reworkings of motets found in published editions. This article reopens an investigation of the Roman manuscript motet books in the light of an autograph booklet by the Oratorian priest and censor of music Giovanni Giovenale Ancina (1599). This document contains two lists of motets, comprising a wide selection that reflects a search for variety in the number of voices (with a preponderance of eight-voice motets), age and style of the motet. It shows a large number of concordances with several manuscript anthologies related to the Oratorian circles. Ancina’s bookletallows us to propose new attributions for motets by Zoilo and Prospero Santini, better known as a chapel master. Finally, a comparison with existing sets of music books qualifies the multiple authorship of the motet in the Roman erudite milieu of that time.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"40 1","pages":"253 - 293"},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49084397","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
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